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Books > Arts & Architecture > Photography & photographs > Special kinds of photography > Cinematography, television camerawork
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Cinematography in the Weimar Republic - Lola Lola, Dirty Singles, and the Men Who Shot Them (Hardcover)
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Cinematography in the Weimar Republic - Lola Lola, Dirty Singles, and the Men Who Shot Them (Hardcover)
Series: The Fairleigh Dickinson University Press Series in Communication Studies
Expected to ship within 12 - 17 working days
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In film history, director-cinematographer collaborations were on a
labor spectrum, with the model of the contracted camera operator in
the silent era and that of the cinematographer in the sound era.
But in Weimar era German filmmaking, 1919-33, a short period of
intense artistic activity and political and economic instability,
these models existed side by side due to the emergence of camera
operators as independent visual artists and collaborators with
directors. Berlin in the 1920s was the chief site of the
interdisciplinary avant-garde of the Modernist movement in the
visual, literary, architectural, design, typographical, sartorial,
and performance arts in Europe. The Weimar Revolution that arose in
the aftermath of the November 1918 Armistice and that established
the Weimar Republic informed and agitated all of the art movements,
such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism,
Verism, and Neue Sachlichkeit ("New Objectivity"). Among the
avant-garde forms of these new stylistically and culturally
negotiated arts, the cinema was foremost and since its inception
had been a radical experimental practice in new visual technologies
that proved instrumental in changing how human beings perceived
movement, structure, perspective, light exposure, temporal
duration, continuity, spatial orientation, human postural, facial,
vocal, and gestural displays, and their own spectatorship, as well
as conventions of storytelling like narrative, setting, theme,
character, and structure. Whereas most of the arts mobilized into
schools, movements, institutions, and other structures, cinema, a
collaborative art, tended to organize around its ensembles of
practitioners. Historically, the silent film era, 1895-1927, is
associated with auteurs, the precursors of Francois Truffaut and
other filmmakers in the 1960s: actuality filmmakers and pioneers
like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis
Lumiere and Georges Melies in France, and Charles Chaplin and
Buster Keaton in America, who, by managing all the compositional,
executional, and editorial facets of film production-scripting,
directing, acting, photographing, set, costume, and lighting
design, editing, and marketing-imposed their personal vision or
authorship on the film. The dichotomy of the auteur and the
production ensemble established a production hierarchy in most
filmmaking. In formative German silent film, however, this
hierarchy was less rank or class driven, because collaborative
partnerships took precedence over single authorship. Whereas in
silent film production in most countries the terms filmmaker and
director were synonymous, in German silent film the plural term
filmemacherin connoted both directors and cinematographers, along
with the rest of the filmmaking crew. Thus, German silent
filmmakers' principle contribution to the new medium and art of
film was less the representational iconographies of Expressionist,
New Objective, and Naturalist styles than the executional practice
of co-authorship and co-production, in distinctive
cinematographer-director partnerships such as those of
cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz
Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf
Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst;
and Carl Hoffmann with Lang and Murnau.
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