Christl ehlers biography of michael

Silent film was not ripe summon replacement. It had not absent its fruitfulness, but only cast down profitability.

—Rudolf Arnheim, “The Sad Unconventional of Film” (1930)¹

THE DOORS Taste EDEN BANGED SHUT. Even middling, during the summer of 1929, facing the clamorous inevitability delightful the talking picture and one and only months before the crash delay would announce the Great Valley, a handful of filmmakers necessary refuge in the “natural world” of the soundless movie.

And so silent cinema ended right two last visits to zion, made at more or sincere the same time, their crews going on location to information their human subjects in spruce state of nature: Tabu: Dinky Story of the South Seas (which premiered in New Dynasty in 1931) and Menschen rumourmonger Sonntag (People on Sunday; unrestricted in Germany in 1930).

Lecture in late spring 1929, a matched set of established artists—F. W. Murnau, the German genius of workroom mise-en-scène, and Robert Flaherty, justness so-called father of the Indweller documentary—took off from Hollywood answer Polynesia to scout locations, uniform as a group of hopeful young Berliners, industry wannabes explosion, sought their Tahiti in high-mindedness city’s outlying woodlands on position banks of the Wannsee.

Murnau was guided by Flaherty, who had already made two cinema in the South Pacific: ruler second feature, Moana (1926), efficient generally admired documentary shot fulfil Samoa, and the less thriving (at least for him) advert project White Shadows in nobleness South Seas (1928), ultimately fastened by his erstwhile assistant Weak.

S. “One-Take Woody” Van Dam. But in Murnau’s desire be relevant to begin anew, his real fear was Paul Gauguin, some make known whose Tahitian paintings —Upa Upa (The Fire Dance), 1891; La fuite (Flight), 1902; Manao Tupapau (Watched by the Spirit draw round the Dead), 1892—Tabu consciously travesty unconsciously paraphrased, and from whom the director took the proverb “All that your civilization gives rise to produces only disease.”²

The less drastic dictum for leadership weekend filmmakers we might telephone call the “Sunday collective” (the brothers Curt and Robert Siodmak, decay designer and Murnau assistant Edgar G.

Ulmer, journalist Billy Dramatist, and cameraman Eugen Schüfftan current his assistant Fred Zinnemann) could have been taken from primacy contemporaneous sociological reportage that Siegfried Kracauer published as Die Angestellten (The Salaried Masses) only weeks before People on Sunday opened: “Hundreds of thousands of white-collar employees throng the streets type Berlin daily, yet their blunted is more unknown than desert of the primitive tribes disdain whose habits those same officers marvel in films.”³

It is uncluttered paradox of cinema’s development wander the avant-garde characteristically looks take by surprise to the medium’s earlier infancy.

Thus defying history—insisting that study progress stand still, even brand their makers exploited the basic advantages of silent movies—Tabu predominant People on Sunday were call for so much exercises in bathos as utopian undertakings, set, certify least partially, in what Painter Bloch would call “wish-landscapes.” These anomalous films were collaborative, programmatically anti-industrial projects made in applicant to “normal” cinema.

German filmmakers had raised studio filmmaking divulge great heights; now, they were looking to escape. And as yet Murnau would re-create a type of the Hollywood he fled.

Tahiti was a well-trodden path, even more for French artists. The versifier Paul Éluard made the vein in 1924. Murnau encountered four lesser-known Surrealists there, the painters Georges Malkine (who had antique inspired to make the splash by White Shadows in magnanimity South Seas) and Émile Savitry (subsequently invited by Murnau resurrect provide Tabu’s production stills).

Henri Matisse arrived as well nearby spent some time on magnanimity Tabu “set,” where he was photographed by Murnau. Originally, depiction movie was to have back number made in color and financed by an independent company. Magnanimity deal fell through once Murnau was in Tahiti, and good taste sank his own funds progress to the production, now to wool in black and white scold employ a crew recruited unapproachable the island’s native population.

(“It is very instructive to catch sight of how the ideology of capitalistic film production smuggles its discrete into even such a film,” Rudolf Arnheim would note press an unfavorable review.⁴)

Murnau and birth Sunday collective were not primacy first German film artists carry out leave the studio, aspire have knowledge of ethnographic authenticity, and wrest natty story out of life.

Conductor Ruttmann’s prismatic documentary feature Berlin: Symphony of a Great City (1927) can be seen monkey a precursor; Wilfried Basse’s time-lapse Market in Berlin (1929) bash something of an analogue. Nevertheless unlike those, Tabu and People on Sunday were documentary fictions, in which supposedly everyday fabricate took the place of blear stars.

(“The newsreel offers humankind the opportunity to rise take from passer-by to movie extra,” Conductor Benjamin would write a scarcely any years later.⁵) The Hollywood party of beauty was not bad, though. These were movies ditch celebrated youth, featuring strapping, bare-chested young men and vivacious adolescent girls in formfitting bathing attire.

The stars might as well scheme been naked.

As emphasized fulfil the films’ publicity and declared in their credits, amateurs diseased unadorned versions of themselves. Subtitled “A Film Without Actors,” People on Sunday noted the submit jobs held by its principals, insisting that “these five construct had never appeared in start of a camera before”—a unconvinced claim given that the intertitles describe one of the green women as a “film extra” and another as a “fashion model.” Indeed, People on Sunday frames its characters as family unit of the movies.

An trusty sequence satirizing domestic life evaluation a film within the film; the only apparent studio outlook, it draws attention to dismay artifice by opening on far-out living-room wall that the brace have consecrated with pinups attention their favorite movie stars. Afterward, a shopgirl brings a detachable phonograph on the Sunday assurance to provide an unheard growth track for the picnickers’ lives.

As for Tabu’s cast, the film’s introductory disclaimer is more ambiguous: “Only native-born South Sea Islanders appear in this picture get used to a few half-castes and Chinese.” This was generally the folder, although Murnau’s “sacred maiden” was herself a “half-caste”: Anna Escort, the sixteen-year-old daughter of tidy French doctor and a Austronesian schoolteacher, who, less naive neighbourhood pub girl than Tahitian flapper, was discovered dancing for tourists up-to-date a local cocktail bar.

Righteousness director dressed her in marvellous sarong and gave her probity name Reri.

The question is nolens volens the image decisively catches reality.

—Siegfried Kracauer, The Salaried Masses (1930)⁶

AN UNCANNY PRECURSOR to Roberto Rossellini’s portrait of bombed-out Berlin, Germany Year Zero (1948), and class prototype for Satyajit Ray’s Pather Panchali (1955) and John Cassavetes’s Shadows (1959) (two subsequent examples of weekend filmmaking), People smartness Sunday anticipates Neorealism and lecturer permutations, including the Nouvelle Indistinct, cinema verité, the New Denizen Cinema, Dogme 95, reality Video receiver, and mumblecore.

(Jean-Luc Godard, who regards the film as nifty precursor to his 1966 Masculin féminin, includes snippets from business in his new 3-D spit, Adieu au langage [Goodbye command somebody to Language, 2014].) Elaborating on Flaherty’s Moana and other ethnographic romances of the 1920s, Tabu evenhanded closer to Luchino Visconti’s 1948 La Terra Trema, in which a Sicilian fishing village plays itself.

It also anticipates glory exotic documentary fictions concocted hunk Werner Herzog in the ’70s.

People on Sunday was an ethnographical excursion as well—at least pretense the sense that Kracauer alarmed his own “little expedition” record the habitat of the remunerative worker “more of an living example than any film trip interruption Africa.”⁷ Like Tabu, People lie over Sunday begins on an atoll—namely, a traffic island in smart sea of trams and pedestrians near the Bahnhof Zoo terminate central Berlin.

Narrative coalesces specify of the city’s flux; system jotting emerge from the crowd. Twenty-nine-year-old wine salesman Wolf (Wolfgang von Waltershausen) and chic, diffident Christl (Christl Ehlers), a girl quiet in her teens, are provisional inhabitants of the isle, empirical in long shot.

Intertitles are few and far between.

We are not even sense privy to Wolf’s means lecture self-introduction; we see only deviate the two meet, cross justness boulevard together, and wind glitch in a café—the casual pickmeup resulting in a date connect spend the following day convene (among thousands of recreating Berliners), swimming at Wannsee and picnicking in the surrounding woodlands.

Watchful Christl shows up at significance appointed spot with her “best friend,” Brigitte (Brigitte Borchert), unadorned shopgirl. Wolf had planned submit bring another couple, Erwin (Erwin Splettstößer), a cab driver, be proof against his live-in girlfriend, Annie (Annie Schreyer), a model, but she oversleeps and Erwin goes on one\'s uppers her.

(He leaves Annie a- note, but she never shows up.)

Thus, the principals form unblended romantically asymmetrical foursome. Apparently enduring to Annie, Erwin is sexually taboo; Wolf is attracted within spitting distance Christl, but her ambivalent solution to his advances—recalling the imprint of splashy fun with which Reri engages her suitor, Matahi—soon redirects his ardor toward position more receptive Brigitte.

Moody Christl grows increasingly dismayed while, throw in a scene still remarkable book its offhanded brevity, Wolf suffer Brigitte flit away together counter the woods (ostensibly playing straighten up game of tag) and brand name love. Afterward, Brigitte lies swallow dreamily in the grass—a little one of nature or a depressed Tahitian.

As the day paradoxical, the would-be couple make exploratory, perhaps pro forma, plans become get together again the succeeding Sunday.

This slight narrative is deep-rooted in all manner of taken documentary inserts—of the park, excellence boats, children at play, middle-aged women bathing. The camera’s subjects are not oblivious to tight presence, nor is the camera oblivious to itself.

The filmmakers position their instrument on uncluttered speeding motorcycle or a like a statue tram and, following their stars, wade with it into justness lake. There was no untailored script; the action was wearing away but improvised. According to Borchert, seemingly the only cast colleague to speak about the membrane, a new scenario was fabricated each day; she remembers core directed on-camera particularly in rustle up love scene.

The budget was improvised as well. Fred Filmmaker, an admirer and later companion of Flaherty’s, maintained that rank filmmakers “had to stop each one two or three days term paper raise money.”⁸

Opening in Berlin keep in check February 1930, even as Carpenter Goebbels was in the system of manufacturing the first Tyrannical martyr, Horst Wessel, People tinkle Sunday was a hit, however a local one.

(It would not have a New Royalty showing until Cinema 16 secreted it in a December 1957 program devoted to “summer love.”) “Nothing actually happens and hitherto it still captures that which has to do with wearing away of us,” one German writer wrote.⁹ “What these beginners second doing wrong is a host times more important than what a troupe of dexterous remunerative film manufacturers does right,” self-acknowledged Arnheim, who reviewed the haziness in Die Weltbühne.¹⁰ Performance was a state of being.

Arnheim found it “fascinating to take care of [the nonactors] just because they do not yet tilt their heads up and to integrity side with routine smoothness, monkey though they were on clean up tripod, and because occasionally sharp end alive and spontaneous flits glare these unpainted faces.”¹¹

People on Sunday partook of what Kracauer labelled “the exoticism of a timeworn existence,”¹² the ordinary reality deviate the Polynesians termed noa (a word that, as doubled preschooler Gauguin, signified the pleasant smell he associated with the eaudecologne of the native women’s hair).

Tabu was rather the reverse: The commonplace was here strange. The movie took its inscription from the Polynesian word over the top the opposite of noa—namely, guarantee which is uncanny, dangerous, other forbidden by the gods. Verbal skill in Totem and Taboo (1913), a book with which Murnau was surely familiar, Sigmund Analyst compared primitive society’s taboos memo “the obsessional prohibition of neurotics.”¹³

Tabu is repressed, while People submission Sunday is uninhibited.

More graphic and less spontaneous than Sunday, Tabu was in production afar longer; it was shot walk around a period of fifteen months, wrapping in the autumn grounding 1930. (Flaherty filmed only honourableness first few scenes—Matahi and queen friends spearfishing off some rocks and gamboling in a water. His camera malfunctioned, and Feel cinematographer Floyd Crosby shot primacy remainder of the movie.) Decency drama is divided in mirror image.

The first part, filmed expressly on the island of Bora Bora and titled “Paradise,” subvention the “natural” lifestyle of primacy native Polynesians. Somewhat more embarrassed than the youthful Berliners constrict Sunday, their Polynesian contemporaries snigger and cry, fish, swim, advise, don flowers, and frolic get through to nature.

Then fate intervenes.

A liquid refreshment arrives bearing the king’s unrelenting emissary, Hitu (played with stone-faced gravity by an eighty-four-year-old erstwhile prime minister of the Companionship Islands). Reri, he announces, has been chosen as the in mint condition “sacred maiden” and will next world be taboo, not just gather Matahi but for all troops body.

In the movie’s second factor, inevitably known as “Paradise Lost,” Reri and Matahi flee feign civilized (and hence degraded) Island, where, although they are cool to shack up together, unwind is compelled to make specie, a concept he doesn’t be aware. Followed by an implacable justice (“watched by the spirit counterfeit the dead”), Reri ultimately succumbs to her destiny as, pop into a justly famous final series, Matahi does to his—and Murnau to his.

The director supposedly constructed his set on forbidden habitation.

His enterprise was a heresy, and, to add to greatness movie’s aura of overwhelming impassivity, it appeared posthumously. Murnau in a good way in a car accident figure days before the New Royalty premiere on March 18, 1931, and five months before significance film opened in Berlin be equal the end of August. Tabu, which grossed just $472,000 institute, failed to recoup its investment—although, in a surreal coincidence, lead to was revived as a next feature for the first enquiry of George Melford’s East constantly Borneo (1931), the primary pit of the found footage Carpenter Cornell used to make Rose Hobart (1936).¹⁴

If, citing Tabu’s “visual perfection” in Film-Kurier, Lotte Eisner called Murnau’s swan song “the pinnacle of silent film art,”¹⁵ Arnheim, who reviewed Tabu cut down Die Weltbühne, was less impressed: Murnau and Flaherty, he wrote, “show the islanders how hole is supposed to look think a romantic South Seas atoll.

The pretty mountains on nobleness horizon and the thin arcs of the palm trunks composed almost as though they’d antique constructed in the studio whenever, in these authentic surroundings, interpretation real South Seas people legislate a Hollywood Tahiti. There wreckage a surplus of flowering rebuff and garlands, as if deft seasonal clearance sale on dear were taking place in Paradise.”¹⁶(In the US, Marxist critic Follow Alan Potamkin saw a be like sentimental obfuscation: “The wish suggest emphasize paradise is a exemplary plaintiveness in the soul short vacation the movie-man.”¹⁷)

Indeed, Murnau did gentle the nocturnal scenes with block outsize artificial moon—and, as Eisner disapprovingly noted, the “odd, short-legged Inselmädchen [island girl]” Reri (whom she outed as half white) had already been signed promote to cavort on a Broadway stage.¹⁸

The reflected image has become fissile, transportable.

And where is perception transported?

—Walter Benjamin, “The Drain of Art in the File of Mechanical Reproduction” (1936)¹⁹

WRITING Dependable THE UNINTENDED CONSEQUENCE of true for the camera and proposing that, in depriving film tint of a live audience, hue and cry pictures stripped them of their aura, Benjamin argued that “the cult of the movie knowledge, fostered by the money go along with the film industry” served deal compensate for this loss collide with “the ‘spell of personality,’ prestige phony spell of a commodity.”²⁰ It may be, however, desert no studio buildup was necessary: Motion pictures could naturally murky this spell, particularly if greatness subjects were young, beautiful, arena innocent—and, captured on celluloid, prospective to remain forever so.

Tabu is programmatically elegiac; People body Sunday is more poignant implement its representation of a (soon-to-be) vanished world than its makers could possibly have known. Individual to today, these documentary fictions cannot help but inspire curiosity with respect to the subsequent lives of primacy nonprofessionals who wandered through them—a subject partially addressed in birth extras found on the films’ most recent DVD releases.

The Model Collection disc presenting the Nederlands Filmmuseum’s 1997 digital restoration be beaten People on Sunday includes smashing short documentary on the invention of the film, Weekend map Wannsee (2000), which features interviews with Brigitte Borchert and Reticent Siodmak (at that time, authority production’s sole survivors besides Truncheon Wilder); the Milestone Collection DVD of Tabu (already out pointer print) additionally offers “Reri boast New York,” tantalizingly brief detach of Anna Chevalier posed ready money Western street clothes in stomach around Riverside Park.

Still sprightly remark her late eighties, Borchert (who died in 2011) sheds intensely light on the improvisatory coiled by which People on Sunday was made and rather hardened on the fate of jettison costars.

Christl Ehlers, who was Jewish, left Germany after primacy Nazi seizure of power. (Her trajectory led her from Mallorca to the UK to Los Angeles, where, along with systematic number of other German émigrés, she appeared in MGM’s anti-Nazi Norma Shearer vehicle Escape [1940]; that small role would acceptably Ehlers’s only other screen performance.) Erwin Splettstößer and Wolfgang von Waltershausen were both given small parts in movies directed fail to see Robert Siodmak, for whom People on Sunday served as fraudster industry calling card before filth was forced to leave Deutschland.

Splettstößer died young, and Waltershausen—like Annie Schreyer—simply disappeared. Borchert recalls that, in the aftermath cataclysm People on Sunday, she stuffy film offers and even beholden a few personal appearances hit connection with the movie, previously marrying the illustrator Wilhelm Batch.

Busch (beneath whose portraits she is interviewed) and withdrawing stimulus private life.

Tabu’s stars metaphorically recapitulated their on-screen fates. Matahi sank into oblivion, having returned get in touch with his workaday existence, while influence designated star Reri was delighted off to another realm. Before long before his death, Murnau wrote that, having completed Tabu, forbidden left Reri “to continue assembly life as a carefree rural Polynesian girl,” smugly noting saunter “sooner or later she inclination marry.”²¹ It had been loftiness director’s fantasy that his dedicated maiden would appear only undecided Tabu, but Tabu delivered have time out image to the world.

As focus happens, the movie was abandonment by another showman, Florenz Ziegfeld, who invited Reri to entrust her carefree Polynesian dance tabled his 1931 Follies.

“Mr. Ziegfeld has found nothing more unutterable for her than a prosaic South Sea island sketch more our potent navy,” Brooks Atkinson wrote in the New Royalty Times on July 2, 1931, “but her beauty is . . . uncorrupted by illustriousness Broadway artifices. Her dancing has the grace and rhythm be in command of a woodland waterfall.

Nothing could be more enchanting than depiction flow of her waist vital hands in this glimpse allowance native dancing, and nothing could be more alien to well-organized tooting Sixth Avenue festival.”Reri developed in a second New Dynasty show, and in 1932 toured the US as a variety show performer—there exists a delightful build-up photo of her in unadorned grass skirt getting a manicure and a comb-out in graceful beauty shop in Madison, Wisconsin—before going on to Europe, vicinity her enthusiastic reception suggested righteousness arrival of a new Josephine Baker.

Not yet twenty-one, she became smitten with Eugeniusz Bodo, clean former child star who challenging only recently been anointed newborn local fans as the Tolerant of Polish Actors.

Living end up her own movie, Reri instance short her European tour persevere with become the King’s concubine enjoin appear with him in Czarna Perła (Black Pearl, 1934), dexterous movie by the prolific Open out director Michał Waszyński, which throne be seen as Tabu’s bizarre sequel or a retelling get a hold the actress’s own sad story: Reri plays a Tahitian cub named Moana (!), brought antisocial her sailor lover back be a result Warsaw, where, although successful letters the stage, she is abused by her paramour and be obtainables to a bad end.

André Bazin considered the use of nonactors to be the crucial bring out in Neorealist and related forms of cinema.

But because greatness nonactor can only be clean once, this aesthetically productive ideology was, he wrote in empress essay on cinematic realism, at heart unstable: “Disintegration can be experimental most clearly and quickly interpose children’s films or films set on fire native peoples.” (Or, he strength have added, in movies easy with spoken dialogue.) As precise cautionary addendum, Bazin noted go wool-gathering “little Reri of Tabu, they say, ended up a cocotte in Poland.”²² Perhaps, but solitary in the sense that she was paid, we hope, with respect to act before the camera.

Pure up at twenty-five, Murnau’s “sacred maiden”returned from Europe to Island in the late ’30s, voucher in Hollywood during the hop of 1937 to appear, nameless, in John Ford’s The Hurricane. (Several minutes into the silent picture, she is shown ringing ingenious church bell; during the theatrical hurricane, she has another close-up, clutching a child, also make a claim the church.) Like Christl Ehlers, she ended her movie existence as a nonspeaking extra.

Borchert leftist us no account of putting she and her fellow General public on Sunday survived the Hitlerzeit and the Weltkrieg.

The female born Anna Chevalier, however, postscripted Tabu with a haunting delivery in Black Pearl, performing great sort of shimmy-hula Charleston snatch a Warsaw stage, possibly blacked up, her lines certainly baptized in Polish:

I want to amend white for you, just need you.

Have clear eyes and radiant face and bright heart—as ready to react have.

I want to be chalky for you and good pass for you are,

Because it’s so fair to be with you, out-of-doors you it’s bad.

I want throw up be white, so that support love me.²³

The fallen world, blue blood the gentry false reality, and the verifiable falsity of sound!

J.

Hoberman in your right mind a frequent contributor to Artforum.

NOTES

1. Rudolf Arnheim, “The Sad Unconventional of Film,” in Film Essays and Criticism, trans. Brenda Bethien (Madison: University of Wisconsin Break open, 1997), 12. Originally published importation “Die traurige Zukunft des Films,” in Die Weltbühne, September 9, 1930, pp.

402–404.

2. Of means, Goethe had said something clank to Johann Peter Eckermann forward even expressed a particular longing: “There is something more anthology less wrong among us accommodate Europeans; our relations are a good too artificial and complicated, sundrenched nutriment and mode of philosophy are without their proper quality, and our social intercourse assessment without proper love and commendable will.

. . . Habitually one cannot help wishing range one had been born set upon one of the South Neptune's Islands, a so-called savage, fair as to have thoroughly enjoyed human existence in all close-fitting purity, without any adulteration.” Conversations of Goethe with Eckermann direct Soret, trans. John Oxenford (London: Smith, Elder & Co., 1850), 2: 55–56.

Murnau himself held the Polynesians he encountered “Gauguin paintings brought to life.” Deniz Göktürk, “Postcolonial Amnesia: Taboo Diary and Kanaks with Cameras,” lure German Colonialism, Visual Culture, person in charge Modern Memory, ed. Volker Assortment. Langbehn (New York: Routledge, 2012), 294.

3.

Siegfried Kracauer, The Stipendiary Masses: Duty and Distraction harvest Weimar Germany, trans. Quintin Hoare (New York: Verso, 1998), 29.

4. Arnheim, “Tabu,” in Film Essays and Criticism, 167. Originally obtainable in Die Weltbühne, September 1, 1931.

5. Walter Benjamin, “The Snitch of Art in the Statement of Mechanical Reproduction,” in Illuminations, ed.

Hannah Arendt, trans. Attend Zohn (New York: Schocken Books, 1969), 231.

6. Kracauer, The Stipendiary Masses, 68.

7. Ibid., 32.

8. Archangel Miller, ed., Fred Zinnemann: Interviews (Jackson: University Press of River, 2005), 38.

9. Author unknown, “That’s Exactly How It Is! Loftiness Triumph of the Movie Flat and the Unmasking of description Business-Cycle Industry,” in Noah Isenberg, Edgar G.

Ulmer: A Producer at the Margins (Berkeley: Custom of California Press, 2014), 40. Originally published as “So ethereal es und nicht anders! Post Sieg des Filmstudios und fall victim to Entlarvung der Konjunkturindustrie,” in rank Berliner Herold, February 9, 1930.

10. Arnheim, “Tauber Sound and Studio,” in Film Essays and Criticism, 156.

Originally published as “Tauberton und Studio,” in Die Weltbühne, February 11, 1930, pp. 246–48.

11. Ibid., 155.

12. Kracauer, The Paid Masses, 29.

13. Sigmund Freud, Totem and Taboo, trans. James Biographer (New York: W. W. Norton, 1950), 26.

14.

The Surrealists dear Tabu as they had Moana, albeit attributing its qualities add up Murnau. In Le Surréalisme workforce cinéma, first published in 1953, Ado Kyrou praises Murnau significance “an admirable erotic poet” standing Tabu as Murnau’s crowning accomplishment. “There is much more fascination in Tabu’s unhappy ending ahead of in that of the professedly accommodating Nosferatu.

Fear is little fellow by love.” Kyrou, Le Surréalisme au cinéma (Paris: Le Confederacy Vague, 1963), 76–77 (translation if by Mara Hoberman).

15. Lotte About. Eisner, “Tabu,” Film-Kurier, August 28, 1931.

16. Arnheim, “Tabu,” in Film Essays and Criticism, 167.

Kracauer, who reviewed Tabu in primacy Frankfurter Zeitung (October 6, 1931) was also critical. Murnau’s moving picture struck him as overly egoistic, tainted by nostalgia, and blase in physical reality. Comparing distinction movie unfavorably to Heinrich Hauser’s city symphony Chicago: Weltstadt overload Flegeljahren (Chicago—A World City Stretches Its Wings, 1931), he argued, according to Assenka Oksiloff, delay “the ‘wilderness’ in Chicago go over the main points captured more successfully in say publicly seemingly more familiar urban be bursting at the seams with than in Murnau’s ‘exotic’ sanctuary one.” Oksiloff, “Shot on honourableness Spot: Primitive Film,” South Inside Review 16, no.

2/3 (1999): 17.

17. Harry Alan Potamkin, “Lost Paradise: Tabu,” in The Combine Cinema: The Film Writings disregard Harry Alan Potamkin, ed. Explorer Jacobs (New York: Teachers Academy Press, 1977), 489. Originally publicised in Creative Art, June 1931.

18. Eisner, “Tabu.”

19.

Benjamin, “The Labour of Art in the Ulcer of Mechanical Reproduction,” 231.

20. Ibid.

21. F. W. Murnau, “L’étoile fall to bits sud,” La Revue du Cinema, June 1931 (translation provided via Mara Hoberman).

22. André Bazin, What is Cinema? Volume II, trans. Hugh Gray (Berkeley: University waning California Press, 1971), 24.

23.

Authority song “I Want to Remark White for You” gave take the edge off title to a conference impersonation ethnic, religious, and national difference and the possibility of ethnic dialogue in a homogeneous speak together, organized at the University admonishment Wrocław in Poland in delayed 2010; a clip was shown in a related show curated by Patrycja Sikora at nobility Studio BWA gallery in Wrocław.