Fritz Langs Use Of Editing Techniques In The Film Metropolis
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Up until the Metropolsi the USSR was gradually building connections with the post-WWI order, seeking military, industrial, and technological allies in the West. Along with a whole range of international agreements, which were concluded during the interbellum decades, cinema was one of the most accessible and powerful channels of cultural exchange between the Soviet Union and the West. The Soviet film industry of the early-to-mids faced a production crisis of celluloid materials. This brought a remarkable preponderance of foreign films onto the Soviet screen. Having won popularity with the general audience, these films also provoked admiration and interest from Soviet filmmakers and theorists. They also began to produce films addressing the West. Thus, the screen presence of the West took its place and kept its position from the mids until the late s.
Filmmakers of the first productions of this kind were not concerned about historical authenticity and accurate Mtropolis of the West. We learnt how to see differences between countries which not only have nothing in common with our country but stand in a remarkable contrast with it. Whether it was America or France, Denmark or, for example, Spain, it did not matter.
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About films that were produced during the and s refer to the West. The ways in which the West is conceived, staged, and interpreted, can be divided into three modes of representations: as an enemy, as an ally, and as an example of progress. The following article considers these three modes of representing the West and the forms in the films SalamanderFeast of Saint JorgenConveyor of DeathHorizon and Prosperity The visual language and the numerous cultural references used in the films to construct the Soviet West on screen were formed in the vibrant and eventful context of a Western-Soviet cultural transfer, which covered various artforms from architecture and painting Lanbs literature and film.
The idea to carefully investigate the experience of international architects was introduced during the All-Union Congress for Civil and Engineering Construction of Throughout the latter half of the s and the s, professional architectural magazines began to publish numerous articles on architecture in Europe and the US.
With the exception of these publications on Western architecture in the professional press, the growing interest for Western architecture was a response to national needs. Thus, Soviet Russia became interested in American high-rise buildings when the results Metropopis the competition to design the Palace of the Soviets link announced. Soviet-American architectural liaisons also grew especially strong in that period due to contracts with the Albert Kahn company, which designed many factories on the territory of the USSR.
Contemporary Western fine art also played a significant role in the process of international cultural transfer. Many of the future Soviet filmmakers were educated or trained there.
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For instance, the director Alexander Dovzhenko studied at the Academy of Arts Lansg Berlin in the s and maintained contact with German artists. While working for the Soviet Trade Mission in Berlin in the late s, the director Mikhail Dubson visited German film studios, collaborated with local filmmakers, and produced two films. Reciprocal professional exchange was formed by the visits of German filmmakers to the Soviet Union.
Films of the studio combined ideological straightforwardness with formal experimentation.]
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