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首页> 外文学位 >FILM CULTURE AND 'KULTURFILM': WALTER RUTTMANN, THE AVANT-GARDE FILM, AND THE 'KULTURFILM' IN WEIMAR GERMANY AND THE THIRD REICH.
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FILM CULTURE AND 'KULTURFILM': WALTER RUTTMANN, THE AVANT-GARDE FILM, AND THE 'KULTURFILM' IN WEIMAR GERMANY AND THE THIRD REICH.

机译：电影文化和“文化电影”：瓦尔特·鲁特曼，AVANT-GARDE电影以及魏玛德国和第三帝国的“文化电影”。

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摘要

Arguing that National Socialism cannot be separated from the trajectory of modern culture, this work begins with a discussion of the visual nature of twentieth century culture, among whose first manifestations were the preference of the lower classes for the film and the subsequent, mediately related emergence of a cinematic avant-garde. Bifurcated for decades, these two components of twentieth century culture were united within the context of National Socialism, whose public sphere, predicated on the estheticization of reality, overcame the antimony between an isolated avant-garde obsessed with dynamism and motion and the visual proclivities of the mass public.; This work also investigates the history of the Kulturfilm, delineates the importance this genre assumed as the purveyor of the estheticized politics constitutive of National Socialism and as the venue for the perpetuation of artistic impulses proscribed elsewhere during the Third Reich, and illuminates the correlation between National Socialism and the avant-garde through an analysis of the career of Walter Ruttmann. Beginning as an avant-garde film-maker, Ruttmann completed the transition from the abstract animated film to the documentary within the context of the Neue Sachlichkeit. Eschewing emigration, Ruttmann consummated his career after 1933, when he made a number of highly imaginative Kulturfilm, which bore the marks of the esthetics of the Weimar era and were also congruent with the modernizing, technologically oriented moments of Nazi ideology. Ultimately drawing sustenance from what came to be regarded as the unequalled repository of kinetic visual stimuli, war, and increasingly infused with other components of Nazi ideology, Ruttmann's films eventually became cinematic threnodies to the beauty and power of the Nazi war machine.; Underlining important continuities between the culture of the Weimar era and that of its Nazi successor, the career of Walter Ruttmann and, concomitantly, the crucial importance of the Kulturfilm illuminate the extent to which National Socialism was not an aberration but a fulfillment, however depraved, of tendencies immanent in modern culture.
机译：主张民族社会主义不能脱离现代文化的轨迹，这项工作从对二十世纪文化的视觉本质的讨论开始，其中的最初表现是低下阶层对电影的偏爱以及随后与媒介相关的出现电影般的前卫。分裂了几十年，二十世纪文化的这两个组成部分在国家社会主义的背景下统一起来。国家社会主义的公共领域立足于现实的审美化，克服了沉迷于动力和运动的孤立前卫与视觉上的倾向之间的锑。大众。这项工作还调查了文化电影的历史，描述了这种流派作为国家社会主义美学政治构成的提供者以及在第三帝国期间永久禁止在其他地方进行艺术冲动的场所的重要性，并阐明了这种流派的重要性。通过对沃尔特·鲁特曼的职业进行分析，得出社会主义与前卫。作为一名前卫电影制片人，鲁特曼在Neue Sachlichkeit的背景下完成了从抽象动画电影到纪录片的过渡。避开移民，Ruttmann在1933年以后完成了他的职业生涯，当时他制作了许多极富想象力的Kulturfilm，这些影片具有魏玛时代美学的印记，并且与纳粹意识形态的现代化，技术导向相吻合。最终，鲁特曼的电影从后来被认为是无与伦比的动感视觉刺激，战争和越来越多的纳粹意识形态成分中得到支撑，最终电影成为了纳粹战争机器之美和力量的电影狂想曲。强调了魏玛时代及其纳粹后继者文化，沃尔特·鲁特曼的职业之间的重要连续性，以及随之而来的文化电影的至关重要性，阐明了国家社会主义在多大程度上不是一种畸变而是一种满足感，无论多么堕落，现代文化中固有的倾向

著录项

  • 作者

    FULKS, BARRY ALAN.;

  • 作者单位

    The University of Wisconsin - Madison.;

  • 授予单位 The University of Wisconsin - Madison.;
  • 学科 History European.; Cinema.
  • 学位 Ph.D.
  • 年度 1982
  • 页码 320 p.
  • 总页数 320
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 欧洲史;电影、电视艺术;
  • 关键词

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