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By Tim Bergfelder, Visit Amazon's Sue Harris Page, search results, Learn about Author Central, Sue Harris, , Sarah Street

Ecu cinema among global Wars I and II was once well known for its striking recognition to element and visible results in set layout. Visionary designers comparable to Vincent Korda and Alfred Junge prolonged their effect throughout nationwide movie industries in Paris, London, and Berlin, reworking the studio process into considered one of permeable inventive groups. For the 1st time, movie structure and the Transnational mind's eye offers a comparative research of eu movie set layout within the overdue Twenties and 1930s.  in line with a wealth of drawings, movie stills, and archival files from the interval, this quantity illuminates the rising value of transnational creative collaboration in mild of advancements in Britain, France, and Germany.  A accomplished research of the practices, kinds, and serve as of interwar cinematic construction layout, movie structure and the Transnational mind's eye deals new perception into the period’s amazing achievements and impact on next generations.

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Additional info for Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam University Press - Film Culture in Transition)

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46 Film Architecture and the Transnational Imagination Approaches to Set Design in Weimar Film: Painting versus Architecture In order to more accurately locate Herlth’s position, one needs to sidestep the differences between American and German modes of set design for a moment, and enter into a parallel if somewhat connected debate that was taking place domestically among practitioners in Germany during the s, and which concerned the distinction between ‘painterly’ versus ‘architectural’ approaches to set design.

In addition to the various glasshouse set-ups scattered across Berlin and its suburbs, were a range of outdoor sites, where famously monumental fantasy cities were built. Among these were the former sand quarries called ‘Rauhe Berge’ in the suburb of Steglitz, where Ernst Stern, Kurt Richter, and Ernö Metzner recreated ancient Egypt for Lubitsch’s Das Weib des Pharao (The Loves of Pharaoh, ).  Other outdoor locations included those in the suburb of Woltersdorf, where the team comprising Otto Hunte, Karl Vollbrecht, and Erich Kettelhut constructed the exotic cities for Joe May’s spectacles Die Herrin der 42 Film Architecture and the Transnational Imagination Welt (Mistress of the World, ) and Das indische Grabmal (The Indian Tomb, ).

The difference between the two styles is evident not simply when one compares the sets designed by the two respective factions, it can also be detected in extant sketches. Two contrasting images for Joe May’s Asphalt give an indication of the respective approaches.  In an extant crayon sketch drawn by Herlth, the emphasis is less on artistic precision and detail (indeed the execution of the sketch is fairly rough), but on conveying the impression of speed, mobility, and the anonymity of the metropolis.

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