By Miriam Bratu Hansen
Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno--affiliated via friendship, expert ties, and argument--developed an astute philosophical critique of modernity during which technological media performed a key function. This publication explores intensive their reflections on cinema and images from the Weimar interval as much as the Nineteen Sixties. Miriam Bratu Hansen brings to existence a powerful archive of recognized and, on the subject of Kracauer, much less recognized fabrics and divulges remarkable views on canonic texts, together with Benjamin's art essay. Her lucid research extrapolates from those writings the contours of a thought of cinema and adventure that speaks to questions being posed anew as relocating snapshot tradition evolves according to electronic know-how.
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Extra resources for Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno (Weimar and Now: German Cultural Criticism)
You’re the leader, but you’re not alone. The other artists are there to contribute as well. Use them. ” 22. No actor likes a lazy director, or an ignorant one. You should certainly know the meaning (and the pronunciation) of every word, every reference, every foreign phrase. 23. Assume that everyone is in a permanent state of catatonic terror. This will help you approach the impossible state of infinite patience and benevolence that actors and others expect from you. 24. Lighten up. Nobody dies if things go wrong; millions of dollars are not lost (you should be so lucky to have the chance).
Rather than doing what’s necessary to get it or earn it. See 67. ) While it may not be possible to know everything about the actors with whom you are working, discovering their individual behavioural hints can be a valuable diagnostic indicator of when your intervention is needed to clarify the character’s situation. (See 66.
Don’t be grim. enjoyable. So should you. 52. If you choose to allow outsiders to see a late rehearsal... ask them specifics afterwards: a. What weren’t you able to hear? b. What weren’t you able to understand? c. What didn’t hold your interest? d. How did you feel about it twenty-four hours later? 31 Notes on Directing_interior 032508 6/4/08 3:59 PM Page 32 Notes on Directing_interior 032508 6/4/08 3:59 PM Page 33 vi Building Blocks 53. Every scene is a chase scene. Character A wants something from Character B who doesn’t want to give it.