Cinema and the State: The USSR, Germany, and Italy (1930-1945) m-15

Cinema and the State: The USSR, Germany, and Italy (1930-1945)

TERMS/PEOPLE

 

Adolf Hitler In 1933, the Fascistic Nationalsozialistische Deutsche Arbeiterpartei (“National Socialist German Workers’ Party,” known as the Nazis) gained parliamentary control, and Adolf Hitler became chancellor. The Nazis became the only legal political party, and Hitler ruled as a dictator.

Benito Mussolini : Mussolini (Italian: [beˈniːto mussoˈliːni];[1] 29 July 1883 – 28 April 1945) was an Italian politician and journalist who founded and led the National Fascist Party. He was Prime Minister of Italy from the Fascist coup d'état in 1922 until his deposition in 1943, and Duce ("Leader") of Italian Fascism from the establishment of the Italian Fasces of Combat in 1919 until his execution in 1945 during the Italian Civil War. As dictator of Italy and founder of the fascist movement, Mussolini inspired other far right rulers such as Adolf Hitler, Francisco Franco, and António de Oliveira Salazar

Cinema of Distraction

Cinecittà

Genre (Socialist Realism, Italy, Germany) Chapayev furnished a hero for audiences to admire

Josef Goebbels Dr. Josef Goebbels, who controlled the arts in the Nazi regime. Goebbels watched films every day and socialized with filmmakers. In 1934, he gained control of censorship, and until the end of the war he personally examined every feature film, short, and newsreel that was released. Despite his hatred of Communism, Goebbels admired Eisenstein’s Potemkin for its powerful propaganda, and he hoped to create an equally vivid cinema expressing Nazi ideas.

 

Joseph Stalin From 1928, Joseph Stalin ruled the USSR as an absolute dictator, and harsh repression enforced government policy. The secret police ferreted out dissent in all walks of life. To consolidate his power, Stalin purged those seen as disloyal to the state. Many thousands were imprisoned, exiled, or executed. This reign of terror peaked in 1936–1938 with “show trials” in which party leaders made scripted confessions of their participation in “counterrevolutionary” activities.

Socialist Realism (Doctrine)

The central tenet of Socialist Realism was partiinost’—roughly, “party-mindedness.” That is, artists had to propagate the Communist party’s policies and ideology. The models for this were the European realist novelists of the nineteenth century. Authors like Honoré de Balzac and Stendhal had criticized bourgeois society. Of course, Soviet authors were not supposed to be critical of socialist society. Unlike critical realism, Socialist Realism was based on a second tenet: narodnost’. This term (roughly, “people-centeredness”) means that artists should depict the life of ordinary people in a sympathetic way.

 

 

FILMS

Happiness (Alexander Medvedkin, 1934) – horse/spots on roof, wife on harness

Chapayev (Sergei Vasiliev and Georgy Vasiliev, 1934) pt 1 Chapayev on tank chasing enemy pt 2 potato scene showing many how to do war

We from Kronstadt (Yefim Dzigan, 1936) men fighting in trenches, steamships, last drop of blood

Baltic Deputy (1937, Alexander Zarkhi) professor teaches sailors give him lunch

Alexander Nevsky (Sergei Eisenstein, 1938) soldiers crazy helmets. Russians tied. evil germans

Shchors (Alexander Dovzhenko, 1939) daisies wheatfield war horses running grenade

Suvorov (Vsevolod Pudovkin, 1941) white hair guy with necktie cross. Full long coasts hats

My Universities (Mark Donskoy, 1940) baby birth ocean crashing waves

Lone White Sail (Vladimir Legoshin, 1937) man in white house chases Potemkin guy cruise ship

Bezhin Meadow (Sergei Eisenstein, 1937) kid on tower gets shot down well lit faces old man

Jolly Fellows (Grigori Alexandrov, 1934) flute player wakes up animals invade mansion

Tractor Drivers (Ivan Pyriev, 1939) – boy delivering mail

The Girl from Leningrad (Viktor Eisymont, 1941) SUBTITLES UNAVAILABLE
girl wakes up in blanket many women go to red cross to work phones

The Rainbow (Mark Donskoy, 1944) woman baby in blanket shot. hanging people  full coats shots

Ivan the Terrible (Sergei Eisenstein, 1944) long nose bead chess board

Hans Westmar (Franz Wenzler, 1933) comrade for hitler in living room stairs shot

Hitlerjunge Quex (Hans Steinhoff, 1933) hospital uniform heil hitler

Triumph of the Will (Leni Riefenstahl, 1935) huge eagle million in rows 3 walk up salute something swaz marching in stadium outside street with shovels and flags

Olympia (Leni Riefenstahl, 1938) crowds and swimmers

Jud Süss (Veit Harlan, 1940) that’s a jew button coat fluffy hair, pencil moustache man with pearls, kind of king, money on table ballet dancers

Zu Neuen Ufern (Douglas Sirk, 1937) Cabaret singer, women dressed up, star on chest, fan, spectacle

Der Kaiser von Kalifornien (Luis Trenker, 1936) smoking peace pipe Indians horse thieves horses land

Jugend (Veit Harlan, 1938) SUBTITLES UNAVAILABLE woman and priest maid man in carriage

Scipione l’ Africano (Carmine Gallone, 1937) fight on field elephants trumpets

Lo Squadrone Bianco (Augusto Genina, 1936) cross men on camels

La Signora di Tutti (Max Ophüls, 1934) starlet dies presses stop

Il Signor Max (Mario Camerini, 1937) max train blonde – pretends to be two people

Campo de’ Fiori (Mario Bonnard, 1943)  flowers small town bazaar fish oranges barber

1860 (Alessandro Blasetti, 1934) bugle boy – men running italian flag wavinf

The Iron Crown (Alessandro Blasetti, 1941) battleground. horn war stops king shot new king

La Nave Bianca (Roberto Rossellini, 1941) montage like shipbattle scenes

Four Steps in the Clouds (Alessandro Blasetti, 1942) salesmen on trains pretty woman sa

The Children Are Watching Us (Vittorio De Sica, 1943) dad and boy give mom gift on mday

Ossessione (Luchino Visconti, 1943) Clara Calamai and Massimo Girotti Giovanna Gino Anita Giusepe