Archive for April, 2012

Cinematographic Conceptions

Introduction I come by means of this small summary to before argue the different contained cinematographic conceptions in the films of the belligerent powers (U.S.A., the Ussr, Germany and France) and during World War II. To argue this subject I used as bibliography the workmanship of the author Marc Ferro ' ' History of World War II ' '. This workmanship in such a way approaches the nations belligerent before as during the war and, has as objective to study eleven questions, amongst them the propaganda of the two sides of the war, the situation of France and its ' ' game duplo' ' led for Ptain and Laval, the pact full brother-Soviet, Pearl Harbor, the colonized extermnio of the Jews, resistance, peoples, the fascism and nazism among others studies. But for accomplishment of this small summary I will use only the first chapter of the workmanship of Marc Ferro ' ' The entrance in War: Public spirit and cinema' ' that it previously analyzes some cinematographic productions produced by the involved powers in the conflict cited, before and during the war, to understand as the public opinion psychologically prepared its population for this possible conflict. Better to understand this reading, I will divide the summary in three parts: annual report of the powers in war, the four belligerent nations (U.S.A., the Ussr, Germany and France), and its cinematographic productions and the final consideraes, analyzing them critically.

Annual report At the beginning of the text, the author makes a instigante question ' ' How the public opinion of the future belligerent countries entered in the war? ' '. Leaving of this question, Marc Ferro, it analyzes as the countries demonstrate for its people the future situation of its country case a war came to happen. It says that countries as France had entered in the war ' ' recuando' ' , not with ' ' a flower in fuzil' ' as in 1914 e, together with England with one politics ' ' pacfica' ' , they turn the ambitions Hitler to increase each time more, where the nazistas had not found intervention none, since the remilitarizao of the Rennia, the annexation of Austria and Tchecoslovquia, until the o support of the government of Francisco Franco against I legitimize republican government to it.

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Bill

April 22nd

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Historical Cinema

Alcemar Oliveira Since its sprouting, the cinema reflects the moment social where it is produced. The first productions already brought notes of dither or dissatisfaction with the status quo, guarded or not, translating the perception of the producer who, such which the teacher with its baton, leads the accomplishment of the workmanship using its sensitivity and ideology. The society, complex that is, it supplies to the substance cousin cineasta, and this, in turn, transforms the social fact into a cinematographic workmanship. E, in the ample excellently social conception in fact, has of if including, the politician and the description, among others. History walks side by side with the cinema, and it folloies it to this as revealing form of the convulsions politics of a nation.

The context politician is presented in the cinema having obeyed or not it effective government: acting as propaganda politics, as the production of Leni Riefenstahl for the nazista regimen and of Carlos Borcosque, whom if it submitted to the Peronist orientation of the decade of 1950 in Argentina. In the inverse hand of the cinema as propagandistic agent of the regimen, it is a cinema ' ' marginal' ' , that one produced without support of the State, or on people it, or that they share of the same interests, ideological or not. As well as the conflict it is for the international politics, the insatisfao politics that if manifest in the society is for the said cinema ' ' marginal' '. the cinema before kept out of society if becomes one ' ' cinema poltico' ' , in antagonism to the state propaganda, more worried in propagating mazelas official. Century XX, the century of the cinema, was also a period of movements extremely authoritarian politics and that they had made of cineastas agents in charge internationally portraying and publishing the exercise of the State of exception.

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Bill

April 17th

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April 2012
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