From the Fall of Russian Monarchy and rise of the Communist party. To control of East Berlin
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East Germany was controlled by the secret police (Stasi), they were incredibly brutal while monitoring the country for suspicious activity. In the film “Lives of Others” (Von Donnersmarck, 2006) the audience sees Stasi agent Wiesler, spy on playwright Georg Dreyman. Upon release this was controversial as the director attempted to portray the Stasi as the heroes especially Wiesler who saves Dreyman in the scene where Wiesler removes the typewriter before Grubitz arrives. The Lives of Others was controversial due to issues with ex-Stasi defending reputations. The Director was refused permission to film in state prison due to comparing Wiesler with Schindler "But that is exactly the difference. There was a Schindler. There was no Wiesler. “(Knabe in Fundler), the Stasi had no room for heroes or decencies. In conclusion The Lives of Others was controversial for its narrative, nevertheless a necessity as a work of fiction. Reference:
Czechoslovakian cinema had a similar pattern as Europe: silent film, actualities, and comedies. While forming a relationship with German film (Liehm. 1974), it was given cultural support for film early on with Barrandov studios, when sound came in unlike other European cinema who saw issues Czechoslovakian cinema continued on as it was built for national cinema. After World War 2 and becoming part of the Soviet Union, there was a change in how cultural products were created and exhibited in Czechoslovakia. Animators were aware of Disney’s influence on Russian cartoons, Russia believed it was education for the youth. Later animators such as Svankmajer (artist of surrealist movement) known within the European cinema world for Stylistic Changes between films. He was influenced by political changes, Svankmajer’s work is very political but it is expressed in such a way with puppetry that the meaning was symbolic. After the fall of the Soviet Union, films like Little Otik (Svankmajer, 2000) were based on traditional Czech fairy-tale questioning consumerism and capitalism, Little Otik frames these superabundant desires and appetites through a surfeit of ritualised meals and acts of ingestion in which babies themselves become both relentless consumers and objects of consumption, as seen in the scene where the hair is eaten. In conclusion Svankmajer work is political in his films but expressed in a non-political way. Overall Svankmajer work can be argued as political. references:
During the 20th century monarchy ruled Russia, were fighting a rising revolution. At the time of the 2nd revolution (1918), “cinema was the most important of all arts” (Attrib. to Lenin). He used film as an easy way to screen his message over huge geographical space (Agit Trains/boats) for Lenin to get his message across to the poor illiterate farmers as they would understand the images more rather than written propaganda. Films like Battleship Potemkin by Eisenstein, created by Lenin new educational system, was used to inform viewers about the revolution of sailors and the monarchy slaughtered innocents “Soviet directors were hardly revolutionary. As seen in the famous steps scene where woman and children wave to they're loved ones until members of the Russian military march and attack the innocents causing mass panic. They accepted with seeming enthusiasm the values of the state and were content to propagate such values.”(Kenez: 1992: 51). Art needs to be moulded before it starts a revolution. References: Eisenstein, S. (Director). (1925). Battleship Potemkin [Motion picture]. Russia: Goskino Kenez, P (1992) Cinema and Soviet Society 1917-1953. Cambridge: University of Cambridge Press Liehm, M and Liehm, A (1977) The Most Important Art: Eastern European Film After 1945. Berkeley: University of California Press |
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