Can Nazi art be considered great art although we know their message is against humanity? With much of my referencing from Ben Shahn’s book, The Shape of Content, I will examine these questions in an attempt to show that great art like anything labelled great must first accomplish certain goals which include excellence and impact of content and form. Although it is nearly great, its content and history cripple the art, demoting it to a great technical film and as an example of flawed talent. Triumph of the Will, though eloquent and innovative, fails to attain the status of great art because of the inseparable nature of content, form, and artist. Although many artists wish for their works to been seen and judged as an independent entity from themselves, the audience has a tendency to relate the work of art in context to such things as a work’s historical background, its
Fritz Lang’s 1931 M is a cinematic thriller of a psychotic child murderer. Internationally known for its advanced technological accomplishments: creative use of sound, crosscutting editing, and graphic compositions to propel the narrative. Because of this innovation M will appeal to several generations. However, for my purposes, M is most intriguing as not only a reflection of the psychological disorder of a man, but also the disorder of German Expressionist film in the early thirties. Consciously made this way or not, scene analysis provides evidential support that M seems to mirror the rise of fascism in Germany, but in that reflection may be attempting to expose the M to the German audience responsible.
The enlightenment seemed to disregard emotion- which is central to human life, and theatrical romanticism elevated folk art, language and emotion because emotion runs stronger and deeper than the intellect or will of a human being. Woyzeck Emphasis on Natural expression of emotion, imagination, and the individual consciousness was seen as an intellectual analysis of human personality through the processes of observation and logic. Woyzeck is an archetypal play of romanticism's reaction against the fact that purposes and values could be scientifically determined. Buchner used theatrical observation, where the examination of the Woyzeck’s perception of reality is focused on in terms of effects created by the Dr’s experimentations as a means to knowing something because it is scientifically proven. The Dr.’s observation and hypothesis lead the study not to focus on the cause of Woyzeck’s symptoms- like traditional scientific approaches- but on the cause(s) of them due to his altered
We see in addition to this that meaning is not only lost but changed, such as how we view the characters and the impact of their actions due to the variations in the Prologue. Through the loss of informative signs, and overstressed allegories between characters – rather than circumstances – the focal point of the play is also transformed. This results in the film focusing more on Hitler himself, rather than his rise and thus changes the meaning of the play. Technology does however enable Gold to emphasis certain Brechtian tactics in ways the theatre could never have done, adding to and appropriately emphasising this meaning. Brecht consistently uses comedy throughout his play to make a darker point.
Due to this, Brecht created the concept of epic theatre, where the individual character is less laborious than a social or political message embellish forth by the author. The invention of the concept of epic theatre was revolutionary, as most theatres made use of the theme of naturalism, which was conventional, and the norm. I learned that Ibsen believed that naturalism was a slavish imitation of life, and he sought to liberate modern theatre from this kind of concept by using the concept of detachment; he prostrate as though the reference would not truly apprehend name the message he was trying to convey through the vamp if they did not feel as though they were free from it. I learned that the detachment effect is known as the craziness effect, or as the V-effect, and that it is used primarily to distance the reference from emotion so, that they do not lose themselves in the character that the author created, and instead become conscious and isolated critics of the go who are not swayed by the characters emotions. Mother Courage’s character in his play Mother Courage and her Children makes use of the
Oskar Werner is wonderful in the lead. But Truffaut made the mistake of putting Julie Christie in two roles in the same film, which was very confusing, and he eliminated some of the other characters: Clarisse McClellan and Faber the Philosopher and the Mechanical Hound. I mean, you can’t do without those!” Other than the characters in the story, including the score and alternate ending of the film, the movie was superlative. The characters in the story have precise roles and by leaving them out/altering them from the movie hinders the characterization and the originality of Bradbury’s novel. The major alterations in Truffaut’s film deals with the characters and their significance to the novel and movie.
Is Theodor Adorno right about popular music? How are his views challenged by Adam Krims’s ‘Marxist analysis without Adorno.’ Make reffernce to examples from popular music to illustrate your argument. Introduction Theodor Adorno was a German born sociologist, philosopher and musicologist who is well known for his critical theories of society. Born in 1903 Adorno lived until August 6, 1969. In 1941 Adorno wrote The Musical Material, one of Adorno’s early essays on popular music.
The moral of the movie for me, is that you should trust your instincts: Höfgen knew the Nazi’s were no good, but he got involved with them anyway and in the end, it didn’t work out well for him. I think this is also the moral message that this movie wants to bring across. That and, stick to what you know. Höfgen was a great actor, but he shouldn’t have tried to interfere with politics as well, that only caused trouble for him. The film is provocative culturally or politically, it forces you to judge the situation and make decisions for yourself, it shows a bad side of the Nazi’s, but it is way too late to do anything about them.
Furthermore, his ability to combine what he learned in his self-analysis with the Oedipus legend and Shakespeare’s Hamlet helped to form the core of his psychoanalyses (Bergmann 535). He also effectively established ethos and used elevated diction to strengthen his claim. On the other hand, his limited use of scientific studies and gender popularity weakened his explanation. Freud’s decision to use two significant pieces of western literature in his explanation of the Oedipus Complex, helped him to define his theory to others. The allusions he made with Oedipus Rex and Hamlet introduced variety into an otherwise limited discussion.
There is the use of subjectivity of dramatic persona. However, the poet doesn’t personalize himself ,he wears a mask of a dramatic character and that’s what can be called depersonalization. It is an Anti-Lyric poem as the poet doesn’t express his dramatic persona .He also uses stream of consciousness which is like an internal monologue . Browning’s “ My Last Duchess “ , reflects the new poetry .It’s considered as a New poetry through the use of Dramatic Monologue. He didn’t invent the dramatic monologue as it was used before in “to his coy mistress” but he brought the form a new level of complexity .