Skip Nav Destination
Close Modal
/10.1215_0094033X-7908392/7/s_ngc7908392figure1.png?Expires=1731402934&Signature=vYWeaC6kELQtzZQ92mjcJZmQeySlxG-t-ehEMamTmsams-soJtvP-LsNbcadUtMsTalhgfAIKQcI4a2FNLsHkLS48h9fibY9zQgDu1Sf-e5wye8d9tsQhPrFy2-NhxdK0IdDkNXPXNTj15i-by3qlbexHURO-XNlwX0vaoml44qON5Ulp7Oc~7zmoO4WDgy2pTtszYzP13fIc8Juc8gAHmEaSx0T2GmYqsAKOAIKcoFT79OY3gK53o1gxjSh7VK0lj6THhgr4q6KnLv21JfnnfvqLTHUx~VTz6Uu7ISaoCRhulOb3jioIPC11RLDMXg0Nnl8Zp4dpkMyK6Tj-We3lw__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_0094033X-7908392/7/s_ngc7908392figure2.png?Expires=1731402934&Signature=TUZ5ff5XYTL8Y~7q~p8NnRCVH1fLQT-9vv3lCLDQHwmuubQN8EZEq~FFCiK3eIE-EPKulb7uvJ80cdKtJ9upertzREDYvuTaOGcU98heY4WFk5PRwpHAvZtRMMwkxUf3R0X-9rMPa2qzmioZA8-aOjM3u1cMSiuW47XOnIS7EAWidSCVBZivbrK3qUWHlRwnMRAazsy-4sYP77~PZYlt74ZoGlKQJGabv-hbc-KtR777~YVrNe62LTPKSXev6xN1P9vknVG~KznSR9AdoVz90bQ037mzL5zHAGpqu7I97HCw5DcgSnmu8atVIWOg4ZSBcXAyCc5yVYZvOGJqJtC7eg__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_0094033X-7908392/7/s_ngc7908392figure3.png?Expires=1731402934&Signature=G2PPqPeTnl7EacIfupMgsLImrfuiINfnhuxfLUEPT7OKal8jtaZNMldnxJ0pJGZWqByw~Po2jdJK-aQShD-ZQSv7fv4WZGP0BytZGH~NX93yUPzkJaYITsCky1o0mG5zwM2PRwD06eUwFA7WCaFWWiSuk5~fiB6Usw3fVt4Om9uLLW8UIT77kqMVQYgGGjklsFHlMDSKdP8~2vvE-2Xw0Ctiqc4G786Af964gwil2MaG-0I-Sy~4r7j5JTLh1mEjWFWmKtULFhF1qmy7VY32VK7be8uaFbXbA14tbxxP2FZJpNEMXSaGoizmkUdvaUTcYVmlWoySZ1qKXVts4vCUVQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_0094033X-7727427/4/s_ngc7727427figure1.png?Expires=1731402934&Signature=i-8Gjo9NIym~518fpb08QacWmRpX38qM0OdNR-IL7xAurR7VwJN24JRTk6pOBJk-zW~TV-Duz~Umvl6E6uQETLVADYOfaof~YNy9pLIVboHKGMPfm-HeQHf2ootzQY-GN2bgtK9LJVXfU5os3OSwfej9~qAnUCtI6GmaNfgYg4Oj18eonF4RtTn-z64Klg1l1LtPp82nqTkHk5YMAk14OgkKv~8BcZ8yHfiM705v3tU2gDbCUbZg~z6bXLvnqZzvMBTOXWK1Hk-Yy19UX6FJao-x5xjrtBhZ65lgPUOkO3Eg2U8hZhTczIsqbB7sZ6vq-KPhWyGgsDTolfcxUjY2XA__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
/10.1215_0094033X-7727427/4/s_ngc7727427figure2.png?Expires=1731402934&Signature=IIvodhtfj0gJoRRyeErt3~cmNySubXeJECpixEjmKDX5crvn0WFyUp7BjTn8r8edHCuTkD3~e6cTpeMLytQeAw-buSEIuvXum0JsIGapnVmN0lULc~Gu6tnutr4bx34w9MHuhibbVe~KAlKXmKX9YMC2EOuByC78WOqJPtPi8DL-OHTlwAjT8FdM34Hr52w4A1eCD88xHhIx56zg-i5vUKX5ZqqvVn-yQc5P1Mr-QfAElNGuTzEuvz6vjzjAcZk3iKd4gmEOXHFc87RBfSGT3A80cFs1bAJofHUrI2-iKr7NrcS1M8X~KGAstkXt88E7CWJK7z3gpNdIT~sdsFerDQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA)
1-15 of 15 Search Results for
city symphony film
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
Journal Article
New German Critique (2020) 47 (1 (139)): 81–103.
Published: 01 February 2020
...Sabine Haenni Abstract Focusing on Alexander Kluge’s short film Chicago im Zeitraffer ( Chicago in Time Lapse ), this article inserts his work with moving images into a larger genealogy of the city symphony film. Elucidating his relationship with the historical cinematic avant-garde, as Kluge...
FIGURES
Journal Article
New German Critique (2020) 47 (1 (139)): 1–8.
Published: 01 February 2020
..., posthumanism, and “imperial globalization.” As this article demonstrates, the filmic device of the urban traffic “loop” and Kluge’s use of transnational techno music become points of entry for critically rethinking both the cinematic genre of the city symphony film and transatlantic “loops” of “racial...
Journal Article
New German Critique (2013) 40 (2 (119)): 113–136.
Published: 01 August 2013
... to the growing ascendancy of Mahler, Kastle set his film in
its entirety to the Sixth, or “Tragic,” Symphony, though in a manner that ironi-
cally preserved the former dominant judgment on the composer. “Mahler was
overbaked in a beautiful way and this whole story is overbaked,” Kastle said.
“That Mahler...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
... him-
self does in his analysis of Dziga Vertov’s Man with a Movie Camera (1929)—
at another phenomenon from the late 1920s: the city symphony film, with its
emphasis on representing simultaneous actions and cataloging typical mani-
festations of city life.6 Expanding on this intuition here...
Journal Article
New German Critique (2016) 43 (3 (129)): 91–112.
Published: 01 November 2016
... . Husserl Edmund . 1931 . Ideas , translated by Gibson Ralph Boyce . New York : Macmillan . Ingarden Roman . 1989 . Ontology of the Work of Art: The Musical Work, the Picture, the Architectural Work, the Film . Athens : Ohio University Press . Jenemann David . 2007...
Journal Article
New German Critique (2020) 47 (3 (141)): 73–91.
Published: 01 November 2020
... of objects. This leaves a film that consists of lots of associations. Ruttmann must have had something similar in mind for his city symphony, Berlin [ Symphony of a Great City , dir. Walter Ruttmann, Germany, 1927]. But whereas the latter’s associations were purely formal (even in his sound-image films, he...
Journal Article
New German Critique (2019) 46 (3 (138)): 181–205.
Published: 01 November 2019
... symphony in reverse” to account for the film’s retrospective impetus. This retrospective glance also pervades Munich as the film critic and the filmmaker revisit the places of their childhood. Yet in contrast to many other city films, their essay film is also interspersed with multiple excursions...
Journal Article
New German Critique (2019) 46 (3 (138)): 79–101.
Published: 01 November 2019
... can see from above, into individual experience and memory. In this way, walkers create a migrational, metaphorical city. Umsonst initially shows us Aziza from above and then cuts to the street level. This cut is the beginning of a process wherein the film depicts the transformation of space...
FIGURES
Journal Article
New German Critique (2010) 37 (2 (110)): 9–30.
Published: 01 August 2010
...Eric Rentschler The first feature film from a vanquished nation, Wolfgang Staudte's Murderers Are among Us ( Mörder sind unter uns , 1946), repeatedly equates the physical destruction of German cities with psychic devastation, suggesting how heavily the past weighed on some, though not all...
Journal Article
New German Critique (2016) 43 (3 (129)): 27–52.
Published: 01 November 2016
...Lydia Goehr By juxtaposing remarks of Mark Twain and Theodor W. Adorno, along with examples from operetta, radio, film, TV, and YouTube, this article maintains that popular parodies of Richard Wagner have focused less on the composer than on his devoted public—especially given the significant...
Journal Article
New German Critique (2010) 37 (1 (109)): 1–25.
Published: 01 February 2010
... image of modern Berlin promoted in the daily press, in films, and in advertising during the Weimar Republic. This was done to display the German capital as a “human” city in which the urban dweller could feel at home. Although the late 1920s are mostly considered a period of medium optimism, Stone's...
Journal Article
New German Critique (2010) 37 (1 (109)): 99–118.
Published: 01 February 2010
... as his sharp critique of the documentary
illusion as manifest, for example, in the celebrated fi lm Berlin: Symphony of
a Great City (1927), by Walther Ruttmann. In both cases, Kracauer’s criticism
stresses that it does not suffi ce to arbitrarily reproduce the given to represent
reality—a position...
Journal Article
New German Critique (2011) 38 (1 (112)): 9–38.
Published: 01 February 2011
... distinct moments
in German history merge. The documentary images that Kluge eventually
inserts include German civilians from bombed-out cities and soldiers either
killed or taken prisoner at Stalingrad. These two sites signify for Kluge the
central catastrophes in the film—and the constitutive...
Journal Article
New German Critique (2022) 49 (2 (146)): 49–75.
Published: 01 August 2022
... the alliteration of text, and the dance was linked to the ritual. With the decline of the Athenian city-state, the theater lost its significance, the complete union of arts was disrupted, and each of the media developed individually. 12 The destruction of the nation robbed poetry of its living source. Without...
Journal Article
New German Critique (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
...Maria Gough Drawing on archival and recently published documents, this essay examines the historical encounter of two major communist photomonteurs in Moscow in 1931—John Heartfield, visiting from Weimar Germany under the auspices of the Comintern, and Gustavs Klucis, a Latvian resident of the city...
