Brecht and Dudow Essay -- Film Analysis

Kuhle Wampe (Brecht and Dudow, 1931) is often renowned as the first communist film produced in Weimar Germany and was produced by a collective of men, severely involved in the formation and success of Weimar cinema. The cooperative team consisted of Hanns Eisler, who composed the musical score for Berlin Symphony of a abundant City (Walter Ruttmann, 1927), Ernst Ottwald, a distinguished novelist and screen writer, primary director Slatan Dudow who participated firmly in the merchandise of Metropolis (Fritz Lang, 1927) and finally Bertolt Brecht. The aforementioned trio heavily influenced the industrialised surrounding that encompass the location and narrative of Kuhle Wampe, however, fellow mitt writer and co-director Bertolt Brecht had very little experience in film production aside from aiding the preparation for Karl Valentins The Mysteries of a Hairdressers blackleg (1923). Brechts influence upon Kuhle Wampe came much more in the form of philosophical grounding, with hims elf, at the time developing his materialist aesthetics in trying to bear the answer to the question what is political art? Bringing together governance and art formulae, in this case montage, we can assess the messages that were conveyed through the procedure of montage and how it was used as a tool of political suggestion. From the start sequence, Kuhle Wampes stylisation appropriates itself with that of Soviet collage, of which is Sergei Eisensteins theories are based on the idea that montage originates in the collision between different shots in an illustration of the idea of thesis and antithesis. This basis allowed him to argue that montage is inherently dialectical, thus it should be considered a demonstration of Marxism and Hegelian philos... ...h the montage sequences in Kuhle Wampe.Works CitedBrooker, Peter (2004) Key words in Brechts conjecture and practice of theatre in Brecht. Eds. Peter Thomson and Glendyr Sacks. Cambridge University Press, Pp. 185-200.Eisenstein , Sergei Jay Leyda (translator) (1947). The Film Sense. Hardcourt Brace and allianceEisenstein, Sergei Jay Leyda (translator) (1977) The Film Form essays in film theory. Hardcourt Brace and CompanyKracauer, Siegfried (2004) Montage from From Caligari to Hitler A Psychological History of the German Film (1947) in German Essays on Film. Eds. Richard W. McCormack and Alison Guenther-Pal. New York & London Continuum, Pp. 181-189.Silbermann, Marc (1995) The Rhetoric of Image Slatan Dudow and Bertolt Brechts Kuhle Wampe or Who Owns the World in German Cinema Texts in Context. Detroit Wayne State University Pp. 34-48.