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Michael Banbury 12-01-04 Class Minutes
Dr. Reimer reminds class of the party at his house on Sunday.
Megan gives her presentation: Comparison of David and Europa, Europa Holocaust – Hitler’s attempt to rid the world of non-Aryan races. David: Jewish teen survives Nazi atrocities by hiding out, changing locations. Europa, Europa: based on true story of Sali, a Jewish teen who survives the war, but is captured by the Nazis, but is admitted to a Hitler Youth School. Neither film is portrayed in a concentration camp. Both directors point out idiocy of Nazi socialist ideals Clip from Europa, Europa: Sali’s science teacher describes how to recognize a Jew. Both directors celebrate their characters’ quick wits and resourcefulness. Both characters had to separate from their families. Both directors stress the pride of being Jewish. David: characters never compromise their religion. Clip from David: shows pride of being Jewish and staying true to faith. Both directors were Jewish and children during the war. David: huge success, won best film in 1979 Berlin Film Festival. Europa, Europa: more raw depiction of Holocaust, not well received and had a limited release, but very successful in America.
Kristen gives her presentation: Comparison of Wings of Desire and City of Angels City of Angels: remake of Wings of Desire Both films portray angels in trenchcoats. Wings of Desire: dir. Wim Wenders, 1987. High budget, New German Cinema, concerned with issue of division in Germany. City of Angels: filmed in Hollywood, stars Meg Ryan and Nicolas Cage. Both films portray death as a new beginning. Wenders uses his film as a vehicle to portray Berlin before the fall of the Berlin Wall. Wenders uses location shooting, realism, Hollywood stars, loose rambling narratives. City of Angels: dir, Silberling. Shot in Hollywood, story takes place in Hollywood. High production values, appeals to emotion, graphic detail, big stars. Both films make point that living forever without love is not worth it. Fallen angel motif seen in both films. Both films deal with theme of free will. Both films use heavy organ music. Wenders’ film has happy ending.
Dan gives his presentation: Comparison of Das Boot and U-571 Das Boot: dir. Wolfgang Peterson, 1984. U-571: dir. Jonathan Mostow, 2000. Genre Components: dramatic emphasis, physical world, time, character ethos. Opening Party Scenes: Das Boot: competency of crew, disparity between men and their cause. Smoky, shadowy ballroom Long scene, sets precedent of characters over narrative Men are a mess, debauched, drunk U-571: tension between officers Bright, airy, singer replaced by band. Short scene, cut shorter by surprise orders. Men’s unity with cause is unquestioned; professional and trustworthy. Initial Action Scenes: Das Boot: crews battle with boredom and stagnation Cramped, restricted, claustrophobic. Short scene that feels long. Dichotomizes reasonable men and unreasonable causes. U-571: crew’s ability to overcome immediate danger A rousing environment with danger and challenges. Short time frame, quick edits, shaky. Meeting with Nazi officials: Das Boot: tension between crew and Nazi cause Subversively bright and clean Long scene, long takes Crew’s interests and perspectives do not include party concerns. Final Sequences: U-571: triumph of Allied cause Warm, bright sunset Time not an issue, mission is won Men’s devotion is rewarded Das Boot: Subversion of crew’s efforts Inevitability of death and defeat.
Sean gives his presentation: Comparison of Nosferatu and Dracula Murnau set out to create a work of art, followed expressionistic guidelines. Browning set out to create entertainment. Dracula: more sophisticated villain, more calculating. Monster had sex appeal. Mesmerizing figure, male-dominating gender role Filmed on studio stages. Nosferatu: portrayed as sub-human, rat-like, comes to represent death Brings a hoard of plague-infested rats to Berlin. Filmed on location Film was a response to death and horror of WWI.
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