By Ben Taylor
The e-book begins with Pulgasari--a North Korean Godzilla clone dreamed up by means of Kim Jong-Il and created by means of a abducted Korean director, with the cheap of hundreds of thousands and a employees of 7 hundred consumed truckloads of pheasants, wild ducks, and deer. The tales in the back of the opposite 8 motion pictures, from The Adventures of Baron Munchausen and The Twilight sector: The motion picture to Apocalypse Now and The Crow, are only as outstanding and gripping--this is a e-book movie fanatics will devour.
These strange, frequently hilarious cinematic endeavors be certain that fact is stranger than fiction, truth extra unstable than narratives, and destiny extra unbelievable than plots.
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Additional resources for Apocalypse on the Set: Nine Disastrous Film Productions
But under the influence of Murnau I now began to sketch the people first; that is to say, I would begin by drawing what happened in the scene, and then the appropriate space seemed to grow out of it. Murnau used to encourage me in this method. In this way European Set Design in the 1920s and 1930s 47 the interiors became more and more simple and more and more empty. It was the actor who had to fill them. We thus came, by our third film, Faust, to adapt the space to the actor… The hall in Tartuffe consisted merely of a wall: its dimensions were suggested by the shape of Jannings walking up and down with his breviary in his hand – all that was needed was an effect of relief.
Murnau used to encourage me in this method. In this way European Set Design in the 1920s and 1930s 47 the interiors became more and more simple and more and more empty. It was the actor who had to fill them. We thus came, by our third film, Faust, to adapt the space to the actor… The hall in Tartuffe consisted merely of a wall: its dimensions were suggested by the shape of Jannings walking up and down with his breviary in his hand – all that was needed was an effect of relief. What is significant about Herlth’s comments here is that on the one hand they suggest a gradual approximation towards those principles that Thompson identifies as being characteristic of Hollywood set design practices (uncluttered sets the main functionality of which is to emphasise the action of the main protagonists), yet at the same time the underlying motivation for Herlth and Murnau’s stylistic strategy remains focussed on visual and performative effect rather than on narrative progression or signposting.
Even though the Kunstgewerbeschule ethos shared a commitment to functionalism and utilitarianism with that more prominent later training centre of German design activity, the Bauhaus, its ideological and stylistic orientation was far more conservative (though not necessarily less modernist), tied to consensual rather than utopian aesthetics, and certainly had fewer if any explicit social-reformist aspirations. Relatively few film designers had direct links with the Bauhaus (César Klein, a close associate of architects Walter Gropius and Erich Mendelsohn, provides a notable exception), and equally few had 36 Film Architecture and the Transnational Imagination studied at university (the latter include Robert Herlth, Robert Neppach and Hans Poelzig who later run an art school in Breslau).
Apocalypse on the Set: Nine Disastrous Film Productions by Ben Taylor