Brecht and Dudow Essay -- Film Analysis

Kuhle Wampe (Brecht and Dudow, 1931) is often noted as the first communistic film produced in Weimar Germany and was produced by a collective of men, heavily intricate in the formation and success of Weimar cinema. The collaborative team consisted of Hanns Eisler, who composed the melodious score for Berlin Symphony of a Great City (Walter Ruttmann, 1927), Ernst Ottwald, a gilded novelist and screen writer, primary director Slatan Dudow who participated heavily in the production of city (Fritz Lang, 1927) and finally Bertolt Brecht. The aforementioned trio heavily influenced the industrialised surrounding that spread over the location and narrative of Kuhle Wampe, however, fellow script writer and co-director Bertolt Brecht had very trivial experience in film production aside from aiding the preparation for Karl Valentins The Mysteries of a Hairdressers Shop (1923). Brechts influence upon Kuhle Wampe came lots more in the form of philosophical grounding, with himself, at the t ime exploitation his materialist aesthetics in trying to conceptualise the answer to the question what is policy-making art? Bringing together politics and art formulae, in this eccentric montage, we can assess the messages that were conveyed through the use of montage and how it was used as a tool of political suggestion. From the opening sequence, Kuhle Wampes stylisation appropriates itself with that of Soviet Montage, 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) secernate words in Brechts theory and practice of theatre in Brecht. Eds. Peter Thomson and Glendyr Sacks. Cambridge University Press, Pp. 185-200.Eisenst ein, Sergei Jay Leyda (translator) (1947). The Film Sense. Hardcourt Brace and CompanyEisenstein, 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 taradiddle of the German Film (1947) in German Essays on Film. Eds. Richard W. McCormack and Alison Guenther-Pal. New York & capital of the United Kingdom 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.