By Bertolt Brecht, Marc Silberman
From Weimar Germany to Hollywood to East Berlin, Brecht on movie and Radio gathers jointly a range of Bertolt Brecht's personal writings at the new movie and broadcast media that revolutionised arts and communique within the 20th century. Bertolt Brecht's highly influential perspectives on drama, performing and degree construction have lengthy been greatly recognized. much less ordinary, yet of profound value, are his writings on movie and radio. From Weimar Germany to Hollywood to East Berlin, Brecht on movie and Radio gathers jointly for the 1st time a variety of Brecht's personal writings at the new movie and broadcast media that interested him all through his lifestyles and revolutionised arts and verbal exchange within the 20th century. Marc Silberman's complete editorial remark units Brecht's rules within the context of his different work."I strongly want that when their invention of the radio the bourgeoisie might make a different invention that allows us to mend all the time what the radio communicates. Later generations might then have the ability to wonder how a caste was once in a position to inform the full planet what it needed to say and even as the way it enabled the planet to determine that it had not anything to say." (Bertolt Brecht)
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Hence, Mr Staudte demanded of Mrs Weigel, whose workday in any case lasted twelve hours (eight hours shooting plus putting on and taking off make-up plus travel time), that she be available continuously, including Sundays. I objected to this. Besides being an inhuman demand on any artist, it was in no way artistically defensible. In the cinema it is well known that every moment is a premiere and shooting with exhausted actors is certain to be bad. 6. My objection was also caused by the contemptuous treatment of Helene Weigel during the entire process.
The companies' sensitivity makes the portrayal of grandbourgeois figures itself into a heroic undertaking of sorts. Dieterle's film biographies, progressive and humanist and intelligent - which alone marks them as a kind of rebellion within the commercial movie industry in America - were also groundbreaking in a dramaturgical sense. Films 'with historical background' had been made up until then with innumerable experts for the details but without a thought about the social workings of the relevant period.
As everywhere else in the film short, 'exciting', suspenseful editing is used that ends before a situation can be calmly and broadly established. The women's measured work, their exhaustion, the pleasure in telling stories during their nightshift should have used much rougher, calmer shots. The costumes and sets are constructed in the same style as the 'adventures'. The small roles of the storytelling women are in part cast with minor actors who simply cannot develop a dialogue into a scene. As it is, the kitchen keeps getting confused with the adventures, which leads to some curious misunderstandings.