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By Tim Bergfelder, Visit Amazon's Sue Harris Page, search results, Learn about Author Central, Sue Harris, , Sarah Street

Ecu cinema among global Wars I and II used to be popular for its impressive realization to element and visible results in set layout. Visionary designers akin to Vincent Korda and Alfred Junge prolonged their impression throughout nationwide movie industries in Paris, London, and Berlin, remodeling the studio method into one among permeable inventive groups. For the 1st time, movie structure and the Transnational mind's eye presents a comparative examine of eu movie set layout within the past due Nineteen Twenties and 1930s.  according to a wealth of drawings, movie stills, and archival files from the interval, this quantity illuminates the rising value of transnational creative collaboration in mild of advancements in Britain, France, and Germany.  A entire research of the practices, kinds, and serve as of interwar cinematic construction layout, movie structure and the Transnational mind's eye bargains new perception into the period’s awesome achievements and effect on next generations.

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Additional resources for Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam University Press - Film Culture in Transition)

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It was indeed in a glasshouse, the Lixie studio in the Berlin suburb of Weissensee, that Caligari was shot. Although Lothar Schwab has pointed to the experimental use of carbon-arc lamp floodlights by German film pioneer Oskar Messter as early as /, these were meant to simply complement natural light sources, not to replace them.  In other words, contrary to the image one might derive from Kracauer, it was American studios that went ‘dark’ long before their European counterparts, as the prevalence of glass-roofed or -walled studios applied to most European countries, not just Germany.

Until the early s, German films were either shot on outdoor locations and stages, or in ‘glasshouses’, that is studios with glass roofs that allowed diffuse sunlight to naturally illuminate the sets (which in the early years were almost exclusively painted backdrops). It was indeed in a glasshouse, the Lixie studio in the Berlin suburb of Weissensee, that Caligari was shot. Although Lothar Schwab has pointed to the experimental use of carbon-arc lamp floodlights by German film pioneer Oskar Messter as early as /, these were meant to simply complement natural light sources, not to replace them.

Both conceptions significantly reduce the complexity of influences that German set design imported, synthesized, and in turn exported again to other film cultures. However, if German set design during the Weimar period, and its approach to mise-en-scène more generally, really was as nationally introspective and exclusive as both Kracauer and Eisner (as well as numerous subsequent studies) have claimed, why was this approach then so avidly copied by filmmakers elsewhere in Europe from the mid-s, and why was it that precisely the professions associated with set design became the most mobile work force in the European film industry in the late s and s?

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