Ali Fear Ears The Soul Analysis

In chapter two of The Cultures of American Film, the main focus is the establishment of studios. As demand for films rose in the early 1900’s, production companies needed to expand; this lead to the creation of large scale studios.

The University of California Riverside uses the model of “Tartan Soul” to keep the community of students, as well as faculty member in a respectable environment. Tartan Soul comprises the elements of integrity, accountability, excellence, and respect. These values also have their correspondent colors within the symbolic UCR tartan. My reflection upon Tartan Soul is that the four elements are the key to success. The University of California Riverside comprised a brilliant strategy to allow college students to strive during their college experience, as well as learn from the mistakes they have made.

The Film Academy made movies that appealed to the younger audience, as well. A movie about Hitler called “Hands Up” was about his childhood and teenage life, a movie meant to relate to the audience that was not yet old enough to participate in any sort of active military. Joseph Goebbels was the head of the film department and wrote the description for this movie: “This film created for the

Just like France, the United States, and Russia, Germany also began to make films, as a way to entertain the working class in an inexpensive way. By 1933 Adolf Hitler came to power, creating very harsh social condition that made several writers, actors, and directors flee Germany because they feared that if they stayed they would have gotten killed. Joseph Goebbels later came to run the UFA, as a government owned production company to make films that were shown to civilians and the military as propaganda on March 13 , 1933, and intended to censor German cinema to make the people believe that they were fascist. Numerous movies in that period of time tried to steer clear of talking about the Holocaust to distract people from what was really happening and to make Hitler seem almost godlike. One film in particular directed by Leni Riefenstahl called The Triumph of the Will became a well known example of propaganda in film history. Throughout the film, you really get to experience a sense of historical context that influenced thousands of people during the time of World War 2. Today, several people view The Triumph of the Will and have a difficult time distinguishing whether or not they can conclude if they view the film as propaganda or an actual piece of art.

“Who knows when evil matters will come” the poem “At The Gates” talks of a man dealing with the death and poisoning of his “daughter” or a symbol for his innocence in the case of his daughters supposed death. The loss of one’s life, emotion, or anything close in that regard is a common theme displayed in African Literature and are used highly in Kofi Awoonor’s “At the Gates.” The loss of one man’s life in battle and his ascent to Heaven above is largely what “At the Gates” talks about as it is a man waiting at the gates of Heaven. Discussing the different thoughts and emotions going through the dead man at the time and what emotions he is feeling about his fate and what lies before him, “I move into the gates demanding which war it is”

The 1974 melodrama film Ali: Fear Eats the Soul (Angst essen Seele auf) produced and directed by Rainer Werner Fassbinder follows German charwoman Emmi Kurowski and her struggles against society concomitant with her relationship with Moroccan guest worker Ali. Situated in West Germany and filmed the year after the halt on the recruitment of guest workers, this movie can be interpreted as a response to the debates and issues surrounding the presence of foreign workers. Native germans frequently disputed and contended the treatment, contributions, and potential to integrate into the German society that historically rejected the identity as a country of immigration. The staircase clips from Ali: Fear Eats the Soul highlight the susceptibility

Joseph Goebbels was also in control of the film department.  Goebbels ordered Pro-Nazi films to be made.  Newsreels told what the Nazis wanted the people to believe and know.  The movie The Eternal Jew was a produced and promoted anti-Jewish film.

Fritz Lang's 1931 film M takes a look how one German town comes together to take down a prolific child serial killer. The film is interesting in theme, narrative, and editing and is a standout film in Germany's cinematic history. M can also be considered to be one of the last great German films to come out of the country before Hitler took over the German film industry in 1933 (Mast & Kawin 148). M is also Peter Lorre's first film and his performance helped to catapult him as an actor and allowed him to establish a villainous persona that he would later be known for. M is not only a significant film due to its narrative and editing, but it is also significant because of its style.

These impacted motion picture historically because after World War 1 Germany to created both new genre and styles, this is due to German film industry is working closed off from the rest of the world from 1916 to 1921. One of the major trends of genre and style that gained audience attention after World War 1 was the spectacle genre, the German Expressionist Movement, and the Kammerspiel film. For instance, movie such as Schuhpalast Pinkas in other words Shoe Palace Pinkas is a German film that has spectacle genre and this promoted German historical period. Then, The Cabinet of Dr. Caligari promoted German Expressionist Movement because this film used stylized sets, with distorted buildings and it was painted on canvas backdrops and flats.

Within the 3rd Reich its self it was the most revered movies produced during this time. Before the German troops were sent on their raid against the Jewish people all over Germany, were ordered to watch this to provide them with the boost that they needed and the final confidence that they needed to know what they were doing was right.

The efforts of the Western Allies to eradicate Nazism in the West German film industry in the years following the Second World War largely attributed to the emergence of New German Cinema. By the mid-1950s, the persistent pursuit of their political and economic self-interests left the West German cinema in an economically and artistically detrimental state, thus calling for government intervention. This, in turn, resulted in the inauguration of the 1962 Oberhausen Manifesto. Written and signed by twenty-six young German filmmakers who rejected the traditional German cinema, it emphasized their belief in the necessity for films to reflect the state of contemporary Germany rather than to entertain. As a result, they set out to create artistically challenging films that effectively reflected the materialism of postwar Germany, the state of various social classes, as well as the moral disaster that the Nazi legacy left. In prioritising the production and distribution of these films, the group were successful in gaining financial and augural control in

The literal dislocation between East and West Germany was a major factor in the suffering of German cinema

1. Which character in the movie says the line that Fassbinder uses for the film’s title? Why do you think Fassbinder chose this for the title?

The German film industry was in search for a female icon that could replace Marlene Dietrich for her lack of role as a diva (Ascheid, 1999). Leander was viewed as a remarkable woman, who had the capacity to appear dangerously seductive while still remaining pure and innocent (Ascheid, 1999). Although Leander was not German, her double-image persona aligned with Nazi ideologies. In 1936, Leander was then signed off for a contract of three films by the German film industry, Ufa (Ascheid, 1999). She was also offered a reward of 200,000 Reichsmark (Ascheid, 1999). Leander’s first project with Ufa was for a film called Zu Neuen

As we look deeper into the historical contexts that came about in Germany during the 1920’s, Germany was confined due to the isolation the country was experiencing during World War I. During this solitude, the German government banned foreign films. German Expressionism was formed in result of the conclusion of World War I which compelled Germany to establish its own style of cinema. German Expressionist films produced in the Weimar Republic