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ReFocus: The Films of Paul Leni最新文献

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Cinematic Space and Set Design in Paul Leni’s The Last Warning 保罗·莱尼电影《最后的警告》中的电影空间和场景设计
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0012
Bastian Heinsohn
{"title":"Cinematic Space and Set Design in Paul Leni’s The Last Warning","authors":"Bastian Heinsohn","doi":"10.3366/edinburgh/9781474454513.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0012","url":null,"abstract":"This chapter presents an analysis of cinematic space and set design in The Last Warning, Leni’s fourth and final film for Universal Pictures. Mood and atmosphere are two crucial aspects of Leni’s oeuvre, and he achieved them through light, shadow, and innovative set designs. Using The Last Warning as a case in point, this chapter demonstrates how Leni’s mastery at creating uncanny décor translated within the new spatial context of extravagant Hollywood sets. The film illustrates Leni’s 1924 call to set designers to express mood in their work instead of simply producing faithful replicas of certain locations. In The Last Warning, Leni manipulates space to great effect, drawing the spectator into a haunted labyrinth of hidden corridors, secret passages, and dark staircases. This contribution explores The Last Warning’s set design within several contexts: the film’s limited plot; its unity of space, time, and action; and Leni’s general views on film architecture.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114867406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs 自然中的非自然利奥波德-杰斯纳和保罗-莱尼的早期魏玛电影《后楼
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0003
Jason J. Doerre
{"title":"The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs","authors":"Jason J. Doerre","doi":"10.3366/edinburgh/9781474454513.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0003","url":null,"abstract":"This chapter explores the influence of literary naturalism on German Expressionist cinema as reflected in Leni’s 1921 film Backstairs, co-directed with Leopold Jessner. As this chapter suggests, Backstairs is a continuation of the styles of literary naturalism, a tendency frequently taken up in German cinema of the 1920s. Although specific visual elements of the film demonstrate an expressionistic impulse, other aspects including milieu and story are clearly leftovers of the literary naturalism of the pre-war period. Using Backstairs as a case in point, this contribution counters the overemphasised focus on expressionism in Weimar-era films by highlighting the multivalent styles present throughout this period. Taking into consideration the film’s set, story, acting, and direction, this chapter provides a close examination of a film often overlooked among the classics of Weimar cinema.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125985740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Cinema Panopticum: Wax, Work, Waxworks 电影院全景:蜡像，作品，蜡像
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0004
Erik Born
{"title":"Cinema Panopticum: Wax, Work, Waxworks","authors":"Erik Born","doi":"10.3366/edinburgh/9781474454513.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0004","url":null,"abstract":"“Cinema Panopticum” explores the central conceit of Waxworks—wax figures that come to life and threaten their creator—in the context of popular wax displays in the Weimar Republic. Commonly credited as a cult classic horror film, Waxworks is better understood in the period’s terminology as an “Episodenfilm,” a popular form of early narrative cinema that presented distinct episodes within a unifying frame narrative. Like other early German anthology films, Waxworks participates in the Weimar critique of historicism, foregoing the particularities of historical periods in favour of universal drives and philosophical themes. In this case, the framing narrative updates the classical Pygmalion myth for film-obsessed German modernity. The film is a testament to early cinema’s so-called “encyclopaedic ambition” and a cautionary tale about the potential fetishisation of the filmic image during the transitional period when cinema was establishing itself in opposition to older forms of representation such as wax figure displays.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127966855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Masculinity and Facial Disfigurement in The Man Who Laughs 《笑的男人》中的男子气概和面部毁容
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0011
Bruce Henderson
{"title":"Masculinity and Facial Disfigurement in The Man Who Laughs","authors":"Bruce Henderson","doi":"10.3366/edinburgh/9781474454513.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0011","url":null,"abstract":"“Masculinity and Facial Disfigurement” examines Leni’s film through the lens of disability studies in film. This chapter offers a reading of The Man Who Laughs that addresses the creative liberties that Leni took when adapting the Hugo novel to the screen and that accounted for the representation of physical disfigurement otherwise lost in Hugo’s original text. As the chapter shows, the cinematic representation of Gwynplaine’s disability, in contrast to that in the novelization, “restores a kind of lost masculinity to Gwynplaine, reminding us, in ways the novel never quite does, that Gwynplaine’s body was as ‘fit’ as any other man’s,” in Henderson’s words. This chapter thus reconceptualizes Leni’s adaptation as a positive portrayal of disability, finding equilibrium between Gwynplaine’s contrasting characteristics of masculinity-femininity and ability-disability that are absent in both the novel and other films in this era.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123092921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Last Warning: Uncertainty, Exploitation, and Horror 最后的警告:不确定性，剥削和恐怖
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0013
S. Shimpach
{"title":"The Last Warning: Uncertainty, Exploitation, and Horror","authors":"S. Shimpach","doi":"10.3366/edinburgh/9781474454513.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0013","url":null,"abstract":"This chapter considers Universal’s relationship with its audiences at the end of the silent period of Hollywood cinema. Specifically, it presents The Last Warning as a case study and focuses on the ways that Universal promoted this film—a “partial-talkie”—to exhibitors and advertised it to the public. This analysis suggests how Universal imagined the audience for this film and explores the studio’s strategies for connecting the film’s narrative to this imagined audience during the transitional period to synchronised sound. For example, Universal tried to entice exhibitors to book the film by providing survey cards that audience members could fill out during a break in the film’s narrative. The cards would allow them to guess “whodunnit” before the film resumed. Universal therefore engaged in a creative and playful approach to making the film experience more interactive, albeit in a decidedly low-tech way. The studio imagined a specific, rather sophisticated type of audience engagement with a stylistically creative but narratively banal genre film at the end of the silent era.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124099264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Proto-Horror-Comedy: Waxworks 原始恐怖喜剧:蜡像
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0005
Joel Westerdale
{"title":"The Proto-Horror-Comedy: Waxworks","authors":"Joel Westerdale","doi":"10.3366/edinburgh/9781474454513.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0005","url":null,"abstract":"Westerdale’s chapter revisits the place of Waxworks within the canon of expressionist cinema emerging from Germany in the early years of the Weimar Republic. Waxworks is among a key group of films, which also includes Robert Wiene’s The Cabinet of Dr. Caligari (1920), Carl Boese’s The Golem (1920), Fritz Lang’s Destiny (1921), F. W. Murnau’s Nosferatu (1922), and Arthur Robison’s Warning Shadows (1923), that frequently functions as metonymic shorthand for early Weimar cinema as a whole. As this essay argues, however, Waxworks is also significant for its contributions as a comedy. Though the episodes with Ivan the Terrible and Jack the Ripper are predictably grim, the film’s longest sequence presents a Baghdad burlesque in which Emil Jannings’ lecherous caliph Harun al-Rashid is more clown than villain. Such an episode sits uneasily in the “historical imaginary” (to borrow Thomas Elsaesser’s term) that continues to dominate discussions of early Weimar film.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133717247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Bravura Beginnings: Paul Leni and the Art of the Prologue 《勇敢的开始:保罗·莱尼和序言的艺术》
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0007
Martin F. Norden
{"title":"Bravura Beginnings: Paul Leni and the Art of the Prologue","authors":"Martin F. Norden","doi":"10.3366/edinburgh/9781474454513.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0007","url":null,"abstract":"This chapter looks at the conclusion of Leni’s film-related work in Germany and the beginning of his employment with Universal Studios. “Bravura Beginnings” argues that the bridge between these two phases of Leni’s career was his work on a series of prologues: live stage productions that led into others’ films. Relying heavily on contemporaneous newspaper and trade-journal accounts, this chapter examines Leni’s work immediately before and after his arrival in Manhattan in 1926. In particular, it explores the prologues he staged in Berlin for Ernst Lubitsch’s Forbidden Paradise, E. A. Dupont’s Varieté, and Herbert Brenon’s Peter Pan, and two he created for Universal: ‘The Police Sergeant’s Story,’ performed as a lead-in to Tod Browning’s Outside the Law, and ‘Tremendous Trifles,’ which served a similar introductory function for William Seiter’s Rolling Home. This chapter posits that Leni’s work on these live productions paved the way for his brief but successful career as a Hollywood director and carried themes and motifs that later appeared in his films for Universal.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123867880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Paul Leni’s The Cat and the Canary: Adaptation into Genre 保罗·莱尼的《猫与金丝雀:体裁改编》
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0008
Rebecca M. Gordon
{"title":"Paul Leni’s The Cat and the Canary: Adaptation into Genre","authors":"Rebecca M. Gordon","doi":"10.3366/edinburgh/9781474454513.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0008","url":null,"abstract":"This chapter argues that Leni’s first film with Universal Pictures, The Cat and the Canary, created a visual and aural iconography that was essential for its cinematic progeny: namely, its remake in 1939, and the broader trend of ‘old spooky house’ narratives in Hollywood filmmaking. An early instalment in the horror-comedy genre, Leni’s 1927 film would later lend formal and affective shape to what trade magazines of the 1920s and 1930s called the thriller-chiller-comedy. Interweaving concurrent film reviews and memos between industry executives, Gordon’s chapter details Leni’s so-called “German” or “European” influence in reference to the film’s visual style and the effect of that style on its viewers. This chapter takes the position that The Cat and the Canary’s stylistic innovations became identifiable as parts of a pattern (or, indeed, a genre) by the 1930s, and, further, that Leni himself was responsible for developing an entirely new formula for Hollywood filmmaking.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114094089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart 引爆世界主义与对待外国人的异域性:保罗·莱尼的《哈特博士日记》
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0002
J. Fisher
{"title":"Exploding the Cosmopolitan and Treating the Foreigners’ Foreignness: Paul Leni’s The Diary of Dr. Hart","authors":"J. Fisher","doi":"10.3366/edinburgh/9781474454513.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0002","url":null,"abstract":"Fisher’s chapter examines the titular film as an important historical document that chronicles both the changing institutional context of German cinema and the evolving perspectives on the “war to end all wars.” Subsidized by the German Supreme Army Command’s wartime propaganda unit—the Photo and Film Office—The Diary of Dr. Hart is a transitional and transformative instalment in Leni’s career and the wider landscape of German cinema during the latter stages of World War I. Combining a thorough production history of the film with early cinematic trends, such as the popularization of cinematic–medical discourses and the representation of contemporary European cosmopolitanism, this chapter shows how Leni’s directorial debut combines a number of styles to transform the war genre and how such genres were already evolving at this relatively early moment in German cinema history.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127177093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles 交叉性前卫:保罗·莱尼的雷勃斯电影系列与实验视觉风格的融合
ReFocus: The Films of Paul Leni Pub Date : 2021-03-16 DOI: 10.3366/edinburgh/9781474454513.003.0006
Erica Tortolani
{"title":"Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles","authors":"Erica Tortolani","doi":"10.3366/edinburgh/9781474454513.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474454513.003.0006","url":null,"abstract":"This chapter focuses on Leni’s eight-part short film series, Rebus-Film (1925-26), and the ways that it relates to various avant-garde art movements of the 1910s and 1920s. Using Rebus-Film Nr. 1 as a starting point, the essay analyses the series’ connections to contemporaneous artistic movements such as Cubism, Futurism, and Dada and to cinematic styles and genres of the time, including Soviet montage and the ‘City Symphony’ films. To supplement this analysis, the essay draws upon reviews, trade magazine articles, and other written records from the period. This chapter sheds light on the ways that critics and audiences received the films and regarded Leni’s use of experimental aesthetic styles. While it is debatable as to whether Leni considered himself a modern art practitioner, a close reading of these short films shows that they are in dialogue with the visual avant-garde. This chapter also discusses the ways that the series fits into, and extends, Leni’s German and American careers.","PeriodicalId":373009,"journal":{"name":"ReFocus: The Films of Paul Leni","volume":"3 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114136060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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