Film and Stereotype by Schweinitz Jörg; Schleussner Laura;

Author:Schweinitz, Jörg; Schleussner, Laura;
Language: eng
Format: epub
Tags: Performing Arts/Film and Video/General
Publisher: Columbia University Press
Published: 2011-12-12T05:00:00+00:00

In early film melodramas “events took shape, without the complications of individual psychology, according to a pure Aristotelian logic so badly missed in real life,”183 and the films regularly tended to have a happy ending. This was their special charm. In this context, Panofsky explicitly argued against the aesthetic development of filmic narrative contrary to “a primitive or folkloristic concept of plot construction.”184

Here the topos of the intellectual fascination for the nonintellectual, the naïve, and the regressive was far more immediately apparent than even in the work of Fülöp-Miller. There are obvious parallels with early positions from the cinema debate that cultivated this thought motif, such as Walter Hasenclever’s apology for cinema from 1913, although Panofsky’s avowal of the folkloric seemed less paradoxical and ambivalent. Hasenclever had written:

[Film] is not an art in the sense of theater, no sterilized intellectuality; it is by no means an idea. For this reason it resists (repeated attempts at) inoculation with ethereal music: it still would get smallpox every time. The movies remain something American, ingenious, kitschy. That is their popular nature; that is what makes them good … for their modern character is expressed in their ability to gratify idiots and intellects alike, but each in a different way, each according to his mental make-up.185

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