Eva Woods Peiró
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816645848
- eISBN:
- 9781452945880
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816645848.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the Spanish–German relationship of 1936–39, during which Florián Rey and Benito Perojo made five films in Nazi Germany’s UFA studios with the full collaboration of Spanish ...
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This chapter focuses on the Spanish–German relationship of 1936–39, during which Florián Rey and Benito Perojo made five films in Nazi Germany’s UFA studios with the full collaboration of Spanish Nationalists. This partnership, which secured the Spanish–German venture Hispano-Film-Produktion (HFP) and produced a series of Andalusian musical comedy films, exposed the dangerous compatibility between Fascism, sound film spectacle, and liberal ideology’s union with stardom. The chapter then examines Adolf Hitler’s infatuation with actress Imperio Argentina that film historians and critics continue to ponder until today. It also analyses the character of Carmen in Florián Rey’s Carmen, la de Triana as a Gypsified white woman.Less
This chapter focuses on the Spanish–German relationship of 1936–39, during which Florián Rey and Benito Perojo made five films in Nazi Germany’s UFA studios with the full collaboration of Spanish Nationalists. This partnership, which secured the Spanish–German venture Hispano-Film-Produktion (HFP) and produced a series of Andalusian musical comedy films, exposed the dangerous compatibility between Fascism, sound film spectacle, and liberal ideology’s union with stardom. The chapter then examines Adolf Hitler’s infatuation with actress Imperio Argentina that film historians and critics continue to ponder until today. It also analyses the character of Carmen in Florián Rey’s Carmen, la de Triana as a Gypsified white woman.
Tom Ryan
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781496817983
- eISBN:
- 9781496822406
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817983.001.0001
- Subject:
- Film, Television and Radio, Film
Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his ...
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Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists. He did things his own way: for him, rules were there to be broken, whether they were the decrees of Nazi authorities trying to turn film into propaganda or of studios insisting that characters’ problems should always be solved and that endings should always restore order, providing what Sirk used to call “emergency exits” for audiences.
This study of Sirk is the first comprehensive critical overview of the filmmaker’s entire career, examining the ’50s melodramas for which he has been rightly acclaimed – films such as All That Heaven Allows, Written on the Wind, The Tarnished Angels and Imitation of Life – and instructively looking beyond them at his earlier work, which includes musicals, comedies, thrillers, war movies and westerns.
Offering fresh insights into all of these films and situating them in the culture of their times, the book also incorporates extensive interview material drawn from a variety of sources, including the author’s own conversations with the director. Furthermore, it undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical overview of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s to the present day.Less
Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists. He did things his own way: for him, rules were there to be broken, whether they were the decrees of Nazi authorities trying to turn film into propaganda or of studios insisting that characters’ problems should always be solved and that endings should always restore order, providing what Sirk used to call “emergency exits” for audiences.
This study of Sirk is the first comprehensive critical overview of the filmmaker’s entire career, examining the ’50s melodramas for which he has been rightly acclaimed – films such as All That Heaven Allows, Written on the Wind, The Tarnished Angels and Imitation of Life – and instructively looking beyond them at his earlier work, which includes musicals, comedies, thrillers, war movies and westerns.
Offering fresh insights into all of these films and situating them in the culture of their times, the book also incorporates extensive interview material drawn from a variety of sources, including the author’s own conversations with the director. Furthermore, it undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical overview of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s to the present day.
