Home at a Distance: The Design of Nazi Germany in Exile Films from the Soviet Union
Home at a Distance: The Design of Nazi Germany in Exile Films from the Soviet Union
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远方的家：苏联流亡电影中纳粹德国的设计
DOI：
10.1093/jdh/epu038
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发表时间：
2015
影响因子：
0.2
通讯作者：
Christoph Hesse
中科院分区：
文献类型：
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作者：
Christoph Hesse
由于商业利益和外交关系，美国和西欧的电影都小心翼翼地避免公开提及纳粹德国，直到第二次世界大战开始。然而，在苏联，从20世纪30年代初开始，关于德国的电影实际上形成了自己的一种类型。莫斯科还邀请来自德国的移民S通过当时最受欢迎的大众媒体反对法西斯主义的威胁。但与此同时，他们的敌人家园似乎几乎摆脱了他们的想象，无论是在政治上还是在审美上。与其他任何媒介不同的是，电影给人一种对日常生活环境的生动印象。但是，如何在莫斯科设计一个真正的柏林背景呢？移民S给自己安排的任务往往超出了他们可以支配的范围。这篇文章揭示了苏联流亡电影的特殊情况，并首次突出了制作设计方面的特别问题。
Owing to commercial interests and diplomatic ties, both American and Western European cinema carefully avoided any overt reference to Nazi Germany until the beginning of the Second World War. In the Soviet Union, however, from the early 1930s films about Germany formed virtually a genre of their own. Moscow also invited émigrés from Germany to make a stand against the threat of Fascism by means of the most popular mass medium of the time. But their enemy homeland, it seemed, had in the meantime all but escaped their imaginations, both politically and aesthetically. Unlike any other medium, film renders a vivid impression of quotidian surroundings. But how could an authentic Berlin setting be designed in Moscow? The task the émigrés had set themselves often exceeded the means at their disposal. This article exposes the exceptional circumstances of exile cinema in the Soviet Union and, for the first time, foregrounds in particular problems of production design.