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  1. A Formalist Reborn : Rudolf Arnheim


    URL/Identifizierer http://www.film-philosophy.com/vol3-1999/n46verstegen
    QuellenartElektronische Volltexte & Multimedia>>Aufsätze aus Zeitschriften / Sammelbänden>>
    UrheberVerstegen, Ian
    Veröffentlichungsdatum1999
    Schlagworte FWFilmtheorie
    Freie Schlagworte FW Rudolf Arnheim
    Beschreibung "The English-speaking distaste for publishing historical documents for their own sake has finally been overcome in the case of Rudolf Arnheim, whose collected early writings, _Kritiken und Aufsatze zum Film_, has gratefully been translated. Carl Hanser Verlag of Germany is responsible for all of Arnheim's early German-language works, including the original version of the famous _Film as Art_ (_Film als Kunst_, 1932), the original manuscript of _Radio: An Art of Sound_ (_Rundfunk als Hoerkunst_, finished in Italy in 1935) that was never published because of Arnheim's exile, and finally the collected essays. Not a book but a judicious selection of works first chosen and brought together by Arnheim and Helmut Diederichs in 1977, _Kritiken und Aufsaetze zum Film_ stands the test of time as the most efficient vehicle for studying Arnheim's early non-monographical output. Now this is available to English-speakers through Brenda Benthien's excellent translation. As is often the case with first-time translations, this is the cause of a major reassessment of Arnheim, who has become a caricature of his former self. In surveys of film theory Arnheim is routinely included with the founders of film theory, in a manoeuvre that effectively cuts him off from the strands that blossom into contemporary concerns. Arnheim is denigrated as a *formalist* or an *aesthete* that cannot engage film with the real world. The volume at hand does not directly address these concerns, obviously, but through the attention to three issues that figure prominently in its pages one can gain a major insight into the real Arnheim. These issues relate to Arnheim's vision of the nature of criticism, his notorious pronouncements on the sound film, and his little-known dealings with censorship in Nazi Germany. I shall begin with the first issue. Recently Gertrud Koch treated Arnheim's work from her Frankfurt School perspective and had to admit, grudgingly, that it contained sensitive criticism. As a German, she did not suffer from the unavailability of Arnheim's early work but her hesitancy arose, I suspect, from Arnheim's inability to hitch his work to any larger perspective. The issue is evident if we compare Arnheim, the Berlin journalist for _Die Weltbuhne_, with Siegfried Kracauer, who occupied a similar position for the _Frankfurter Zeitung_. Kracauer's essays in _The Mass Ornament_ deal with the symbolic import of institutions and (new) modes of experience in their quasi-sociological significance. Arnheim never becomes speculative, but remains with the work or film at hand. Theoretical issues are not absent but discovered or refuted in the material itself." (Information des Anbieters)
    Inhaltsverzeichnis/StrukturCriticism and Formalism; A Notorious Judgment on Sound; Politicizing Arnheim
    Themen FWFilm>>Theorie, Methodik, Didaktik
    RVK FWAP 45100
    DDC FWPhilosophie, Theorie, Ästhetik
    geographischer BezugBehandlung nach Gebieten, Regionen, Orten im Allgemeinen>>
    zeitlicher Bezugzeitlich übergreifend / unabhängig>>
    SpracheEnglisch
    Anmerkungen zur RessourceIan Verstegen, 'A Formalist Reborn', _Film-Philosophy_, vol. 3 no. 46, November 1999 [ISSN 1466-4615]