We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
down at the poor bewildered costermonger, Crainquebille. The judges are shown flying about in the shape of enormous birds, and the diminutive defendant is overshadowed by a colossal policeman. Here we see subjective symbolism for the first time brought into the service of social satire. Jeanne IS Arc in France may be compared to The Nibelungs in Germany. It was an escape from the worst effect of the post-war disillusion by going back to the story of an heroic Frenchwoman who, by her leadership, had saved France.
But it is Crainquebille which is of special interest to us, because it marks the point at which the French film was about to deflect its course from the path of Caligarism towards a clearer objective and an infinitely more healthy outlook. We can say that up to the moment when Crainquebille appeared the French and German film were both travelling upon the same road, but whilst the German film remained the faithful slave of Dr. Caligari, and landed the German nation into Nazism, the French film in branching off towards the path of social criticism was greatly instrumental in shaping the outlook amongst the French people which resulted in the formation of the Front Populaire. And just as we see a continual struggle within the French film, with its ever shifting relation of forces between the two ideological trends of subjectivism and objective reality, so we see later in real life the spectacle of young men strutting about dressed in the uniform of the Croix de Feu, worshipping at the shrine of an ego and a "leader," while at the same time the extremely powerful Popular Front movement was developing.
From the time Crainquebille appears, objective social criticism and social satire become more and more apparent in the French film. They hardly appear in the German film at all.
At the same time there is no sign that the French film has ever been able to shake off completely the depressing influences which were a legacy from the immediate post214