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.
SEEN IN PERSPECTIVE
middle-class family starves, with their daughter's prostitution depicted by Gavbo. Secrets of the Soul introduced psychoanalysis to the popular screen in a documentary drama of a professor whose dreams are used to discover the jealous phobias which almost drive him to stab his wife to death. The Love of Jeanne Ney is set against the international political background of Soviet Russia and France, the French girl Jeanne Ney being in love with a young Russian Communist, a love which is thwarted by a drunken adventurer Khalibiev, who is brilliantly played by Fritz Rasp.
The plots of Pabst's silent films are melodramatic, with happy endings superimposed upon them in almost every case. His realism lies in his settings and presentation. His Germanic sense of drama, or rather of melodrama, gives his films a horrific power which frightened the censors of the period just as much as his prostitutes, brothels, and orgies. In this he was uncompromising, although he compromised almost always in letting his films noirs resolve happily. In the brief period of the German sound film, before Hitler's rise to power in 1933, Pabst made a brilliant and realistic expose of the horrors of war in Westfront igi8 (which it is inevitable to compare with Milestone's All Quiet on the Western Front made at almost exactly the same time), the relatively unimportant though technically interesting Dreigroschenoper, and Kameradschaft, the most important film of his career.
Abel Gance and the Early Use of Wide-Screen
Abel Gance became the Griffith of France and he was eventually to be greatly influenced by Griffith's work. During the early and significant period of his career he was a romantic with an ebullient rhetorical nature, approaching film-making like a general facing a great campaign. He wanted to be thought the Victor Hugo of the cinema. His outstanding productions were the war film J' Accuse (19 19), La Roue (1919-21), dominated by railways, and Napoleon ( 1 92 7) , an unfinished biographical film which only managed
45