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THE DEVELOPMENT OF THE FILM
composite shots of trains, trams, factories, and all types of machinery. At one time it was almost impossible to see a film without a double, triple, or quadruple exposure shot of wheels. For some years, expressionism also had its sway with the German film, despite an occasional breakaway into isolated individualism. The expressionists were interested in man in general and not in the individual. Although they made use of the representation of characters, the result was not regarded as personal experiences but as the essential experiences of humanity. Thus, it was usual to find themes woven around the Man and the Girl, as in Grune's The Street, Pick's New Year's Eve, Czinner's Nju, Lang's Destiny, with additions in the form of Death the Stranger, and The Prostitute. It is of importance to note that nearly all these films were entirely studio-made; whole palaces and streets being built; providing a feeling different to the open-air films taken on the exact location.
Some time later, the theme interest seemed to have been focussed on individuals again and their peculiar characteristics, as with Pommer's jewel thief and policeman in Asphalt, and the two men and the wife in Homecoming. This was a swing round to the partial admission of the star-system, a feature of the Americanisation of the German studios. Very different in texture, for example, was The Hungarian Rhapsody in comparison with the moral seriousness of The Wild Duck. There was a tendency towards individualism in the new German film and a feeling for a more mechanical spirit, which was progressive. The first may be said to have been due to America; the second to the influence exerted by the Soviet films in Germany.
In contrast with the heavy morbidness and slow methods of the Swedes and Germans, the French school was marked chiefly by its directors' nineteenth-century delight in classical compositions and its continuous leaning towards spectacle. French films were roughly divided into two classes: the avant-garde of the jeune cineastes and the commercial film on the lines of V Atlantide , Michael Strogoff and Casanova. Whereas the Germans had sought to gain their effects by a theatrical, traditional form of acting in conjunction with an environment of studio structures, the French experimentalists attempted the creation of atmosphere by a series of succeeding exterior compositions, usually of great pictorial beauty but nondynamic. Nevertheless, although many of the jeune cineastes toyed D 49