Berlin - Belonging and not belonging in the noise of the city

Research output: Contribution to journalArticleResearchpeer-review

Abstract

This article seeks to explore filmic representations of the turmoil potentially offered by modern city dwelling, using the concept of Rausch, in the sense of a sensory overload for both characters and spectators. Specifically, it considers the Rausch of the city on film through the example of Berlin and its impact upon characters found within. In considering such representations of Berlin we are able to explore the ways in which the city can be used within cinema as a mirror, and at times a stamp, to the expectations and experiences of the characters. To explore cinematic Berlin in this way we look specifically towards expressionistic interpretations and treatments of the city and its inhabitants, considering the interactions of space, place, and character. This convergence of Rausch and expressionism upon the specific example is appropriate since in many respects Berlin and expressionism are synonymous: in visual arts, but above all in film. In applying such considerations to more modern interpretations and presentations of the city we are able to see the deep connection between the use of a cityscape, the exploration of character within it, and, indeed, their reactions to it. In locating to a modern iteration of this longstanding stylistic and generic device we are able to widen our understanding of the use of expressionism and in doing so more strongly explore the concept of Rausch.
Original languageEnglish
Pages (from-to)99-108
Number of pages10
JournalExpressionismus
Volume9
Publication statusPublished - 31 May 2019

Fingerprint

Expressionism
Spectator
Iteration
Cityscape
Modern Cities
Interaction
Cinema
Dwelling
Stamp

Keywords

  • Rausch
  • Berlin
  • Cinema
  • Expressionism
  • Modern German Cinema
  • Sound

Cite this

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title = "Berlin - Belonging and not belonging in the noise of the city",
abstract = "This article seeks to explore filmic representations of the turmoil potentially offered by modern city dwelling, using the concept of Rausch, in the sense of a sensory overload for both characters and spectators. Specifically, it considers the Rausch of the city on film through the example of Berlin and its impact upon characters found within. In considering such representations of Berlin we are able to explore the ways in which the city can be used within cinema as a mirror, and at times a stamp, to the expectations and experiences of the characters. To explore cinematic Berlin in this way we look specifically towards expressionistic interpretations and treatments of the city and its inhabitants, considering the interactions of space, place, and character. This convergence of Rausch and expressionism upon the specific example is appropriate since in many respects Berlin and expressionism are synonymous: in visual arts, but above all in film. In applying such considerations to more modern interpretations and presentations of the city we are able to see the deep connection between the use of a cityscape, the exploration of character within it, and, indeed, their reactions to it. In locating to a modern iteration of this longstanding stylistic and generic device we are able to widen our understanding of the use of expressionism and in doing so more strongly explore the concept of Rausch.",
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Berlin - Belonging and not belonging in the noise of the city. / Coleclough, Sharon.

In: Expressionismus, Vol. 9, 31.05.2019, p. 99-108.

Research output: Contribution to journalArticleResearchpeer-review

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AB - This article seeks to explore filmic representations of the turmoil potentially offered by modern city dwelling, using the concept of Rausch, in the sense of a sensory overload for both characters and spectators. Specifically, it considers the Rausch of the city on film through the example of Berlin and its impact upon characters found within. In considering such representations of Berlin we are able to explore the ways in which the city can be used within cinema as a mirror, and at times a stamp, to the expectations and experiences of the characters. To explore cinematic Berlin in this way we look specifically towards expressionistic interpretations and treatments of the city and its inhabitants, considering the interactions of space, place, and character. This convergence of Rausch and expressionism upon the specific example is appropriate since in many respects Berlin and expressionism are synonymous: in visual arts, but above all in film. In applying such considerations to more modern interpretations and presentations of the city we are able to see the deep connection between the use of a cityscape, the exploration of character within it, and, indeed, their reactions to it. In locating to a modern iteration of this longstanding stylistic and generic device we are able to widen our understanding of the use of expressionism and in doing so more strongly explore the concept of Rausch.

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