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4
Cy TOM R!OOr.E
- Arts Editor
Germany has been one of the most ir.Ruen
tiai nations on the art of film. Creative cinema
in Germany has come in two different move
ments: the Expressionist movement in the
1920s and the New Wave of the 1950s and.
1970s. The Carolina Union Film Committee
examines both these movements in a festival
devoted to German films spaced over the rest
of the semester.
The first influential movement in German
cinema began in the period following World
War I. The depression and despair of the
postwar period led directors to transfer the
Expressionist movement, which began in art
in the late 19th century, to film.
Expressionism brought a dramatization of
people's thoughts and feelings to the screen.
The camera often took the role of the central
subject and the design of the films was cen
tered on conveying the central character's
inward emotions.
The Expressionist movement is best repre
sented in Robert Wiene's The Cabinet of Dr.
Catigari and F.W. Murnau's The Last Laugh
which are scheduled for 8 p.m. Sunday in
Carroll Hall.
German films during the 1920s also exam
ined the problems of living in a poverty
stricken country. G.W. Pabst's The Joyless
Street shows how inflation takes its toll on
the residents of a Viennese city. It will be
shown at 8 p.m. Feb. 8 in Great Hall along
with E.A. Dupont's Variety, a film about
love and murder in a troupe of variety
performers.
Some German films of the period concerned
themselves with the degenerate lives of the
underworld. Fritz Lang was the greatest
depictor of this sort of life. His film Spies,
about a respected businessman who is secretly
the head of an international gang of spies,
will be shown at 8 p.m. Feb. 15 in Great Hall.
Cinema in Germany suffered with the rise
of Hitler. Most of the nation's creative film
makers fled the nation during Hitler's, reign.
The documentaries of Leni Reifenstahl are
the only films of interest produced during the
' Nazi era and in the immediate postwar years
nothing of any consequence was produced.
Dut in the 1960s and 1970s there was a great
burst of creativity in German cinema with the
advent of directors such as Rainer Werner
Fassbinder, Wim Wenders, Werner Herzog,
Reinard Hauff and Peter Handke. Their
films examine political and social issues with
a seriousness not found in other countries at
the moment. This seriousness is combined
with virtuoso command of film grammar.
Rainer Werner Fassbinder's The Merchant
of Four Seasons will play at 8 p.m. Feb. 22 in
Carroll Hall. Wim Wenders' The Wrong
Move will be shown at 8 p.m. March 1 in
Carroll Hall. Werner Herzog's Every Man for
Himself and Cod Against All is scheduled for
8 p.m. March 22 in Carroll Hall. Reinard
Hauf fs Knife in the Head will be shown at 8
p.m. March 29 in Carroll Hall, and Peter
Handke's Left-Handed Woman will play
Ar ru AnLL 5. in Carroll I lalL---
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to give cunwk b
Maureen Forrester, considered the world's
foremost contralto, appears in concert with
the North Carolina Symphony at 8 p.m.
today in Memorial Hall.
Forrester will perform Edward Elgar's
"Sea Pictures." The remainder of the
program includes Hector Berlioz's "Cenve-
nuto Cellini Overture" and Ludwig van .
Beethoven's "Symphony No. 3."
The symphony will be conducted by guest
conductor James Paul, the acclaimed resident 9
conductor of the Milwaukee Symphony.
Tickets are $2. SO and are available at the
Union Box Office.
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