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03594aam a2200421 i 4500 001 A03B38ECFC8011EE9ABF7B513DECA4DB 003 SILO 005 20240417010124 008 230404s2023 nyua b 000 0 eng c 010 $a 2023003368 020 $a 1640141294 020 $a 9781640141292 035 $a (OCoLC)1369517499 040 $a LBSOR $b eng $e rda $c DLC $d OCLCF $d OCLCO $d NUI $d SILO 042 $a pcc 043 $a e-gx--- 050 00 $a PN1997.L4574 $b F74 2023 082 00 $a 791.43/72 $2 23/eng/20230802 100 1 $a Frederick, Samuel, $e author. 245 14 $a The last laugh / $c Samuel Frederick. 264 1 $a Rochester, NY : $b Camden House, $c 2023. 300 $a 99 pages : $b illustrations ; $c 19 cm. 490 0 $a German film classics ; $v 12 520 $a "A penetrating new reading of Murnau's classic silent film that shows its transitional status, both historically and stylistically, while emphasizing its innovative camerawork and the ethical stakes of its story. An undisputed masterpiece of silent cinema, F.W. Murnau's The Last Laugh (1924) stars the larger-than-life Emil Jannings as a proud hotel porter who is demoted to lowly washroom attendant. One worker's misfortune becomes a tragic turning point in a social drama as much about the struggling Weimar Republic, which had just overcome several years of social, political, and economic instability, as about its working-class citizens. At once clinging to the symbols of the old order while helplessly thrust into an unforgiving modern world, Jannings's fallen porter embodies the contradictions of this transitional moment for the young democracy. Samuel Frederick shows us that Murnau's film is similarly transitional: born at the crossroads between the Expressionist style of the early '20s and the emerging aesthetics of New Objectivity, it is both soberly realistic and oneirically distorted. With only one intertitle, The Last Laugh's flow of images is complimented by cinematographer Karl Freund's innovative mobile camera, which, "unchained" from the tripod, swims effortlessly through the film's different urban spaces. Here, inanimate objects become charged with potency and architecture is animated, conveying both allure and danger. Frederick's incisive analysis of the film foregrounds the visual dynamism of its technological and aesthetic experimentation while also pursuing the ethical implications of its central figure's downfall"-- $c Provided by publisher. 504 $a Includes bibliographical references. 505 0 $a The first title cards and the last man -- Germany at a crossroads -- Activating cinematic space -- The unchained camera -- Intimations of abstraction : the dream sequence -- "The reality of things" -- The monstrousness of shame -- The doubled ending. 600 10 $a Murnau, F. W. $q (Friedrich Wilhelm), $d 1888-1931 $x Criticism and interpretation. 600 17 $a Murnau, F. W. $q (Friedrich Wilhelm), $d 1888-1931 $2 fast $0 (OCoLC)fst00072601 630 00 $a Letzte Mann (Motion picture : 1924) 630 07 $a Letzte Mann (Motion picture : 1924) $2 fast $0 (OCoLC)fst01400919 650 0 $a Silent films $z Germany $x History and criticism. 650 7 $a Silent films $2 fast $0 (OCoLC)fst01118542 651 7 $a Germany $2 fast $0 (OCoLC)fst01210272 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 776 08 $i Online version: $a Frederick, Samuel. $t Last laugh $d Rochester, NY : Camden House, 2023 $z 9781800109377 $w (DLC) 2023003369 941 $a 1 952 $l OVUX522 $d 20240417024650.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=A03B38ECFC8011EE9ABF7B513DECA4DBInitiate Another SILO Locator Search