Mein Leben und Streben (German Edition)
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The cinema makes us spectators of its bursts toward light and air, by capturing its unconscious, instinctive and mechanical movements. Dulac holds that time-lapse spectators witness both major and minor rhythms, synthesis and decomposition. He dreamt of a plant that night, and so did I. For Jean Epstein, such films exemplified a new kind of cinema, in which time would conquer space:. Slow motion and fast motion reveal a world where the kingdoms of nature know no boundaries. Crystals become larger, growing one on top of another […].
Wells, the topic also lent itself to far-fetched fantasy. Fantasy is also what sets the Unterrichts-Film-Gesellschaft motion picture Das Blumenwunder apart from other time-lapse releases of the s. Das Blumenwunder made its mark on German audiences as a new and innovative Gross-Kulturfilm. Others complained that time-lapse had exceeded its parameters. This film offers deep insights into the psyche of plants, such as our greatest poets could hardly have dreamt of. It was a good idea to heighten the effect of this miracle of blossoms in a subtle way by means of first-class dances from our Staatsoper.
And we should emphasize in particular how successfully the film develops these dances harmoniously out of the images of natural blossoming. The swaying rhythmic breathing motions of the leaves, the excited dance of the leaves around the blossom, the almost voluptuous abandon with which the flower opens—the plants all at once come alive and show that they use expressive gestures like those to which we are accustomed in men and animals. Watching a climbing plant anxiously groping, uncertainly seeking a hold, as its tendrils twine around a trellis, or a fading cactus bloom bowing its head and collapsing almost with a sigh, was an uncanny discovery of a new living world in a sphere in which one had of course always admitted life existed but had never been able to see it in action.
Plants were suddenly and visibly enrolled in the ranks of living beings.
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One saw that the same principles applied to everything, the same code of behavior, the same difficulties, the same desires. It was a first-class experience. The film nearly proves the existence of everything supernatural. When one sees the growth and life of plants that have another tempo from that of people, every order becomes imaginable—even slower tempos or faster ones, which are not perceptible to us because of this difference. Other modernist authors made explicit connections to a Bergsonian vitalism.
International educational organizations and authors also took special note of the film. We are not botanists. We do not draw any consequences from these mysterious, dreamlike movements of dance. We only wish to show them to you! But one thing is certain! This flickering song of blossoming and wilting moves our most interior being. Our eyes learn to see. Even in its graphic design, the program celebrates the power of film as an avant-garde vision, featuring a vertical strip of images arranged in a manner to imitate the vertical rhythm of frames on a film strip.
Mein Leben und Streben by Karl May (2006, Paperback)
But the program soon leaves advertising and industrial rhythms behind, teaching spectators to measure the perception of time in different organisms. The program ends by celebrating the aesthetic effect of time-lapse.
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Written language has no words for it. Like the pleasure garden of Metropolis , where a walking specter Maria enters the frame to teach the sons of the lives and rhythms and temporalities of those less fortunate below, Das Blumenwunder also speaks of a life hovering beyond human perception and awareness.
Flora first admonishes the children for plucking innocent flowers: Before the plant world can be mapped and deciphered, it is the human body itself that has to be read, estranged, made uncanny, through this vivid look into the interior. As the sequence on human and plant temporality continues, microcinematography and time-lapse photography work in tandem.
The camera then penetrates closer into the interiority of the body, projecting an extreme high-speed micro-cinematographic shot of cells in continuous flow of blood plasma. But suddenly our understanding of temporality is turned on its head, estranged, as Flora announces: Seconds and minutes are effaced and in their place we find the days of the week.
The plant clock has a variable tempo; it slows down and accelerates, translating subjective plant rhythms into a human calendar of weeks and months. Flora in her function as inner-diegetic narrator announces the trip into time-lapse photography: Transfixed in time lapse, your eyes will begin to see!
The second section of the film is highly self-reflexive in its use of technology to mold the movements of the plants. On the one hand, the intertitles evoke a highly emotive and almost expressionist language of primitive rhythms and animalistic desire, which could also be used to characterize the rhythm of Ausdruckstanz itself: On the other hand, the plants seem to be a caricature of industrial efficiency: Although this second act of the film contains numerous intertitles, outlining plant species or genus both popular and scientific names, including the Bananenblatt , Sichelfarn , Ranke , Medeola , Kletterpflanze , or describing plant motives and emotions, subsequent acts do not rely on intertitles to interpret or classify plant movement.
In this second section of the film, which privileges a laboratory setting and the interfering hand of the operator, organic plant rhythm is depicted as a quivering psychology and also read through the lens of technologies of navigation and magnetoception: Instead of the emotive gestures of Ausdruckstanz , here the hand of the scientist interrupts the scene as objective interference, in an attempt to redirect or hinder plant movement.
The dialectical antithesis of the lithe hand of interpretive dance, which extends from the interior or Innenwelt and is supposed to express inner feelings—the disembodied hand of the scientist serves as a sudden, external intrusion. Please note that our editors may make some formatting changes or correct spelling or grammatical errors, and may also contact you if any clarifications are needed.
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Karl May | German author | irideryjawex.tk
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