parallelmontage – English Translation – Keybot Dictionary

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Das Epochale dieses Films liegt in der "Entdeckung" der politisch gefassten Parallelmontage, dem analyti­schen Kamerablick und der politisch-publizistisch eindeutigen Haltung. Der Autor besteht darauf – nicht zuletzt mit Hinweis des Titels –, dass es sich um "Dokumente" von Unterdrückungs- und Ausbeutungs­praktiken handelt.
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These kinds of documentary films first appeared as feature-length auteur films in the late twenties in capitalist countries, where they served as "counter-information". The first significant documentary film that came to Germany was Yakov Bliokh's Shanhkajskij dokument (The Shanghai Document, SU 1928). It can be regarded as a prototype of the operative film, a film of counter-information. It opens showing the Shanghai harbor and life in the Chinese and European quarters. The hard work of the overburdened coolies is contrasted with the indolence of the property-owning Europeans and the Chinese elite: an exhausted cooly peeks through a fence and catches a glimpse of the European bourgeoisie enjoying bathing and cocktails, the wheels of his cart fade into the turning records of the dancing hedonists, a giant treadmill powered by coolies is transformed into a carousel with laughing European children, followed by the hard work of Chinese children in the silk mills and phosphorous-poisoned match factories. There is a rumbling in the city, but the European military machinery suppresses the unrest. Then revolutionaries fill the streets and the Europeans hide in the enclaves behind sandbags, call for battleships and have regular troops and tanks land. In March 1927 the Southern Army of the Kuomintang under Chiang Kai-Shek takes over the city, but then there is a bloody break with the previously allied communists, bound prisoners are executed. In the end, Chiang Kai-Shek is branded as having betrayed the Chinese Revolution.
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Das Epochale dieses Films liegt in der "Entdeckung" der politisch gefassten Parallelmontage, dem analyti­schen Kamerablick und der politisch-publizistisch eindeutigen Haltung. Der Autor besteht darauf – nicht zuletzt mit Hinweis des Titels –, dass es sich um "Dokumente" von Unterdrückungs- und Ausbeutungs­praktiken handelt.
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These kinds of documentary films first appeared as feature-length auteur films in the late twenties in capitalist countries, where they served as "counter-information". The first significant documentary film that came to Germany was Yakov Bliokh's Shanhkajskij dokument (The Shanghai Document, SU 1928). It can be regarded as a prototype of the operative film, a film of counter-information. It opens showing the Shanghai harbor and life in the Chinese and European quarters. The hard work of the overburdened coolies is contrasted with the indolence of the property-owning Europeans and the Chinese elite: an exhausted cooly peeks through a fence and catches a glimpse of the European bourgeoisie enjoying bathing and cocktails, the wheels of his cart fade into the turning records of the dancing hedonists, a giant treadmill powered by coolies is transformed into a carousel with laughing European children, followed by the hard work of Chinese children in the silk mills and phosphorous-poisoned match factories. There is a rumbling in the city, but the European military machinery suppresses the unrest. Then revolutionaries fill the streets and the Europeans hide in the enclaves behind sandbags, call for battleships and have regular troops and tanks land. In March 1927 the Southern Army of the Kuomintang under Chiang Kai-Shek takes over the city, but then there is a bloody break with the previously allied communists, bound prisoners are executed. In the end, Chiang Kai-Shek is branded as having betrayed the Chinese Revolution.
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Das Epochale dieses Films liegt in der "Entdeckung" der politisch gefassten Parallelmontage, dem analyti­schen Kamerablick und der politisch-publizistisch eindeutigen Haltung. Der Autor besteht darauf – nicht zuletzt mit Hinweis des Titels –, dass es sich um "Dokumente" von Unterdrückungs- und Ausbeutungs­praktiken handelt.
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What is epoch-making about this film is the "discovery" of the politically framed parallel montage, the analytical view of the camera and the politically, journalistically unambiguous stance. The author insists – not least of all with the title – that this is a matter of "documents" of practices of oppression and exploitation. The break with the postcard idyll previously conventional in travelogues is sharp and final, which contemporaries also acknowledged in their reviews: "The cultural film must attain documentary value. However, this documentary will never be without a political flavor." (Film und Volk, No. 1, November 1928, p. 4) Bliokh's parallel montage conjoins images that have no spatial or temporal relation to one another per se, but instead these relations are first produced by the montage. Precisely because this is transparent for the audience, it is made explicit that this is an "interpretation" of the world as it appears, specifically from a socialist perspective: a "communist deciphering of the visible"[2]. The subtle difference between (justified) partisanship and propaganda is found where a person passing judgment is palpable behind the description. Through the revealing of the specific strategy of representation, the object loses authenticity, but the representation gains it. Authenticity is thus not an intentionless characteristic of images, no a priori given natural occurrence, but rather has to be understood as the form and result of media representation.
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Das Epochale dieses Films liegt in der "Entdeckung" der politisch gefassten Parallelmontage, dem analyti­schen Kamerablick und der politisch-publizistisch eindeutigen Haltung. Der Autor besteht darauf – nicht zuletzt mit Hinweis des Titels –, dass es sich um "Dokumente" von Unterdrückungs- und Ausbeutungs­praktiken handelt.
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What is epoch-making about this film is the "discovery" of the politically framed parallel montage, the analytical view of the camera and the politically, journalistically unambiguous stance. The author insists – not least of all with the title – that this is a matter of "documents" of practices of oppression and exploitation. The break with the postcard idyll previously conventional in travelogues is sharp and final, which contemporaries also acknowledged in their reviews: "The cultural film must attain documentary value. However, this documentary will never be without a political flavor." (Film und Volk, No. 1, November 1928, p. 4) Bliokh's parallel montage conjoins images that have no spatial or temporal relation to one another per se, but instead these relations are first produced by the montage. Precisely because this is transparent for the audience, it is made explicit that this is an "interpretation" of the world as it appears, specifically from a socialist perspective: a "communist deciphering of the visible"[2]. The subtle difference between (justified) partisanship and propaganda is found where a person passing judgment is palpable behind the description. Through the revealing of the specific strategy of representation, the object loses authenticity, but the representation gains it. Authenticity is thus not an intentionless characteristic of images, no a priori given natural occurrence, but rather has to be understood as the form and result of media representation.