¶ … city symphonies made in the 1920s (each films). Describe the films in specific way: scenes and music.
Film comparison: City symphonies of the 1920s
During the silent era of cinema, the scores used to accompany various films were used to enhance the experience of watching the production. Director Walther Ruttmann and photographer Otto Umbo's Berlin: Symphony of a Great City (1927) portrays the city of Berlin from dawn to dusk, beginning with a train pulling out of the station early in the morning to the nightlife that brings the day to a close. The film chronicles the rhythms of the city as they gradually build, grow more intense, and finally climax at night, just like the corresponding music itself. The film suggests that Berlin's natural rhythms are a symphony and the music strives to highlight this phenomenon. The images are lush, over-the-top, and Romantic, just like the music itself. "Berlin: Symphony of a Great City, by focusing on a temporal structure instead of a traditional character driven narrative, manages to turn the city itself into a...
However, rather than Romantic, this film has a very modernistic, positive and progressive texture to its visual language. It uses uplifting quotations from Walt Whitman, juxtaposed with pulsating music to suggest that New York City, with its skyscrapers, busy business people, and other facets of the urban landscape represent the greatness of the future of America.
However, Manhatta is rather cold and distanced -- it focuses less upon individual people and more upon the awesome power and scope of the metropolis. When people are photographed, they are seen from a great height, with little intimacy. The city seems more 'human' than the people that inhabit it. "About three quarters of Strand and Sheeler's shots in Manhatta could just be stills. It's less about the camera…
