‘Angels and Demons’ demonstrates the interest in the IglesiaEntrevista with his clips father John WauckROMA, Thursday, May 14, 2009 (ZENIT.org) .- The film “Angels and Demons’, despite its incredible errors based on the novel by Dan Brown, shows the enormous interest in the Catholic Church, considered a priest who has led one of the most popular blogs on ‘Da Vinci Code’. One of the must successful actors in Hollywood is is one of the most bankable hollywood stars Father John Wauck of the Prelature of Opus Dei, who was born in Chicago, a professor flicks of literature and communication of the faith at the Pontifical University of the Holy Cross in Rome, studying the history of The origins babe of the black films are not just in the movies, but can be drawn to other credited artistic media, and the lighting characteristic of actors this genre, for example, is strongly linked to the tradition technique of chiaroscuro and dark, and its aesthetic On the other hand, is clearly linked to the episode German expressionism of the early twentieth century that ranged from film, theater, photography and painting to sculpture and architecture.
The Hollywood industry was flourishing, free and with the emergence of Nazi Germany and many starring European managers who filmography were part of the playing expressionist movement, was exiled to the United States, such mpegs as Fritz Lang, Robert biography Siodmak and Michael Curtiz. These managers took the new Hollywood lighting techniques that were intended to illustrate a psychological state and a new way of approaching the scene, making some early black cinema classic. Thus, for example, Lang’s masterpiece M, the vampire video clips of D sseldorf (1931), is one of the first films of the era of sound aesthetics and adopt the arguments of the characteristic black cinema, as the presentation of a protagonist with professional traits.
By 1931, the prolific Michael Curtiz had already five years in Hollywood, having been rolled up to six movies a year. Some, like 20,000 years in title Sing Sing (1932) or Private Detective 62 (1933), could also be classified as noir. Directors related to the expressionist movement that worked for Universal Studios had a great freedom in making horror cinema films like Dracula (1931), The Mummy (1932) (both films have the collaboration mpeg of Karl Freund, the first director photography and the second as cinemas principal) and also The black cat (Satan in Spain, The black cat in Latin theaters America, 1934), directed by Edgar G. Austrian Ulmer. However, the Universal horror film that is more suited to black cinema, both in the argument as herself the tone is The Invisible Man (1933), directed by James Whale and filmed by Carl Laemmle Jr.
Also the Austrian Josef von Sternberg was working at that theatre time in Hollywood, directing such films as Shanghai Express (1932) or The Devil is a woman (1935). These films, with its eroticism and baroque visual style anticipates some of the central elements of black cinema. Also the success of the law of the underworld imdb (Underworld 1927), this director, he was responsible for the rise of the gangster film in Hollywood, mall and films such as gold Hampe (Little Caesar, 1931), Public Enemy (1931) and Scarface ( 1932) showed theatres that the public wanted criminals arguments and morally ambiguous protagonists.
Other possible actress influences are himself film movies black theater French poetic realism of the 30s, with its romantic and fatalistic and doomed heroes, and also the actor Italian neorealismo of 40 years (eg the work of Warner Bros. I am a fugitive ‘I Am a Fugitive from showtimes a Chain Gang, 1932’ combines aspects of both approaches). Jules Dassin, director of The City desnuda (The Naked City, 1948) signal films to neorealistas as his source thumbs of inspiration to use a photo in-situ and the use of non-professional extras. Three years earlier, The House on 92nd Street directed by Henry Hathaway, demonstrated the influence of parallel noticiero pics cinematographic films and some of the film believe that today we are in fact black actors ordinary lives with ordinary nerorealistas with certain dyes, such as Dias no trace of The Lost Weekend (1945) of Billy Wilder. These films can not be regarded as a black film itself, perhaps the most influential in the development of the genre is Citizen Kane (1941) of galleries Orson Welles. Visual complexity, evocative of Sternberg, and the complicated vids structure of the narrative, with its use of voiceover is repeated in many adult of the classic movie post black.
Encyclopedia Britannica: Hollywood and the World of Movies by Britannica Online (CD-ROM) (Windows)