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essay 4 EUH - Yaunek Murray EUH 2021 Section Instructor...

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Yaunek Murray EUH 2021 Section Instructor: Reed Due Date: April 25, 2011 The New Baloney in League: From Criminous Clerks to Murderous Monks In this unit of the course, the films were all released during times of hardship in eras when perseverance was a common outlook for the respective countries. Although it is fairly clear the political and social agenda of each movie, the deeper more subliminal meaning were in the role of the female characters in each movie. For reason of clarity and thoroughness, one is inclined to begin this discourse with the epic German film Kriemhild’s Revenge (1924); a silent film, in black in white, it requires more detailed assertions. The Burgundian Princess, Kriemhild, was a very strong influence in the film; virulent, with her exceptional variability and maneuvering power. Kriemhild’s influence in the film is not an attribute that German women could relate to at the time of the film; not to mention her obtained authority through marrying Atilla the Hun was all for naught and her primary intentions all though seemingly noble, for the purpose of the film were portrayed as obsessive and destructive. In Kriemhild’s Revenge (1924) the princess was purposely portrayed as a diabolical character that simply goes too far, and in many ways Kriemhild does personify the German state. One should not find it coincidental that Adolf Hitler actually staged his first coup in 1923, which failed, even though it had been planned during the time of a weakening Weimar Republic. Gaining popularity after this attempted clench of power, it is not far-fetched that this film could have sympathized with Hitler’s emphatic militant action. Although Hitler was not necessarily in power during the time of the film’s release, the Nazi ideal was spreading throughout the nation. This film was a sort of romanticized political propaganda. Quite possibly true, that the romantic aspects of it were needed to convey hope and passion to the German
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Yaunek Murray EUH 2021 Section Instructor: Reed Due Date: April 25, 2011 viewers, that one day their land could be free from any unworthy influence or unsavory situation. The German economy at this time was in terrible condition with inflation at a record high. Many civilians wanted change but few people knew what needed to be done and disgruntled political groups were resorting to violence. In the film, Kriemhild was for the most part helpless and void of physical prowess. Although it was clear her passionate intent to eliminate Hagen Tronje, she never made an attempt to accomplish this on her own strength. This very same ineptitude was apparent in with Uracca and Chimene in El Cid (1961), however, the women in the Alexander Nevsky (1938) and Krzyzacy (1960) were much more resourceful and teeming with determination. One should also note that the women of the eastern epics were of rougher backgrounds than the women of the western European films. The main women characters in the two fascist movies were either royalty or nobles.
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