Liebelei

Liebelei Arthur Schnitzler's 1895 play "Liebelei", like his debut at "Castle Theater", caused a massive controversy in the high society of Vienna, and his scripts are numerous. This reaction can be explained in part by Schnitzler's "Candidate explanation" 1 and his rude explanation about the then Viennese society. In this article, Schnitzler will demonstrate the insight that has brought to Vienna society through the role of "Liebelei" at the turn of the century.

LSMAX OPHU b. Max Oppenheimer, Saarbrücken, Germany, May 6, 1902, d. On March 26, 1957, in the 1930s and 1950s, MaxOphu overseeed more than 20 films in five countries, and he himself became a generation of an excellent visual stylist. His film is characterized by the systematic use of constantly moving cameras highlighting the temporary nature of the romantic dream of his character. Die Verkaufte Braut (The Bartered Bride, 1932) includes the elaborate camera movement by Ophu-lls and the use of the deep space stage, but Liebelei (Flirtation, 1933) is his iconic style It is recognized as the first fully developed example. . The movie tells the story of a young Viennese lady officer at the turn of the century and she briefly discovers the true love and parallels the thorough camera movement in order to develop the excitement of courtship and the tragic destiny of the couple I will use the sequence you just made.

Group of core art collaborators. It is reflected in Madame de's waltz scene that Ophuèls's complicated usage of camera movement and symmetry creates short excitement of love. . When the camera takes the initiative and there is a lover around the pillar, the statue and the gorgeous decoration dance in a series of five nights, every evening there is a new position and orchestra, the same couple and the same waltz. The symmetry of behavior and music and the rotational motion of the camera express the overwhelming pleasure of the couple and are indifferent to the people around. The camera died with them until they announced their husband 's immediate news, and they celebrated the couple and extinguished the chandeliers until they announced their destiny to fail. Andrew Sarris and other critics believe Orphe's style is visualizing the inevitable effect of time. . . (1953 Earrings, Madame Do ...), Roramon (1955)