1930'ernes danske filmkomedie i et lyd-, medie- og genreperspektiv ...

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Danish Film Comedies of the Thirties in a Sound-, Media-, and Genre perspective By Niels Henrik Hartvigson - 187 - The dissertation aims to give a comprehensive aesthetic portrait of the Danish film comedies of the thirties by taking into account three central factors: sound, media convergence and genre. The dissertation is structured in two parts. The first deals with the films’ sound characteristics and how sound comedies convergence with other media; the second part deals with the thirties’ comedies, their motives and characters in perspective of a comedy aesthetics of fracture and elasticity. A modified version of Rick Altman’s crisis historiography serves as the methodological basis of the dissertation. Crisis historiography, which is designed to analyze media in phases of development and transition, argues that these media tend to define themselves broadly and to a large degree in convergence with other media. In the course of five chapters dealing with music, voices, language, sounds, and musical numbers, the films’ salient sound features are analysed along with their linkages with the visual features of the films. The conclusion of the first part presents the following terms as salient of the films’ general sound focus: breadth of sound, synchronization of sound and source, lyricism, contact, physicality and performance. Also presented as salient is a prevalent convergence with a broad range of media. The most important media convergent with films are different kinds of musical and performance theatre. Also, the aesthetics and other characteristics of the radio, telephone, record player, and wireless telegraph are shown to be a direct inspiration upon sound film comedy. The comedy aesthetics of fracture and elasticity are the main theoretical terms of the genre part. These are developed on the basis of the writings of Ole Thomsen, Jens Kruuse and L.J. Potts, who represent a non-media specific understanding of comedy. In the main analytical section it is demonstrated though analyses of seven films, how the films’ elements are staged differently in terms of the aesthetics of fracture and elasticity. More specifically it is shown how comedy’s aesthetics are put in to play through an art of quotation and through the development of a fictive irony through references to reality and fiction. In the chapter about motives it is shown how the couple, a happy ending, a coming together of classes and stage/fiction are employed in accordance with comedy’s aesthetics of fracture and elasticity. The same point is made regarding the four comedy prototypes, which the dissertation has developed as the main descriptive categories for the thirties’ film: The classicistic character, the physical character, the star character and the collage character. The dissertation concludes that it is possible to give a comprehensive aesthetic description of the Danish sound film comedies of the 1930s by analysing the films according to sound, media and genre. Finally, it is proposed that the dominance of the sound comedies in this decade should be explained through the films’ aesthetic breadth, and that comedy functioned as a testing ground for the identity of sound film as such. 187
Danske spillefilm i 1930'erne - kronologisk efter premieredato. Filmografi over 61 danske tonefilmskomedier – i alfabetisk rækkefølge
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1930’ernes danske filmkomedie i e
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73 6. Musiknummeret - kontakt, perf
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- 2 - 1. Indledning Trediverfilmen
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Problemformulering Jeg søger i den
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iscenesættelse eller udklædning i
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I Der var engang en Vicevært og Pl
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- 10 - Blandt al denne negativitet
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- 12 - fuldendt Gentleman”, i som
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- 14 - Bondebjerg placerer med foku
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Del I: Lyd og medier 1. Indledning
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- 18 - Lydeffekter og Billeder” (
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- 20 - Lydens vigtighed for tredive
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- 22 - Jeg bruger således en modif
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Henry Jenkins beskæftiger sig i Wh
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- 26 - 1987: 73). Når den kommer t
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forgrundsmusik, blandingsmusik (mus
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- 30 - Kobberbryllup har flere ekse
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- 32 - 2.6 Sammensætning af stilar
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Fascination af talende hoveder. Kob
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- 36 - double entendre. Det ligefre
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- 38 - instrumentet, så har hun do
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- 40 - Titte til hinanden fra Skal
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vandrer rundt med blandt publikum.
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- 44 - alle omstændigheder kunne t
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- 46 - 4.3 Matchning - mund og spro
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- 48 - potentielt højttravende rep
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- 50 - spil, hvor sangens motiv und
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- 52 - Sådanne ekstreme præstatio
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fejltagelser skaber en folkelig spr
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Volapykstrategi bruges også i You
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advokat (Poul Rohde), der har lovet
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- 60 - Stemmerne i transmissionerne
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- 62 - 5. Modernitetens lyde Trediv
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totalbillede af Kalundborgs master
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- 66 - fædrelandssange til student
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- 68 - 5.4 Ersatz-lyd Musikken unde
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- 70 - 5.6 Moderne landskaber - Sol
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- 72 - vi en benovelse hos passager
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- 74 - I Sjette Trækning synger Ol
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Svend Bille: Her I Poul Løwe har,
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Roy Fox’ utvetydige kontakt i Kø
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- 80 - ekkoer i musikken og stemmen
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- 82 - og smidighed. I Cirkusrevyen
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- 84 - Karen Lykkehus fremfører de
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- 86 - karakteristika ved at beskæ
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- 88 - DEL II: Genre 8. Forskningso
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varieret. Eksempelvis i ”Panserba
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Sportsjournalisten og Sus. Edgar Ha
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- 94 - storbyunivers, dels fordi de
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- 96 - 9. Komedieteori Dette kapite
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- 98 - Gunning placerer slapstickko
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- 100 - Alligevel ender den dog med
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We know a movie is over, when there
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- 104 - August spørger, hvor de er
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- 106 - For Thomsen er ironien den
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- 108 - sættes i værk via sproget
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- 110 - ja, selve det faktum, at ko
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Afhandlingen lægger vægt på at s
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- 114 - tredivermelodramaet Tango,
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- 116 - Brudflader kan også komme
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- 118 - Deres vagabondtøj, deres k
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Carl Johan Hun har sovet sammen med
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- 122 - fortolkningen være åben f
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- 124 - ”nødopkaldene” fra den
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den etablerede revykunstner, Lulu Z
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- 128 - tyverne og trediverne besto
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- 130 - Brudfladerne er markerede,
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- 132 - 11. Motiver Trediverkomedie
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- 134 - markant symbolsk potentiale
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Page 151 and 152: - 148 - I 7-9-13 spiller Svend Bill
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Page 155 and 156: - 152 - forestillinger. Georg Brand
Page 157 and 158: Tilbage i stuen Stine Jeg skulle si
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Page 179 and 180: 20. Komplimenterende og kontrastere
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Page 183 and 184: Brandes, Georg II 1899b Ludvig Holb
Page 185 and 186: Bind I-II. København: Aschehoug. H
Page 187 and 188: Nørgaard, Erik 1971. Levende Bille
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Page 193 and 194: Medvirkende: Eyvind Johan-Svendsen
Page 195 and 196: Ib Schønberg (Quintus Ph. Petersen
Page 197 and 198: Klip: Edla Hansen Dekorationer: L.
Page 199 and 200: Musik: Wilfred Kjær, Henry Willum,
Page 201 and 202: Henrik Brandts operette De blaa Dre
Page 203 and 204: Gudrun Lendrop (Marie Andersen, han
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Page 207 and 208: Svend Asmussens Swingband. Dirigent
Page 209 and 210: Flugten fra Millionerne, 1934, Nord
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Page 215 and 216: Danmark, da gangstere er ude efter
Page 217 and 218: Radiofolkene Ib Schønberg og Ludvi
Page 219 and 220: Mestertyven Lynet flygter fra fæng
Page 221 and 222: Astrid Neumann William Bewer Aage H
Page 223 and 224: Karen Poulsen (Sidse, lugekone) Pou
Page 225 and 226: Ib Schønberg (Herkules Hansen, tje
Page 227 and 228: Jacoba Jessen (jordemoder) Tre enfo
Page 229 and 230: Instrumentation: Peter Deutsch Sang
Page 231 and 232: Instruktør: Alice O'Fredericks og
Page 233 and 234: Asbjørn Andersen (roer) Tove Walle
Page 235: 1937.02.09 Inkognito af Valdemar La
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1930'ernes danske filmkomedie i et lyd-, medie- og genreperspektiv ...

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