Abstract
Industrial metropolises have become an unprecedented synchronization phenomenon, which has been capable of captivating the imagination and influencing the culture of large city dwellers. As a result, the cinema also ended up reflecting the social awareness of the industrial metropolis as a novelty. The machine metaphors that it generated were meant to convey all the urban synchronicity through the celluloid film, whether apologetically or critically. Underlying those new outlooks on urban life, there was a legitimate sense of awe before everything that was unknown and unprecedented about the daily events taking place in a metropolis. This study aims to identify the presence of the discourse of machinism dedicated to big cities in films of the interwar period.
Highlights
Industrial metropolises have become an unprecedented synchronization phenomenon, which has been capable of captivating the imagination and influencing the culture of large city dwellers
This study aims to identify the presence of the discourse of machinism dedicated to big cities in films of the interwar period
Lustig e Adalberto Kemeny, de 1929); Sólo las horas (Rien Que les Heures, Alberto Cavalcanti, 1926); Tiempos Modernos (Modern Times, Charles Chaplin, 1936); ¡Viva la libertad! (A Nous la Liberte, René Clair, 1931)
Summary
En la primera mitad del siglo pasado, la ciudad se convertía en un objeto de la cultura y del pensamiento. Además de esas sinfonías fílmicas, invariablemente dedicadas al paisaje urbano y a su transformación a lo largo del día, la gran ciudad merecería un tratamiento privilegiado en varias otras producciones, como en Paris dormido (Paris qui dort), de René Clair, de 1925; Metrópolis, de Fritz Lang, de 1927; y Tiempos Modernos (Modern Times), de Charles Chaplin, de 1936. Así que entre los filmes de la época podemos encontrar tanto el pesimismo sombrío de Metrópolis, como el ufanarse «nacional-progresista» de São Paulo, Sinfonia da Metrópole, pasando por la modernidad radical y cargada de ambigüedades del análogo berlinés. No es difícil constatar que las nuevas configuraciones de tiempo y espacio que la sociedad industrial le confirió a las grandes ciudades es uno de los temas que más fuertemente condicionaron las películas en cuestión
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