1. UN- KUHLE WUMPE (TO WHOM DOES THE WORLD BELONG?) SEMI NAR Trivia Production Context LORI KENT

2. Written and partially directed by BERTOLD BRECHT Direction: Slatan Dudow. Cinematography: Gunther Krampf Music: Hanns Eisler c. 1932 UN-SEMINAR PRESENTATION:

3. Everyone needs help from everyone. - Bertolt Brecht http://wiu.edu/users/brecht10//brecht_english/brecht_chronology.html

4. It is rumored that Brecht had ____ mistresses simultaneously throughout his adult life. A. One B. Two C. Three

5. It is rumored that Brecht had ____ mistresses simultaneously throughout his adult life. A. One B. Two C. Three

7. A LARGER CONTEXT: THE ACADEMY AWARDS

8. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

9. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

10. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

11. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

12. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

13. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

14. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

15. NOTES ABOUT PRODUCTION • THE CREATORS OF THE FILM WERE ACCOMPLISHED IN THEIR FIELDS • CENSORED/EDITED TWICE BEFORE RELEASE • OVER A YEAR IN THE MAKING (DUE TO INTERRUPTIONS) • 60% OF THE FILM WAS SHOT IN “EVERYDAY SETTINGS” • THE FIRST SOUND FEATURE BY THE LEFT. • FEATURED LEFTIST THEATER AND AGIPROP GROUPS SUCH AS GRUPPE JUNGER SCHAUSPIELER AND DAS ROTE SPRACHROHR • LOW BUDGET AND FINANCIALLY TROUBLED • PROMETHEUS FOLDED THEN PRASENS FILM COMPANY COMPLETED THE PRODUCTION

16. Prometheus Film-Verlieh und Vertriebs-GmbH was solvent in 1925 because they served as the distributors of: a. Cabinet of Dr. Cagliari b. Battleship Potemkin c. Gold Rush

17. Prometheus Film-Verlieh und Vertriebs-GmbH became financially successful in 1926 because they served as the distributors of: a. Cabinet of Dr. Cagliari b. Battleship Potemkin c. Gold Rush

20. http://itunes.apple.com/us/album/the-best-german-beer-drinking/id385112689

21. Context of Berlin – Urban, Industrialized, Crowded, Troubled

22. Context of Berlin – Urban, Industrialized, Crowded, Troubled Introduction to Family

23. Context of Berlin – Urban, Industrialized, Crowded, Troubled Introduction to Family Glimpse of “Community”

24. Context of Berlin – Urban, Industrialized, Crowded, Troubled Introduction to Family Glimpse of “Community” 161 seconds of cultivated and semi-cultivated nature

25. Context of Berlin – Urban, Industrialized, Crowded, Troubled Introduction to Family Glimpse of “Community” 161 seconds of cultivated and semi-cultivated nature Camp

26. Engagement Party

27. Engagement Party Comradeship through Sport

28. Engagement Party Comradeship through Sport Political Theater

29. Engagement Party Comradeship through Sport Coffee Conversation: Critique of Global Capitalism Political Theater

30. Mother smiles once. What is the context?

34. “ THE MOOD SET WAS PASSIVE AND DEPRESSING…DETERIORATED HOUSING.” THE MONTAGE COMBINED WITH AGITATIVE MUSIC WAS USED TO “ STIMULATE OPPOSITION MORE THAN SYMPATHETIC SENTIMENTALITY.” Murray, B (1990). Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wumpe. Ausitn: University of Texas Press. p 221

39. If this scene were your inspiration for a country and western song, what would you name it?

40. Eric O’Donnell Cowboys: East Germany, Rebels of the Vogtland http://www.youtube.com/watch?v=Ui1W7TQ15vo&feature=related

41. Franz’ scream is his only utterance. “This scream is as non-human as the sounds made by [Kafka’s] insect Samsa. Franz’s final scream is contrasted with the steps of his mother. There is no silence after death. The steps persistently echo along the images of their apartment, until the camera finally fixes on the image of the bicycle.” For a detailed description of the distinction between voice versus sound see Dolar, M. (2006) A Voice and Nothing More. London: MIT Press.

42. Poem for Franz . http://video.google.com/videoplay?docid=-216676152094085175

44. Weegee (1941) First Murder

45. CAMP

51. THE CREATIVE STRATEGY OF BRECHT: The spectator was no longer in any way allowed to submit to an experience uncritically (and without practical consequences) by means of simple empathy with the characters in a play. The production took the subject matter and the incidents shown and put them through a process of alienation: the alienation that is necessary to all understanding. When something seems 'the most obvious thing in the world' it means that any attempt to understand the world has been given up. Bertold Brecht, interview with Luth Otto, in Brecht on Theatre: the Development of an Aesthetic , ed. and tr. by John Willett, Hill and Wang, New York, 1964, p. 70-71

52. BRECHT’S CRITIQUE OF “REALISTIC” THEATER: The bourgeois theatre's performances always aim at smoothing over contradictions, at creating false harmony, at idealization. Conditions are reported as if they could not be otherwise; characters as individuals, incapable by definition of being divided, cast in one block, manifesting themselves in the most various situations, likewise for that matter existing without any situation at all. If there is any development it is always steady, never by jerks; the developments always take place within a definite framework which cannot be broken through. None of this is like reality, so a realistic theatre must give it up . . Bertold Brecht, "Appendices to the Short Organum," in Brecht on Theatre: the Development of an Aesthetic , ed. and tr. by John Willett, Hill and Wang, New York, 1964, p. 271, para. 46.

53. THE BEST YEARS OF HIS LIFE…

60. WHO IS THE US?

61. THE CREATIVE STRATEGY OF BRECHT: Verfremdungseffekt Bertold Brecht, interview with Luth Otto, in Brecht on Theatre: the Development of an Aesthetic , ed. and tr. by John Willett, Hill and Wang, New York, 1964, p. 70-71

62. NOTES ABOUT RECEPTION: AN ESTMIATED 14,000 PEOPLE ATTENDED PERFORMANCES AT THE ATRIUM THE FIRST WEEK. IT PLAYED AT 17 OTHER BERLIN THEATERS FOR ANOTHER WEEK. OVERALL, THE FILM FAILED TO CAPTURE THE PUBLIC’S INTEREST. THE PRODUCERS FELT THE FILM WAS A SUCCESS, IN PART, BECAUSE OF THE NUMBERS OF PARTICIPANTS IN THE CREATION OF THE FILM–ABOUT 4000+. Murray, B (1990). Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wumpe. Ausitn: University of Texas Press

64. MUSIC Varshaviana • History of the Soviet Union in Ballad and Song Klarinettenmucki • Polka Express Kaddisch • Paul O’ Montis & Ralph Erwin Gelbe Rose • Medium Terzett Een Schlager Gaat op Stap • Heinje Davids Eine Nacht in Monte Carlo • (1931) • Heinz Egon Karlsbader Sprudelfox • (1931) • Hermann Leopoldi