Decentric Perspectives: Kracauer's Early Writings on Film and Mass Culture
1991; Duke University Press; Issue: 54 Linguagem: Inglês
10.2307/488426
ISSN1558-1462
Autores Tópico(s)Cinema and Media Studies
ResumoReviewing Karl Grune's The Street for the Frankfurter Zeitung February 1924, Kracauer describes the introductory sequence of the film. The protagonist (Eugen Kklpfer) is lying on the sofa in a pettybourgeois living-room which is supposed to be home [Heimat] yet fails to be just that. Fascinated with the play of light and shadow on the ceiling, the dreamer gets up to look out of the window. While his wife only sees the street as it is, his look unveils to him the senselessly tempting jumble of reeling life which, alas, is no more a home [Heimat] than the living-room but, instead, adventure and untasted possibility.' The configuration of a double homelessness between the sham of the bourgeois interior and the anonymous otherness of the modem street was to become emblematic of Kracauer's own position, of his self-definition as an intellectual. As a number of critics have noted, his exile did not begin 1933, and his later plea for a personal extraterritoriality (in a letter to Adorno on November 8, 1963) merely made explicit a persistent motif his writings from the beginning.2 In
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