If any of these movements or periods were familiar to you already, how did this short descriiption compare to your previous ideas about it/them? Do you know anything that the text skipped?

FILM: https://www.youtube.com/watch?v=bCmwaXkf8Xg

A – Re: READING 1, Intro to German Cinema:
1- Which of the eras described in the text sounds the most interesting to you? Which types of film are you most interested to see? Why?
2- If any of these movements or periods were familiar to you already, how did this short descriiption compare to your previous ideas about it/them? Do you know anything that the text skipped?
3- What comparisons or contrasts can you make between German film history and the history of other regions or nations?

B – Re: READING 2, Concise History of Modern Germany:
1- What facts of German history surprised you as you were reading?
2- When did Germany seem to be on the ascent versus on the descent? When was the nation expanding and when was it contracting?
3- What other countries exerted a lot of influence on the German nation in a given period, and how?
4- What system of government did Germany have in a given period? Who were some of the main leaders and what were their titles?
5- What tensions or conflicts characterized the specific periods outlined here? What agreements or commonalities existed despite those differences, either within Germany or between Germany and other nations?
6- What vocabulary words are new to you, and how did you deal with them? These might include the German words that aren’t translated…
7- What is it like to read this kind of history (of major events and the actions of major, top level government officials) covered in such a concise format? Whose stories and what kinds of stories might be missing from this kind of account?

C – Re: READING 3, Specialist Terminology of Film Analysis:
1- The text describes mise-en-scene, cinematography, editing, sound, narrative, and genre. Which of these are you most comfortable discussing, and/or which are you least comfortable discussing? Why?
2- Can you describe an example of mise-en-scene from I Don’t Want to Be a Man?
3- Is there a moment in the film when you noticed some aspect of cinematography?
4- Most of the film we watched consists of medium shots; why do you think they chose this distance/framing? What are the benefits for this story of a medium shot?
5- Can you spot any exceptions, either close-ups or long shots? Why would the filmmaker change the distance for that shot?
6- I Don’t Want to Be a Man is explicitly described as a comedy in the opening credits. What are your expectations for this genre? How does this film meet your expectations as a comedy? Does it break from your expectations in any way?

D – Re: FILM 1, I Don’t Want to Be a Man:
1- Chris Straayer would describe this film as a “temporary transvestite film,” and he claims that while this type of film might seem radical, they actually reinforce traditional gender norms. He writes: “These films offer spectators a momentary, vicarious trespassing of society’s accepted boundaries for gender and sexual behavior. Yet one can relax confidently in the orderly demarcations reconstituted by the films’ endings” (417). What do you think? In what ways is this claim true of I Don’t Want to Be a Man? Are there ways in which you think it is not true?
2- The lead actress, Ossi Oswalda, was a huge star, but is not especially well known today. And this is true of most women slapstick comedians of the silent era: Charlie Chaplin’s mentor Mabel Normand is another example. What do you think Oswalda’s appeal for audiences would have been in 1918? Does her performance appeal to you today? Why do you think these women were marginalized in later decades? Are there larger historical events that could have played a role?
3- What surprised you in this film? Was it a technical, or a historical/cultural aspect that surprised you? Having been surprised, what new ideas or questions do you have about Berlin in 1918?
4- In the story, the character Ossi is living with her uncle and cared for by a governess. How does this family constellation fit with the historical context of 1918?

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