By Will Steger, Jon Bowermaster
In March 1990, Will Steger accomplished what no guy had ever prior to tried: the crossing of Antarctica, a complete of 3,700 miles, walking. Lured via the problem and the great thing about Earth's final nice desolate tract, and made up our minds to concentration the world's realization at the frozen continent now that its ecological destiny hangs within the stability, Steger and his foreign Trans–Arctica workforce played a rare feat of patience.
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In March 1990, Will Steger accomplished what no guy had ever prior to tried: the crossing of Antarctica, a complete of 3,700 miles, strolling. Lured by means of the problem and the great thing about Earth's final nice desert, and made up our minds to concentration the world's realization at the frozen continent now that its ecological destiny hangs within the stability, Steger and his overseas Trans–Arctica workforce played a unprecedented feat of persistence.
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The ﬁlm’s narrative drives towards that ﬁnal constellation encapsulated in its ultimate shot. Metropolis opens with a shot of a city signaling its abstract design, which reﬂects the modernist vision of functionalism and the absence of decoration. Onto this shot continued 42 • Modernity and the city ﬁlm are projected close-ups of industrial machines that function in a well-orchestrated rhythm. By showing only parts of machines, the close-ups celebrate the industrial aesthetic and at the same time obscure the concrete function of the machines.
The three groups of ﬁlms are also linked by the inﬂuence they had on each other: style and themes of Weimar cinema reappear in ﬁlm noir, which in turn is quoted and referenced by the directors of the French New Wave. These connections do not contradict the understanding of national cinema; even during its height, transnational exchange was common, sometimes resulting from migration, as when ﬁlmworkers from the Weimar Republic ﬂed the Hitler regime and found work in Hollywood. Later, French directors paid homage to individual ﬁlmmakers and actors in Hollywood who sometimes, like Fritz Lang, were ﬁlm émigrés from Germany.
Several of the important ﬁlm noir directors were German or Austro-Hungarian and had ﬂed Hitler’s dictatorship in Europe; consequently, this chapter, and particularly the case study of Billy Wilder’s Double Indemnity (1944), investigates the continuation of and breaks between the aesthetic and topical representation of the Weimar city ﬁlm and ﬁlm noir. Parallel to the ﬁrst chapter, here I discuss Los Angeles as an allegory for modernity and also continue examining the ways in which gender functions in city ﬁlms: the ﬂâneur Los Angeles • 47 and the prostitute in the Weimar city ﬁlm are reincarnated in the private detective and the femme fatale.