FILMS. 4th EDItION KAMERADSCHAFT Amengual, Barthelemy, Georg Wilhelm Pabst, Paris, 1966. Aubry, Yves, and Jacques Petat, G. w. Pabst, in Anthologie du Cinema 4. Paris. 1968 Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell. Roger and Heinrich Fraenkel. The German Cinema. New Atwell. Lee. G.W. Pabst. Boston. 1977. Barth, Hermann, Psychagogische Strategien des Filmischen Diskurses in G. w. Pabst's Kameradschaft, Munich, 1990. Metzner, Erno, in Close Up(London), March 1932. New Statesman and Nation(London). 5 March 1932. Spectator(London), 12 March 1932. New York Times, 9 November 1932. Variety(New York), 15 November 1932. Potamkin, Harry A,"Pabst and the Social Film, in Hound and Horn(New York), January-March 1933 Manvell, Roger, in Sight and Sound(London), November 1950 "Pabst Issue"of Filmkunst(Vienna), no. 18, 1955. ¨ Pabst issue” of Cinemages( New York,May195: Image et Son(Paris), November 1960. Cineforum(Bergamo), no. 14, 1962. Luft, Herbert, G. W. Pabst, in Films in Review(New York) February 1964 Luft, Herbert, "G. W. Pabst, in Films and Filming (London) Karl Otten; photography: Fritz Armo Wagner and Robert Baberski Pulleine, Tim, in Monthly Film Bulletin(London), March 1978 Carroll, N, "Lang, Pabst, and Sound, in Cine-Tracts(Montreal). editor: Hans Oser, sound recordist: A Jansen; production design- Fall 1978 ers: Erno Metzner and Karl Vollbrecht: French advisor: Robert Filmkunst(Vienna), no 86, 1980 Beaudoin Sauvaget, D, in Image et Son(Paris), March 1981 Cast: Alexander Granach(Kaspar); Fritz Kampers(Wilderer): Dan- "Kameradschaft oder Neoverismo anno 1931, in Filmkunst(Vi- iel Mendaille(Pierre): Ernst Busch(Kaplan): Elisabeth Wendt enna),no.124,1990. (francoise): Gustav Puttjer(Jean): Oskar Hocker(Emile): Helena Manson (Albert's wife ) Andree Ducret(Francois): Alex Bernard Kameradschaft is a noble filmin theme and execution. It reflects Roll and like them it has at the back of its mind a shadow of doubt. In 1931 in Germany events were moving slowly to the rise of Hitler, which all the good will in the world could not stop, and the film does in fact end Otten, Karl, and others, Kameradschaft, in Le Cinema realist The action turns on a single event On the borders of france an allemande, edited by Raymond Borde, Lyons, 1963 Germany a vein of coal cuts through the frontier. Above ground a frontier post separates two communities; in the mine a brick wall separates the German and French workers From the very fin Books boys quarrelling over a game of marbles to those of three German workers who decide to spend a Saturday night in a French dance hall, Kracauer, Siegfried, From Caligari to Hitler: A Psychological His- the director G. w. Pabst sets the mood of the film. Action is sparked tory of the German Film, Princeton, 1947 off when an explosion in the French mine is reported to the German Joseph, Rudolpf, editor, Der Regisseur. G. w. Pabst, Munich, 1963. miners as they stand naked in the great shower room with their clothes Buache, Freddy, G. w. Pabst, Lyons, 1965. raised above the sprinklers by chains. Ernst Busch, their spokesmanFILMS, 4 KAMERADSCHAFT th EDITION 623 Kameradschaft Karl Otten; photography: Fritz Arno Wagner and Robert Baberski; editor: Hans Oser; sound recordist: A. Jansen; production design￾ers: Ernö Metzner and Karl Vollbrecht; French advisor: Robert Beaudoin. Cast: Alexander Granach (Kaspar); Fritz Kampers (Wilderer); Dan￾iel Mendaille (Pierre); Ernst Busch (Kaplan); Elisabeth Wendt (Françoise); Gustav Püttjer (Jean); Oskar Höcker (Emile); Hélèna Manson (Albert’s wife); Andrée Ducret (François); Alex Bernard (Grandfather); Pierre Louis (George). Publications Script: Otten, Karl, and others, Kameradschaft, in Le Cinema réaliste allemande, edited by Raymond Borde, Lyons, 1963. Books: Kracauer, Siegfried, From Caligari to Hitler: A Psychological His￾tory of the German Film, Princeton, 1947. Joseph, Rudolpf, editor, Der Regisseur: G. W. Pabst, Munich, 1963. Buache, Freddy, G. W. Pabst, Lyons, 1965. Amengual, Barthélemy, Georg Wilhelm Pabst, Paris, 1966. Aubry, Yves, and Jacques Pétat, ‘‘G. W. Pabst,’’ in Anthologie du Cinéma 4, Paris, 1968. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Atwell, Lee, G.W. Pabst, Boston, 1977. Barth, Hermann, Psychagogische Strategien des Filmischen Diskurses in G. W. Pabst’s Kameradschaft, Munich, 1990. Articles: Metzner, Ernö, in Close Up (London), March 1932. New Statesman and Nation (London), 5 March 1932. Spectator (London), 12 March 1932. New York Times, 9 November 1932. Variety (New York), 15 November 1932. Potamkin, Harry A., ‘‘Pabst and the Social Film,’’ in Hound and Horn (New York), January-March 1933. Manvell, Roger, in Sight and Sound (London), November 1950. ‘‘Pabst Issue’’ of Filmkunst (Vienna), no. 18, 1955. ‘‘Pabst Issue’’ of Cinemages (New York), May 1955. Image et Son (Paris), November 1960. Cineforum (Bergamo), no. 14, 1962. Luft, Herbert, ‘‘G. W. Pabst,’’ in Films in Review (New York), February 1964. Luft, Herbert, ‘‘G. W. Pabst,’’ in Films and Filming (London), April 1967. Pulleine, Tim, in Monthly Film Bulletin (London), March 1978. Carroll, N., ‘‘Lang, Pabst, and Sound,’’ in Ciné-Tracts (Montreal), Fall 1978. Filmkunst (Vienna), no. 86, 1980. Cinématographe (Paris), February 1981. Sauvaget, D., in Image et Son (Paris), March 1981. ‘‘Kameradschaft oder Neoverismo anno 1931,’’ in Filmkunst (Vi￾enna), no. 124, 1990. *** Kameradschaft is a noble film—in theme and execution. It reflects the proletarian idealism of its time. It smacks of Toller and Rolland, and like them it has at the back of its mind a shadow of doubt. In 1931 in Germany events were moving slowly to the rise of Hitler, which all the good will in the world could not stop, and the film does in fact end on an ironic note. The action turns on a single event. On the borders of France and Germany a vein of coal cuts through the frontier. Above ground a frontier post separates two communities; in the mine a brick wall separates the German and French workers. From the very first shots of boys quarrelling over a game of marbles to those of three German workers who decide to spend a Saturday night in a French dance hall, the director G. W. Pabst sets the mood of the film. Action is sparked off when an explosion in the French mine is reported to the German miners as they stand naked in the great shower room with their clothes raised above the sprinklers by chains. Ernst Busch, their spokesman