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below, then to clouds of steam obscuring and revealing the bridge's steel structure. A worker ascends, inspects, observes the surrounding environs, and descends the superstructure. From a vantage point between two train cars coupled together, the countryside flits by as the train makes its way to the bridge. The bridgemaster at the control console commands the raising of the central section, and the massive alignment grooves, pulleys, cables, and counterweights are all detailed in their steady synchronized operation until the bridge's maximum height of 38 meters is reached. Sailing and steam ships then make their way under the raised bridge, while the steam train waits, puffing. The bridge descends, the counterweights rise, and the train continues on its way.
189:, architect at the Dutch Railways, who enabled Ivens to make his film. Ivens called the bridge "a laboratory of movements, tones, shapes, contrasts, rhythms, and the relations between all of these." He climbed the bridge over a period of months and filmed it "day after day" on lunch breaks, searching for "expressive angles." Germaine Krull also made photographs of Ivens during the production, which Van Ravesteyn made into a collage for the cover of the
178:, one of Ivens' first ventures into filmmaking, followed in a similar vein. This enthusiasm, and the interest to make a film about a railway bridge, was also informed by Germaine Krull, whom Ivens had met during his studies in Berlin, and married in 1927, while she was working on her photographic portfolio
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Three views of the film camera appear "as if in a technical drawing. It then proceeds to examine the bridge from all angles." The bridge is shown in ultrawide format, then wide, then in close-up, from a train rider's viewpoint. The view shifts to outside the train looking down at the harbor water far
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158:(1927-1933). While Ivens managed his father's photographic business, he was able to inspect film prints. His "first enthusiasm was the abstract films sent to them — sometimes
182:. With Rotterdam being a modern, technology-oriented city, the construction of the bridge was also extensively covered in the press, while it inspired various artists too.
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was described in the
British journal CLOSEUP (1928) as a "pure visual symphony." Many film critics, historians and theorists would write about this film in later years
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The
Filmliga had established branches in different Dutch cities, and many architects were among their members. One of them was
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Ivens' "almost entirely abstract" film achieved immediate international fame.
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Archive.org version: 15:30. Film festival version is reported as 11 minutes.
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318:. New York, Red Diaper Productions, 2002. Retrieved 2 August 2010.
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Imagine a
Metropolis: Rotterdam's Creative Class 1970-2000
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Cinematic
Rotterdam: The Times and Tides of a Modern City
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and others, established the avant-garde film association
123:. This silent film explores the then-newly constructed
330:"The Bridge: Seen in the Perspective of the Programme"
162:to them — from Germany by new film directors
425:is available for free viewing and download at the
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316:The films of Joris Ivens - Cinema Without Borders
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361:Oxford University Press
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532:The Seine Meets Paris
622:Bridges in Rotterdam
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193:magazine (1928/11).
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464:Joris Ivens
121:Joris Ivens
100:Netherlands
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51:Joris Ivens
42:Joris Ivens
38:Directed by
582:1928 films
576:Categories
363:. p.
345:References
176:The Bridge
113:The bridge
92:15 minutes
129:Rotterdam
56:Edited by
16:1928 film
245:2 August
191:Filmliga
168:Eggeling
164:Ruttmann
135:Synopsis
483:De brug
422:De brug
411:De brug
198:De Brug
172:Richter
160:brought
144:History
108:De brug
97:Country
74: (
24:De brug
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334:Ivens
204:Notes
180:Métal
117:Dutch
490:Rain
416:IMDb
390:ISBN
369:ISBN
285:ISBN
247:2010
76:1928
72:1928
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
