Der blaue Engel 1930

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Der blaue Engel (1930)
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Key Themes

• Context of the films aesthetics
• The figure of Professor Rath
• The function of der blaue Engel
• Lola and the role of the femme fatale

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Context of the films aesthetics

• How is the film an example of Expressionism?
• The image of the town?
• Why does von Sternberg portray the world in this
  way?
• an externalisation of inner crisis?

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Context of the films aesthetics

• How is the film an example of Street Realism?
• Use of realistic sets?
• Image of women?
• The film and social critique?

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The figure of Professor Rath

• What does he think of himself?
• How is he treated by his pupils?
• Rat/Unrat?
• Representation of education?
• How does this differ from Wedekind?
• How does his character develop?
• How should we view his end?
• The end of a buffoon or a terrible tragedy?

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The function of der blaue Engel

• What sort of place is der blaue Engel?
• Mikhail Bakhtins theory of the Carnivalesque?
• The deconstruction of bourgeois values
• The role of the fool in culture and how is it
  used in der blaue Engel?

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Lola and the role of the femme fatale

• What is a femme fatale?
• What is Lolas role?
• Is she the product of the male gaze?
• How is she constructed?
• Her dress?
• Her voice?
• The androgynous nature of her character?
• A new Weimar woman?
• or a very traditional character?
• reincarnation of Eve- the danger of desire?

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Lola and the role of the femme fatale

• Männer umschwirr'n mich,Wie Motten um das
  Licht.Und wenn sie verbrennen,Ja dafür kann ich
  nicht.Ich bin von Kopf bis FußAuf Liebe
  eingestellt,Ich kann halt lieben nurUnd sonst
  gar nichts. 

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Lola and the role of the femme fatale

• Lola as a metaphor of modernity?
• Use of the verb einstellen?
• How does her sexuality challenge traditional
  constructions of masculinity and femininity?
• What is the final message of the film?
• A celebration of freedom or a conservative call
  for control?