The films made by Ernst Lubitsch in Hollywood during the 1920s contravene the norms of the classical style, especially through the use of off-screen space. The silent films of this director from Berlin violate one of the basic premises of the classical model: that the spectator must be positioned in the best possible location to be able to see everything easily. In addition, the way space is treated in these films is at times ambiguous and not always in keeping with causal logic. To explain exactly how these deviations from the norm cx:cur, this article offers a detailed analysis of three sequences in The Student Prince in Old Heidelberg (Ernst Lubitsch, 1927), in which the off-screen space is activated in different ways.
lubitsch; cine mudo; estilo clasico; fuera de campo; el principe estudiante; elipsis