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No one would praise Naples in these terms, for it is famously chaotic and gritty — like any number of postmodernist artworks, it is determinedly ununified.
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However, even Marcel L’Herbier, one of the chief filmmakers associated with the movement, admitted to an ununified theoretical stance: "None of us – Dulac, Epstein, Delluc or myself – had the same aesthetic outlook. But we had a common interest, which was the investigation of that famous cinematic specificity. On this we agreed completely." 5 Richard Abel's re-evaluation of Bordwell's analysis sees the films as a reaction to conventional stylistic and formal paradigms, rather than Bordwell's resemblance model.
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Zacara's mass movements appears to have been influential on other composers of the early 15th century, including Johannes Ciconia and Bartolomeo da Bologna; some of his innovations can even be seen in Dufay. Zacara may have been the first to use 'divisi' passages in the upper voices. His movements are much longer than other 14th century mass movements, and use imitation extensively, as well as hocket (a more archaic technique). In general, his paired movements—Gloria, Credo—are a link between the scattered, ununified movements of the 14th century (Machaut's Messe de Nostre Dame being the significant exception) and the cyclic mass which developed in the 15th century.
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This emigration from these as yet ununified villages reached a peak in 1784, with migrants reaching Hungary, the Balkans and Poland. In 1787, Nanzdiezweiler had 141 inhabitants. After the French Revolution broke out, the old lordships on the Rhine’s left bank quickly collapsed, even Electoral Palatinate, and the rather small lordship of the House of Leyen. From very late feudal times (1788) comes the following report about the part of the municipality later known as Nanzdiezweiler: “Diez- and Nanzweiler are actually two doubled little villages or hamlets. For only what lies on the Glan’s left side belongs to the court (that is, Ramstein); the rest, however, on the right side to the Counts of Leyen.
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