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Film Front Weimar

Film Front Weimar
Author: Bernadette Kester
Publisher: Amsterdam University Press
Total Pages: 340
Release: 2003
Genre: Performing Arts
ISBN: 9789053565988

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How was Germany's experience of World War I depicted in film during the following years? Drawing on analysis of the films of the Weimar era--documentaries and feature films addressing the war's causes, life at the front, war at sea, and the home front--Bernadette Kester sketches out the historical context, including reviews and censors' reports, in which these films were made and viewed, and offers much insight into how Germans collectively perceived World War I during its aftermath and beyond.


The Many Faces of Weimar Cinema

The Many Faces of Weimar Cinema
Author: Christian Rogowski
Publisher: Camden House
Total Pages: 370
Release: 2010
Genre: Performing Arts
ISBN: 1571134298

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Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles on film spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available and augmented by the increased availability of films from the period on DVD. This wealth of new source material calls for a re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor and Chair of German at Amherst College.


Shell Shock Cinema

Shell Shock Cinema
Author: Anton Kaes
Publisher: Princeton University Press
Total Pages: 326
Release: 2009
Genre: Art
ISBN: 0691008507

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'Shell Shock Cinema' shows how classical German cinema of the Weimar Republic was haunted by the horrors of World War I & the trauma of Germany's humiliating defeat. Anton Kaes argues that even films which do not depict war reveal a wounded nation in post-traumatic shock.


Weimar Cinema

Weimar Cinema
Author: Noah William Isenberg
Publisher: Columbia University Press
Total Pages: 373
Release: 2009
Genre: History
ISBN: 0231130554

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In this comprehensive companion to Weimar cinema, chapters address the technological advancements of each film, their production and place within the larger history of German cinema, the style of the director, the actors and the rise of the German star, and the critical reception of the film.


The Weimar Republic Sourcebook

The Weimar Republic Sourcebook
Author: Anton Kaes
Publisher: Univ of California Press
Total Pages: 830
Release: 2023-11-10
Genre: History
ISBN: 0520909607

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A laboratory for competing visions of modernity, the Weimar Republic (1918-1933) continues to haunt the imagination of the twentieth century. Its political and cultural lessons retain uncanny relevance for all who seek to understand the tensions and possibilities of our age. The Weimar Republic Sourcebook represents the most comprehensive documentation of Weimar culture, history, and politics assembled in any language. It invites a wide community of readers to discover the richness and complexity of the turbulent years in Germany before Hitler's rise to power. Drawing from such primary sources as magazines, newspapers, manifestoes, and official documents (many unknown even to specialists and most never before available in English), this book challenges the traditional boundaries between politics, culture, and social life. Its thirty chapters explore Germany's complex relationship to democracy, ideologies of "reactionary modernism," the rise of the "New Woman," Bauhaus architecture, the impact of mass media, the literary life, the tradition of cabaret and urban entertainment, and the situation of Jews, intellectuals, and workers before and during the emergence of fascism. While devoting much attention to the Republic's varied artistic and intellectual achievements (the Frankfurt School, political theater, twelve-tone music, cultural criticism, photomontage, and urban planning), the book is unique for its inclusion of many lesser-known materials on popular culture, consumerism, body culture, drugs, criminality, and sexuality; it also contains a timetable of major political events, an extensive bibliography, and capsule biographies. This will be a major resource and reference work for students and scholars in history; art; architecture; literature; social and political thought; and cultural, film, German, and women's studies.


A Critical History of German Film

A Critical History of German Film
Author: Stephen Brockmann
Publisher: Camden House
Total Pages: 534
Release: 2010
Genre: Music
ISBN: 1571134689

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A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester- or year-long survey courses and for anyone with an interest in German cinema. The films: The Student of Prague - The Cabinet of Dr. Caligari - The Last Laugh - Metropolis - The Blue Angel - M - Triumph of the Will - The Great Love - The Murderers Are among Us - Sun Seekers - Trace of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - Young T rless - Aguirre, The Wrath of God - Germany in Autumn - The Marriage of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of Desire - Maybe, Maybe Not - Rossini - Run Lola Run - Good Bye Lenin - Head On - The Lives of Others Stephen Brockmann is Professor of German at Carnegie Mellon University and past President of the German Studies Assocation.


Anti-Heimat Cinema

Anti-Heimat Cinema
Author: Ofer Ashkenazi
Publisher: University of Michigan Press
Total Pages: 315
Release: 2020-09-08
Genre: Social Science
ISBN: 0472126911

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Anti-Heimat Cinema: The Jewish Invention of the German Landscape studies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers’ contemplations of “Heimat”—a provincial German landscape associated with belonging and authenticity—it analyzes their distinctive contribution to the German identity discourse between 1918 and 1968. In its emphasis on rootedness and homogeneity Heimat seemed to challenge the validity and significance of Jewish emancipation. Several acculturation-seeking Jewish artists and intellectuals, however, endeavored to conceive a notion of Heimat that would rather substantiate their belonging. This book considers Jewish filmmakers’ contribution to this endeavor. It shows how they devised the landscapes of the German “Homeland” as Jews, namely, as acculturated “outsiders within.” Through appropriation of generic Heimat imagery, the films discussed in the book integrate criticism of national chauvinism into German mainstream culture from World War I to the Cold War. Consequently, these Jewish filmmakers anticipated the anti-Heimat film of the ensuing decades, and functioned as an uncredited inspiration for the critical New German Cinema.


Framing the Fifties

Framing the Fifties
Author: John Davidson
Publisher: Berghahn Books
Total Pages: 256
Release: 2009
Genre: Business & Economics
ISBN: 1845455363

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This anthology offers an account of German cinema in the fifties, focusing on popular genres, famous stars and dominant practices, taking into account the complicated relationships between East and West Germany, and by paying attention to the economic and political conditions of film production and reception during this period.


New Perspectives on the War Film

New Perspectives on the War Film
Author: Clémentine Tholas
Publisher: Springer Nature
Total Pages: 301
Release: 2019-09-14
Genre: Performing Arts
ISBN: 3030230961

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New Perspectives on the War Film addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media. The authors concentrate on the untold narratives of those who fought in combat and were affected by its brutal consequences. Chapters discuss the historically under-represented stories of individuals including women, African-American and Indigenous Soldiers. Issues of homosexuality and gender relations in the military, colonial subjects and child soldiers, as well as the changing nature of war via terrorism and bioterrorism are closely analyzed. The contributors demonstrate how these viewpoints have been consistently ignored in mainstream, blockbuster war sagas and strive to re-integrate these lost perspectives into current and future narratives.


The Chatter of the Visible

The Chatter of the Visible
Author: Patrizia C. McBride
Publisher: University of Michigan Press
Total Pages: 247
Release: 2016-04-06
Genre: Art
ISBN: 0472121707

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The Chatter of the Visible examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it—a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres). McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition.