Download or read book Film Front Weimar written by Bernadette Kester and published by Amsterdam University Press. This book was released on 2003 with total page 340 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book Weimar Cinema written by Noah William Isenberg and published by Columbia University Press. This book was released on 2009 with total page 373 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book Film and the German Left in the Weimar Republic written by Bruce Murray and published by University of Texas Press. This book was released on 2010-07-05 with total page 440 pages. Available in PDF, EPUB and Kindle. Book excerpt: The Weimar Republic of Germany, covering the post-World War I period of civil and governmental strife, witnessed a great struggle among a variety of ideologies, a struggle for which the arts provided one important arena. Leftist individuals and organizations critiqued mainstream art production and attempted to counter what they perceived as its conservative-to-reactionary influence on public opinion. In this groundbreaking study, Bruce Murray focuses on the leftist counter-current in Weimar cinema, offering an alternative critical approach to the traditional one of close readings of the classical films. Beginning with a brief review of pre-Weimar cinema (1896-1918), he analyzes the film activity of the Social Democratic Party, the German Communists, and independent leftists in the Weimar era. Leftist filmmakers, journalists, and commentators, who in many cases contributed significantly to marginal leftist as well as mainstream cinema, have, until now, received little scholarly attention. Drawing on exhaustive archival research and personal interviews, Murray shows how the plurality of aesthetic models represented in the work of individuals who participated in leftist experiments with cinema in the 1920S collapsed as Germany underwent the transition from parliamentary democracy to fascist dictatorship. He suggests that leftists shared responsibility for that collapse and asserts the value of such insights for those who contemplate alternatives to institutional forms of cinematic discourse today.
Download or read book The Many Faces of Weimar Cinema written by Christian Rogowski and published by Camden House. This book was released on 2010 with total page 370 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book Weimar Cinema written by Noah William Isenberg and published by Columbia University Press. This book was released on 2009 with total page 373 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book Shell Shock Cinema written by Anton Kaes and published by Princeton University Press. This book was released on 2009 with total page 326 pages. Available in PDF, EPUB and Kindle. Book excerpt: '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.
Download or read book Cinematography in the Weimar Republic written by Paul Matthew St. Pierre and published by Rowman & Littlefield. This book was released on 2016-08-15 with total page 287 pages. Available in PDF, EPUB and Kindle. Book excerpt: In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.
Download or read book Rethinking Jewishness in Weimar Cinema written by Barbara Hales and published by Berghahn Books. This book was released on 2020-11-01 with total page 366 pages. Available in PDF, EPUB and Kindle. Book excerpt: The burgeoning film industry in the Weimar Republic was, among other things, a major site of German-Jewish experience, one that provided a sphere for Jewish “outsiders” to shape mainstream culture. The chapters collected in this volume deploy new historical, theoretical, and methodological approaches to understanding the significant involvement of German Jews in Weimar cinema. Reflecting upon different conceptions of Jewishness – as religion, ethnicity, social role, cultural code, or text – these studies offer a wide-ranging exploration of an often overlooked aspect of German film history.
Download or read book From Caligari to Hitler written by Siegfried Kracauer and published by Princeton University Press. This book was released on 2019-04-02 with total page 432 pages. Available in PDF, EPUB and Kindle. Book excerpt: An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
Download or read book Continuity and Crisis in German Cinema 1928 1936 written by Barbara Hales and published by Boydell & Brewer. This book was released on 2016 with total page 345 pages. Available in PDF, EPUB and Kindle. Book excerpt: New essays examining the differences and commonalities between late Weimar-era and early Nazi-era German cinema against a backdrop of the crises of that time.
Download or read book Framing the Fifties written by John Davidson and published by Berghahn Books. This book was released on 2009 with total page 256 pages. Available in PDF, EPUB and Kindle. Book excerpt: 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.
Download or read book Gender and the Uncanny in Films of the Weimar Republic written by Anjeana K. Hans and published by Wayne State University Press. This book was released on 2014-09-15 with total page 314 pages. Available in PDF, EPUB and Kindle. Book excerpt: The Weimar period in Germany was a time of radical change, when the traditions and social hierarchies of Imperial Germany crumbled, and a young, deeply conflicted republic emerged. Modernity brought changes that reached deep into the most personal aspects of life, including a loosening of gender roles that opened up new freedoms and opportunities to women. The screen vamps, garçonnes, and New Women in this movie-hungry society came to embody the new image of womanhood: sexually liberated, independent, and—at least to some—deeply threatening. In Gender and the Uncanny in Films of the Weimar Republic, author Anjeana K. Hans examines largely forgotten films of Weimar cinema through the lens of their historical moment, contemporary concerns and critiques, and modern film theory to give a nuanced understanding of their significance and their complex interplay between gender, subjectivity, and cinema. Hans focuses on so-called uncanny films, in which terror lies just under the surface and the emancipated female body becomes the embodiment of a threat repressed. In six chapters she provides a detailed analysis of each film and traces how filmmakers simultaneously celebrate and punish the transgressive women that populate them. Films discussed include The Eyes of the Mummy (Die Augen der Mumie Mâ, Ernst Lubitsch, 1918), Uncanny Tales (Unheimliche Geschichten, Richard Oswald, 1919), Warning Shadows (Schatten: Eine nächtliche Halluzination, Artur Robison, 1923), The Hands of Orlac (Orlacs Hände, Robert Wiene, 1924), A Daughter of Destiny (Alraune, Henrik Galeen,1928), and Daughter of Evil (Alraune, Richard Oswald, 1930). An introduction contextualizes Weimar cinema within its unique and volatile social setting. Hans demonstrates that Weimar Germany’s conflicting emotions, hopes, and fears played out in that most modern of media, the cinema. Scholars of film and German history will appreciate the intriguing study of Gender and the Uncanny in Films of the Weimar Republic.
Download or read book Silencing Cinema written by D. Biltereyst and published by Springer. This book was released on 2013-03-26 with total page 321 pages. Available in PDF, EPUB and Kindle. Book excerpt: Oppression by censorship affects the film industry far more frequently than any other mass media. Including essays by leading film historians, the book offers groundbreaking historical research on film censorship in major film production countries and explore such innovative themes as film censorship and authorship, religion, and colonialism.
Download or read book Weimar Surfaces written by Janet Ward and published by Univ of California Press. This book was released on 2001-04-04 with total page 380 pages. Available in PDF, EPUB and Kindle. Book excerpt: Germany of the 1920s offers a stunning moment in modernity, a time when surface values first became determinants of taste, activity, and occupation: modernity was still modern, spectacle was still spectacular. Janet Ward's luminous study revisits Weimar Germany via the lens of metropolitan visual culture, analyzing the power that 1920s Germany holds for today's visual codes of consumerism.
Download or read book The A to Z of German Cinema written by Robert C. Reimer and published by Scarecrow Press. This book was released on 2010-04-01 with total page 524 pages. Available in PDF, EPUB and Kindle. Book excerpt: German film is diverse and multi-faceted; its history includes five distinct German governments (Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany, and the German Democratic Republic), two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as the natural inclination of artists to rebel and create new styles, allow for the construction of a narrative of German film. While the disjuncture generates distinct points of separation, it also highlights continuities between the ruptures. Outlining the richness of German film, The A to Z of German Cinema covers mainstream, alternative, and experimental film from 1895 to the present through a chronology, introductory essay, appendix of the 100 most significant German films, a bibliography, and hundreds of cross-referenced dictionary entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. The book's broad canvas will lead students and scholars of cinema to appreciate the complex nature of German film.
Download or read book From Caligari to Hitler written by Siegfried Kracauer and published by Princeton University Press. This book was released on 2019-04-02 with total page 433 pages. Available in PDF, EPUB and Kindle. Book excerpt: An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
Download or read book Peripheral Visions written by Kenneth Scott Calhoon and published by Wayne State University Press. This book was released on 2001 with total page 204 pages. Available in PDF, EPUB and Kindle. Book excerpt: The title of this collection echoes Siegfried Kracauer's statement that the lavish movie palaces of 1920s Germany served to stimulate peripheral vision and thus prevent the audience from being absorbed by the spectacle itself. In consideration of questions concerning spatial transformations in and around Weimar cinema, the eight essays in this volume, though some more explicitly than others, have Kracauer as their interlocutor. The first major critic of classic German cinema, Kracauer is patron of the optics that seeks insight on the periphery, inviting the analysis of those other spaces that are implicated, if not present, in the films themselves. The films treated in this volume include such Expressionist mainstays as Lang's Metropolis and Murnau's Nosferatu as well as generally less familiar works, e.g., Ruttman's Berlin, Symphony of a City, Jessner's Backstairs, Berger's Day and Night, and the mountain films of Fanck and Riefenstahl. Among the "hidden stages" analyzed are amusement parks, carnivals, department stores, train compartments, city streets, the womb, the theater, the chamber, basement apartments-and ultimately Neubabelsberg, the gargantuan studio-complex near Berlin where so many of these peripheral spaces came to be simulated. With references that range from set architecture to Christmas celebrations, from the poetry of Rilke to chamber music, from the introduction of sound to Macy's parades, and from an "urban unconscious" to a "cinematic sublime," Peripheral Visions is a richly nuanced collection that will be of lasting interest to students and scholars of film and German cultural studies.
