Women in Weimar fashion
- 240pagine
- 9 ore di lettura
New view of the crucial role of fashion discourse and practice in Weimar Germany and its significance for women.
Screen Cultures: Il Cinema Tedesco e il VisivoSerie
Questa serie si addentra nel mondo affascinante del cinema tedesco e del suo linguaggio visivo. Esplora come i film riflettono e plasmano la cultura, la storia e l'identità tedesca. Offre analisi approfondite dei processi creativi e degli approcci teorici che definiscono il cinema tedesco. È una lettura essenziale per chiunque sia interessato alla storia del cinema e agli studi visivi.
Ordine di lettura consigliato
Montage as perceptual experience
- 254pagine
- 9 ore di lettura
The first book to treat both Doblin's novel and the film adaptations of it, which it does while also articulating theories of literary and film montage.
Film and fashion amidst the ruins of Berlin
- 266pagine
- 10 ore di lettura
This book steers attention toward two key aspects of German culture--film and fashion--that shared similar trajectories and multiple connections, looking at them not only in the immediate postwar years but as far back as 1939. They formed spectacular sites of the postwar recovery processes in both East and West Germany. Viewed against the background of the abundant fashion discourses in the Berlin-based press, the films discussed include classics such as The Murderers Are among Us, Street Acquaintance, and Destinies of Women as well as neglected works such as And the Heavens above Us, Martina, Modell Bianka, and Ingrid. These films' treatments of fashion during times of crisis offer subtle reflections on the everyday lives, desires, careers, and self-perceptions of the women who made up a large majority of the postwar public. Costume--in films produced both by DEFA and by West German studios--is a productive site to explore the intersections between realism and escapism. With its focus on costumes within the context of the films' production, distribution, and reception, this book opens up wider discussions about the role of the costume designer, the ways film costumes can be read as intertexts, and the impact on audiences' behaviors and looks. The book reveals multiple connecitons between film and fashion, both across the temporal dividing line of 1945 and the Cold War split between East and West--back cover
Gender and sexuality in East German film
- 285pagine
- 10 ore di lettura
The first scholarly collection in English or German to fully address the treatment of gender and sexuality in the productions of DEFA across genres and in social, political, and cultural context.
The counter-cinema of the Berlin School
- 360pagine
- 13 ore di lettura
The contemporary German directors collectively known as the "Berlin School" constitute the most significant filmmaking movement to come out of Germany since the New German Cinema of the 1970s, not least because their films mark the emergence of a new film language. The Berlin School filmmakers, including Christian Petzold, Thomas Arslan, Angela Schanelec, Christoph Hochhäusler, Ulrich Köhler, Benjamin Heisenberg, Maren Ade, and Valeska Grisebach, are reminiscent of the directors of the New German Autorenkino and of French cinéma des auteurs of the 1960s. This is the first book-length study of the Berlin School in any language. Its central thesis - that the movement should be regarded as a "counter-cinema" - is built around the unusual style of realism employed in its films, a realism that presents images of a Germany that does not yet exist. Abel concludes that it is precisely how these films' images and sounds work that renders them political: they are political not because they are message-driven films but because they are made politically, thus performing a "redistribution of the sensible" - a direct artistic intervention in the way politics partitions ways of doing and making, saying and seeing. Marco Abel is Professor of English and Film Studies at the University of Nebraska, Lincoln.
Generic histories of German cinema
- 334pagine
- 12 ore di lettura
Offers a fresh approach to German film studies by tracing key genres -- including horror, the thriller, Heimat films, and war films -- over the course of German cinema history
Considers over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés.
Last Features is the story of forgotten films made during the time of German unification. With leftover GDR funds and under chaotic conditions, a group of young East German filmmakers produced around thirty stylistically diverse films. Most of these films were lost in the political upheaval of the Wende, disappearing until the 2009 Wendeflicks festival in Los Angeles brought them back for an international audience. Now available on DVD, these films provide unique insights into the generational struggle in the DEFA studio, East German youth culture in the 1970s, women directors at DEFA, the relationship between the artist and the state, and the protests of 1989. Last Features focuses in particular on the production group "DaDaeR," the creation of which in 1989 fulfilled a longstanding request by the last generation of DEFA directors for freer production conditions. Drawing on archival research and interviews with the directors, writers, and editors of the films in question, each chapter examines specific films from the last year of DEFA, contextualizing the analysis of these "last features" with a comprehensive discussion of the directors' overall oeuvres, the historical changes in the studio and the country, and the lasting importance of these films today. Reinhild Steingrover is Associate Professor of German and Film Studies in the Department of Humanities at the Eastman School of Music, University of Rochester.
The many faces of Weimar cinema
- 354pagine
- 13 ore di lettura
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, now 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. --Book Jacket
Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years