A New History of German Cinema

Herausgeber: Kapczynski, Jennifer M.; Richardson, Michael D.

• Broschiertes Buch

Produktbeschreibung

This dynamic, event-centered anthology offers a new understanding of the hundred-year history of German-language film, from the earliest days of the Kintopp to contemporary productions like The Lives of Others. Each of the more than eighty essays takes a key date as its starting point and explores its significance for German film history, pursuing its relationship with its social, political, and aesthetic moment. While the essays offer ample temporal and topical spread, this book emphasizes the juxtaposition of famous and unknown stories, granting attention to a wide range of cinematic events. Brief section introductions provide a larger historical and film-historical framework that illuminates the essays within it, offering both scholars and the general reader a setting for the individual texts and figures under investigation. Cross-references to other essays in the book are included at the close of each entry, encouraging readers not only to pursue familiar trajectories in the development of German film, but also to trace particular figures and motifs across genres and historical periods. Together, the contributions offer a new view of the multiple, intersecting narratives that make up German-language cinema. The constellation that is thus established challenges unidirectional narratives of German film history and charts new ways of thinking about film historiography more broadly. Jennifer Kapczynski is Associate Professor of German at Washington University, St. Louis, and Michael Richardson is Associate Professor of German at Ithaca College.

Produktdetails

• Verlag: Camden House
• Seitenzahl: 692
• Erscheinungstermin: 3. Januar 2014
• Englisch
• Abmessung: 229mm x 152mm x 37mm
• Gewicht: 985g
• ISBN-13: 9781571135957
• ISBN-10: 1571135952
• Artikelnr.: 39382702

Autorenporträt

Jennifer M. Kapczynski, Michael D. Richardson

Inhaltsangabe

Introduction - Jennifer M. Kapczynski and Michael D. Richardson 1 November
1895: Premiere of Wintergarten Program Highlights Transitional Nature of
Early Film Technology - Janelle Blankenship 22 September 1907: Sigmund
Freud Is Attracted to the Movies but Feels Lonely in the Crowd - Tan
Waelchli Spring 1911: At Munich's Frankfurter Hof a Comedy Team Is Born -
Christian Rogowski 27 May 1911: Asta Nielsen Secures Unprecedented Artistic
Control - Heide Schlüpmann 18 December 1913: Atlantis Triggers Controversy
about Sinking of Culture - Deniz Gokturk 21 January 1914: Premiere of Die
Firma heiratet Inaugurates Fashion Farce - Mila Ganeva 6 March 1920:
Chinese Students Raise Charges of Racism against Die Herrin der Welt -
Tobias Nagl 23 May 1920: Das Cabinet des Dr. Caligari Brings Aesthetic
Modernism to the Fairground - Paul Dobryden 23 May 1920: Das Cabinet des
Dr. Caligari Brings Aesthetic Modernism to the Fairground - Michael Wedel 4
March 1921: With Das Floss der Toten, the Dead Come Back to Town - Philipp
Stiasny 1 April 1921: Walther Ruttmann's Lichtspiel: Opus 1 Shapes Culture
of Abstract Filmmaking - Gregory Zinman 27 May 1921: Scherben Seeks
Cinematic Equivalent of Theatrical Intimacy - Patrick Vonderau 14 September
1922: Schüfftan Process Reconciles Artistic Craftsmanship with Demands of
Entertainment Industry - Katharina Loew 13 October 1922: Alexander
Kolowrat-Krakowsky Sets Course of Austrian (Inter)National Film - Robert
von Dassanowsky 29 November 1923: Karl Grune's Die Straße Inaugurates
"Street Film," Foreshadows Film Noir - Anton Kaes 31 January 1924: Premiere
of Orlacs Hände Marks Beginning of the End of Expressionism - Paul Coates
14 February 1924: Die Nibelungen Premieres, Foregrounds "Germanness" -
Adeline Mueller 10 May 1924: Der Berg des Schicksals Inaugurates the Genre
of the "Mountain Film" - Kamaal Haque 23 December 1924: Der letzte Mann
Explores Limits of Modern Community - Robert Schechtman 16 March 1925: Wege
zu Kraft und Schönheit Educates Audiences in the Art of Nudity - Britta
Herdegen 3 May 1925: French and German Avant-Garde Converge at Der absolute
Film - Joel Westerdale 10 January 1927: Brigitte Helm Embodies Ambivalence
of the New Woman - 17 June 1927: Amateur Film League Aids Invention of Film
Culture - Martina Roepke 16 December 1927: Debut of Familientag im Hause
Prellstein Provokes Debate about Jewish Identity in Popular Cinema - Daniel
H. Magilow 31 January 1929: Limits on Racial Border-Crossing Exposed in
Piccadilly - Cynthia Walk 9 May 1929: Oscar for Emil Jannings Highlights
Exchange between German and American Film Industries - Gerd Gemünden 3 June
1929: Lloyd Bacon's The Singing Fool Triggers Debate about Sound Film -
Lutz Koepnick 4 February 1930: Menschen am Sonntag Provides New Model of
Cinematic Realism - Noah Isenberg 13 June 1930: Weekend Broadcast Tests
Centrality of Image in Cinema - Brían Hanrahan 17 October 1930: Bertolt
Brecht's Threepenny Opera Lawsuit Identifies Contradiction between
Individual Creativity and Collective Production in Cinema - Marc Silberman
11 December 1930: Ban of All Quiet on the Western Front Highlights Tensions
over Sound Technology - Dayton Henderson 11 May 1931: With Premiere of M, a
Gala Hit Becomes a Cultural Controversy - Sara Hall 28 March 1933:
Goebbels's Kaiserhof Speech Reveals Tension between National and
International Aims of Nazi Cinema - Laura Heins 29 February 1935: Der alte
und der junge König Instrumentalizes Myth of Prussian Nationalism - Martina
Lüke 28 March 1935: Premiere of Triumph des Willens Presents Fascism as
Unifier of Communal Will - Michael Cowan 28 March 1935: Premiere of Triumph
des Willens Presents Fascism as Unifier of Communal Will - Kai Sicks 19
June 1935: Celebration of Lilian Harvey's Return Belies Ideological
Incongruence in Nazi Entertainment Films - Antje Ascheid 30 August 1936:
Luis Trenker Tries but Fails to Sidestep Nazi Filmpolitik - Carola Daffner
30 December 1940: Von Borsody's Wunschkonzert Mobilizes Melodrama for Total
War - Jaimey Fisher 18 February 1941: The Devil and Daniel Webster Puts
American Politics on Trial - Simon Richter 28 May 1942: Bertolt Brecht and
Fritz Lang Write a Hollywood Screenplay - Jonathan Skolnik 3 September
1942: With Venice Premiere of Die goldene Stadt, Veit Harlan Enters Debate
on Color Cinema - Russell Alt 18 January 1943: Bateson Analysis of
Hitlerjunge Quex Stressses Value of Film as Key to National Culture - Gary
Baker 18 May 1945: Welt im Film Newsreels, Rubble Films Model "Cool
Conduct" - Wilfried Wilms 22 March 1946: Screenings of Die Todesmühlen
Spark Controversy over German Readiness to Confront Nazi Crimes - Ulrike
Weckel 16 August 1949: Ilse Kubaschewski Founds Gloria-Filmverleih, Sets
the Course of Popular West German Film - Hester Baer 16 February 1952:
Peter Lorre Leaves Germany Again - Gerd Gemünden 13 January 1954:
Preminger's Dual-Language The Moon Is Blue (1953) and Die Jungfrau auf dem
Dach (1954) Seek Glocal Success - Christine Haase 9 March 1954: Ernst
Thälmann - Sohn seiner Klasse Marks High Point of Socialist Realism -
Hunter Bivens 22 December 1955: Sissi Trilogy Bridges Hapsburg to Hollywood
through Hybrid Blend of Film Genres - David Bathrick 2 February 1956: In
Letter to Enno Patalas, Siegfried Kracauer Advocates a Socio-Aesthetic
Approach to Film - Johannes von Moltke 21 June and 30 August 1957: Jonas
and Berlin - Ecke Schönhauser Link Urban Reconstruction to National Cinema
in Both West and East - Bastian Heinsohn 19 September 1958: Douglas Sirk's
A Time to Love and a Time to Die Tests Limits of Postwar Feeling - Jennifer
M. Kapczynski 4 September 1959: Der Frosch mit der Maske Moves Popular
Cinema from Idyllic Pastures to Crime-Infested City Streets - Tassilo
Schneider 28 February 1962: Oberhausen Manifesto Creates Founding Myth for
New German Cinema - Eric Rentschler 1 February 1968: Herstellung eines
Molotow-Cocktails Promotes Film as a Tool for Political Violence - Tilman
Baumgärtel 1 February 1968: Konrad Wolf's Ich war neunzehn Evokes an East
German Nation in Transition - Larson Powell 7 April 1968: Straub, Huillet,
and Fassbinder Share the Stage at Munich's Action-Theater - Barton Byg 23
June 1968: Alexander Kluge Egged in Berlin, Months Later Awarded Gold Lion
in Venice - Richard Langston Fall 1968: Expulsion of Thomas Brasch from GDR
Film School Signals Fate of East German '68ers - Katie Trumpener 30 June
1970: A Faltering Berlinale Founders on o.k. Controversy - Kris Vander Lugt
29 February 1972: With Die Angst des Tormanns beim Elfmeter New German
Cinema Learns to Read - Brad Prager 24 June 1974: Launching of Frauen und
Film Creates Lasting Forum for Feminist Film Writing and Practice - Annette
Brauerhoch 20 June 1977: DEFA's Biggest Star, Manfred Krug, Leaves the GDR
- John Griffith Urang 27 October 1977: Deutschland im Herbst Equivocates on
RAF and Marks End Stage of Radical Filmmaking - Jennifer Marston William 22
January 1979: West German Broadcast of Holocaust Draws Critical Fire and
Record Audiences - Erin McGlothlin 20 August 1981: R. W. Fassbinder's Lola
Revisits Kracauer to Critique Adenauer Period - Brigitte Peucker 6 August
1984: Heimat Celebrated as "European Requiem for the Little People" -
Rachel Palfreyman 8 June 1986: Farocki's Wie man sieht Urges New Ways of
Seeing - Michael Cowan 2 February 1988: Last Generation of DEFA Directors
Calls in Vain for Reform - Reinhild Steingröver 23 July 1991: ZDF Broadcast
of Ostkreuz Initiates Darker Reckoning with the Wende - Mattias Frey 6 May
1992: Marlene Dietrich's Berlin Burial Links Postunification Germany with
Weimar Republic's Internationalism - Barbara Kosta 25 August 1992: Ostalgie
Provides Pushback against Western Views on the East German Collapse - Roger
Cook 10 August 1994: One Month after Founding of X-Filme, Filmboard
Berlin-Brandenburg Paves Way for New Productions in the Capital - Brigitta
B. Wagner 2 November 1995: Neurosia Embodies Seventy-Five Years of Queer
Film History - Randall Norman Halle 31 December 1995: Der bewegte Mann
Sells 6.5 Million Tickets to Mark Peak of New German Comedy - David N.
Coury 10 February 1999: Berlinale Premiere of Four Turkish-German Films
Signals New Chapter in Cinematic Diversity - Andrea Reimann 30 April 1999:
Werner Herzog's "Minnesota Declaration" Performs Critique of Documentary
Cinema - Eric Ames 13 May 1999: Germany's Best Fiend, Klaus Kinski,
Remembered at Cannes - Will Lehman 19 May 2000: With Code Inconnu Haneke
Asserts Cinema's Centrality to Public Sphere - Monica Filimon 21 October
2001: Television Provides Platform for Record Box-Office Success of Der
Schuh des Manitu - Sebastian Heiduschke 16 October 2003: Chancellor Gerhard
Schröder Sheds Tears - Again - at Premiere of Das Wunder von Bern -
Cornelius Partsch 14 February 2004: Golden Bear for Gegen die Wand Affirms
Fatih Akin as Germany's Preeminent Transnational Director - Barbara Mennel
8 September 2004: Der Untergang Offers Palatable Authenticity - Michael D.
Richardson 22 October 2005: Winner of Hessian Film Award Fremde Haut Queers
Dual Binaries of Sexual and National Identity - Faye Stewart, Ph.D. 22
January 2007: Film Establishment Attacks "Berlin School" as Wrong Kind of
National Cinema - Marco Abel 25 February 2007: Das Leben der Anderen
Follows Blueprint for Foreign-Language Oscar Success - Paul Cooke - see
C80107 6 December 2007: Indie Film Für den unbekannten Hund Seeks Space for
Marginalized Male Heroism - Patricia Anne Simpson 11 February 2008: Ulrike
Ottinger's Prater Wins German Critics' Award for Best Documentary Yet
Highlights the Director's Ties to Both Fiction and Nonfiction Film - Nora
M. Alter Epilogue: The Many Lives of Contemporary German Cinema - Jennifer
M. Kapczynski and Michael D. Richardson