This book examines special effects as the embodiment of a "techno-romantic" paradigm that seeks to harness technology - the epitome of modern materialism - as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
This book examines special effects as the embodiment of a "techno-romantic" paradigm that seeks to harness technology - the epitome of modern materialism - as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
Katharina Loew is Associate Professor of German and Cinema Studies at the University of Massachusetts Boston.
Inhaltsangabe
Acknowledgements Introduction: Special effects and the techno-romantic paradigm Chapter 1. Imagining technological art: Early German film theory Chapter 2. Modern magicians: Guido Seeber and Eugen Schüfftan Chapter 3. The uncanny mirror: Der Student von Prag (1913) Chapter 4. Visualizing the occult: Nosferatu (1922) Chapter 5. The technological sublime: Metropolis (1927) Chapter 6. German technique and Hollywood Conclusion: Techno-romantic cinema from the silent to the digital era Bibliography Index
Acknowledgements Introduction: Special effects and the techno-romantic paradigm Chapter 1. Imagining technological art: Early German film theory Chapter 2. Modern magicians: Guido Seeber and Eugen Schüfftan Chapter 3. The uncanny mirror: Der Student von Prag (1913) Chapter 4. Visualizing the occult: Nosferatu (1922) Chapter 5. The technological sublime: Metropolis (1927) Chapter 6. German technique and Hollywood Conclusion: Techno-romantic cinema from the silent to the digital era Bibliography Index
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