A New History of German Cinema

Herausgeber: Kapczynski, Jennifer M; Richardson, Michael D

• Gebundenes Buch

Produktbeschreibung

A dynamic, event-centered exploration of the hundred-year history of German-language film.

Produktdetails

• Verlag: Boydell & Brewer
• Seitenzahl: 692
• Erscheinungstermin: 17. September 2012
• Englisch
• Abmessung: 236mm x 159mm x 48mm
• Gewicht: 1266g
• ISBN-13: 9781571134905
• ISBN-10: 1571134905
• Artikelnr.: 34391348

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 15 October 1920: Ernst Lubitsch
Fuels Debate over Tears in the Cinema - 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 - Kai Sicks 28 March 1935: Premiere of Triumph des
Willens Presents Fascism as Unifier of Communal Will - Michael Cowan 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