The demise of the New German Cinema and the return of popular cinema since the 1990s have led to a renewed interest in the postwar years and the complicated relationship between East and West German cinema in particular. A survey of the 1950s, as offered here for the first time, is therefore long overdue. Moving beyond the contempt for "Papa's Kino" and the nostalgia for the fifties found in much of the existing literature, this anthology explores new uncharted territories, traces hidden connections, discovers unknown treasures, and challenges conventional interpretations. Informed by cultural…mehr
The demise of the New German Cinema and the return of popular cinema since the 1990s have led to a renewed interest in the postwar years and the complicated relationship between East and West German cinema in particular. A survey of the 1950s, as offered here for the first time, is therefore long overdue. Moving beyond the contempt for "Papa's Kino" and the nostalgia for the fifties found in much of the existing literature, this anthology explores new uncharted territories, traces hidden connections, discovers unknown treasures, and challenges conventional interpretations. Informed by cultural studies, gender studies, and the study of popular cinema, this anthology offers a more complete account by focusing on popular genres, famous stars, and dominant practices, by taking into account the complicated relationships between East vs. West German, German vs. European, and European vs. American cinemas; and by paying close attention to the economic and political conditions of film production and reception during this little-known period of German film history.
Sabine Hake is the Texas Chair of German Literature and Culture in the Department of Germanic Studies at the University of Texas at Austin. She is the author of four books: German National Cinema (2002), Popular Cinema of the Third Reich (2001), The Cinema's Third Machine: German Writings on Film 1907-1933 (1993), Passions and Deceptions: The Early Films of Ernst Lubitsch (1992), as well as numerous articles on German film and Weimar culture. Her current book project deals with urban architecture and mass utopia in Weimar Berlin.
Inhaltsangabe
List of Illustrations Introduction Chapter 1. The Question of German Guilt and the "German Student": Politicizing the Postwar University in Kortner's Der Ruf and von Wangenheim's Und wieder Jaimey Fisher Chapter 2. Returning Home: The Orientalist Spectacle of Fritz Lang's Der Tiger von Eschnapur and Das indische Grabmal Barbara Mennel Chapter 3. The Passenger: Ambivalences of National Identity and Masculinity in the Star Persona of Peter van Eyck Tim Bergfelder Chapter 4. Helmut Käutner's Epilog: Das Geheimnis der Orplid and the West German Detective Film of the 1950s Yogini Joglekar Chapter 5. Location Heimat: Tracking Refugee Images, from DEFA to the Heimatfilm Johannes von Moltke Chapter 6. "Great Truths and Minor Truths": Kurt Maetzig's Ernst Thälmann Films, the Antifascism Myth, and the Politics of Biography in the German Democratic Republic Russel Lemmons Chapter 7. The First DEFA Fairy Tales: Cold War Fantasies of the 1950s Marc Silberman Chapter 8. Visualizing the Enemy: Representations of the "Other Germany" in Documentaries Produced by the FRG and GDR in the 1950s Matthias Steinle Chapter 9. The Treatment of the Past: Geza Radvanyi's Der Arzt von Stalingrad and the West German War Film Jennifer M. Kapczynski Chapter 10. Film und Frau and the Female Spectator of 1950s West German Cinema Hester Baer Chapter 11. Reterritorializing Enjoyment in the Adenauer Era: Robert A. Stemmle's Toxi Angelica Fenner Chapter 12. Allegories of Management: Norbert Schultze's Sound Track for Das Mädchen Rosemarie Larson Powell Chapter 13. The Restructuring of the West German Film Industry in the 1950s Knut Hickethier Chapter 14. The Other "German" Cinema Mary Wauchope Works Cited Filmography Notes on Contributors Index
List of Illustrations Introduction Chapter 1. The Question of German Guilt and the "German Student": Politicizing the Postwar University in Kortner's Der Ruf and von Wangenheim's Und wieder Jaimey Fisher Chapter 2. Returning Home: The Orientalist Spectacle of Fritz Lang's Der Tiger von Eschnapur and Das indische Grabmal Barbara Mennel Chapter 3. The Passenger: Ambivalences of National Identity and Masculinity in the Star Persona of Peter van Eyck Tim Bergfelder Chapter 4. Helmut Käutner's Epilog: Das Geheimnis der Orplid and the West German Detective Film of the 1950s Yogini Joglekar Chapter 5. Location Heimat: Tracking Refugee Images, from DEFA to the Heimatfilm Johannes von Moltke Chapter 6. "Great Truths and Minor Truths": Kurt Maetzig's Ernst Thälmann Films, the Antifascism Myth, and the Politics of Biography in the German Democratic Republic Russel Lemmons Chapter 7. The First DEFA Fairy Tales: Cold War Fantasies of the 1950s Marc Silberman Chapter 8. Visualizing the Enemy: Representations of the "Other Germany" in Documentaries Produced by the FRG and GDR in the 1950s Matthias Steinle Chapter 9. The Treatment of the Past: Geza Radvanyi's Der Arzt von Stalingrad and the West German War Film Jennifer M. Kapczynski Chapter 10. Film und Frau and the Female Spectator of 1950s West German Cinema Hester Baer Chapter 11. Reterritorializing Enjoyment in the Adenauer Era: Robert A. Stemmle's Toxi Angelica Fenner Chapter 12. Allegories of Management: Norbert Schultze's Sound Track for Das Mädchen Rosemarie Larson Powell Chapter 13. The Restructuring of the West German Film Industry in the 1950s Knut Hickethier Chapter 14. The Other "German" Cinema Mary Wauchope Works Cited Filmography Notes on Contributors Index
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