Descripción del título
The many faces of Weimar ci...
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
Monografía
monografia Rebiun33696380 https://catalogo.rebiun.org/rebiun/record/Rebiun33696380 m o d cr mnu---unuuu 100624s2010 nyua ob 001 0 eng d 2009048045 649909905 746884736 816383519 923578093 929149474 959953674 960091067 1038429451 1043087371 1112582861 1113439532 1117264209 1118519179 1119461444 1226225360 9781571137128 electronic bk.) 1571137122 electronic bk.) 1282575678 9781282575677 9781571134295 hardcover ; alk. paper) 1571134298 hardcover ; alk. paper) 9786612575679 6612575670 9781571138521 1571138528 CDX 13455177 UKMGB 019014344 257567 MIL N$T eng pn N$T YDXCP OSU IDEBK E7B CDX OCLCQ OCLCF PUBRW OCLCQ OCLCO EBLCP CUS OCLCQ OCL YDX OCLCQ OCLCO CNCGM OCLCA U3W MERUC OCLCQ NLE OCLCQ YOU AU@ OCLCA OCL OCLCQ ERF S2H KIJ OCLCQ IYU OCLCQ LND UKMGB UKAHL OCL OCLCO OCLCQ e-gx--- PER 004040 bisacsh APF bicssc The many faces of Weimar cinema rediscovering Germany's filmic legacy edited by Christian Rogowski Rochester, N.Y. Camden House 2010 Rochester, N.Y. Rochester, N.Y. Camden House 1 online resource (xiii, 354 pages) illustrations 1 online resource (xiii, 354 pages) Text txt rdacontent computer c rdamedia online resource cr rdacarrier Screen cultures : German film and the visual Includes bibliographical references and index Introduction: images and imaginaries / Christian Rogowski -- Richard Oswald and the social hygiene film: promoting public health or pornography? / Jill Suzanne Smith -- Unsettling nerves: investigating war trauma in Robert Reinert's Nerven (1919) / Barbara Hales -- Humanity unleashed: anti-Bolshevism as popular culture in early Weimar cinema / Philipp Stiasny -- Desire versus despotism: the politics of Sumurun (1920), Ernst Lubitsch's "Oriental" fantasy / Richard W. McCormick -- Romeo with sidelocks: Jewish-Gentile romance in E.A. Dupont's Das alte Gesetz (1923) and other early Weimar assimilation films / Cynthia Walk -- "These Hands Are Not My Hands": war trauma and masculinity in crisis in Robert Wiene's Orlacs Hande (1924) / Anjeana Hans -- The star system in Weimar cinema / Joseph Garncarz -- Schaulust: sexuality and trauma in Conrad Veidt's masculine masquerades / Elizabeth Otto -- The musical promise of abstract film / Joel Westerdale -- The international project of national(ist) film: Franz Osten in India / Veronika Fuechtner -- The body in time: Wilhelm Prager's Wege zu Kraft und Schönheit (1926) / Theodore F. Rippey -- Henrik Galeen's Alraune (1927): The Vamp and The Root of Horror / Valerie Weinstein -- The dialectic of (sexual) enlightenment: Wilhelm Dieterle's Geschlecht in Fesseln (1928) / Christian Rogowski -- Babel's business on Ufa's multiple language film versions, 1929-1933 / Chris Wahl -- "A new era of peace and understanding": the integration of sound film into German popular cinema, 1929-1932 / Ofer Ashkenazi -- Landscapes of death: sound, space, and commemoration in G.W. Pabst's Westfront 1918 (1930) / Jaimey Fisher -- Undermining Babel: Victor Trivas's Niemandsland (1931) / Nancy P. Nenno -- Unmasking Brigitte Helm and Marlene Dietrich: the vamp in German romantic comedies (1930-1933) / Mihaela Petrescu 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 Motion pictures- Germany- History- 20th century Cinéma- Allemagne- Histoire- 20e siècle PERFORMING ARTS- Film & Video- Reference. Motion pictures. Film. Weimarer Republik. Film. Germany. Alemania Academic Dissertation Academic theses. History. Academic theses. Thèses et écrits académiques. Rogowski, Christian 1956-) editor Print version Many faces of Weimar cinema. Rochester, N.Y. : Camden House, 2010 9781571134295 (DLC) 2009048045 (OCoLC)462878467 Screen cultures