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| west german cinema: The German Cinema Book Tim Bergfelder, Erica Carter, Deniz Göktürk, Claudia Sandberg, 2020-02-20 This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon. |
| west german cinema: A Critical History of German Film Stephen Brockmann, 2010 A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester- or year-long survey courses and for anyone with an interest in German cinema. The films: The Student of Prague - The Cabinet of Dr. Caligari - The Last Laugh - Metropolis - The Blue Angel - M - Triumph of the Will - The Great Love - The Murderers Are among Us - Sun Seekers - Trace of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - Young T rless - Aguirre, The Wrath of God - Germany in Autumn - The Marriage of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of Desire - Maybe, Maybe Not - Rossini - Run Lola Run - Good Bye Lenin - Head On - The Lives of Others Stephen Brockmann is Professor of German at Carnegie Mellon University and past President of the German Studies Assocation. |
| west german cinema: Framing the Fifties John Davidson, Sabine Hake, 2009 This anthology offers an account of German cinema in the fifties, focusing on popular genres, famous stars and dominant practices, taking into account the complicated relationships between East and West Germany, and by paying attention to the economic and political conditions of film production and reception during this period. |
| west german cinema: International Adventures Tim Bergfelder, 2005-09-01 West German cinema of the 1960s is frequently associated with the emergence of a new generation of filmmakers, collectively known by the 1970s as the New German Cinema. Yet for domestic and international audiences at the time, German cinema primarily meant popular genres such as exotic adventure films, Gothic crime thrillers, westerns, and sex films, which were dismissed by German filmmakers and critics of the 1970s as Daddy's Cinema. International Adventures provides the first comprehensive account of these genres, and charts the history of the West German film industry and its main protagonists from the immediate post-war years to its boom period in the 1950s and 1960s. By analyzing film genres in the context of industrial practices, literary traditions, biographical trajectories, and wider cultural and social developments, this book uncovers a forgotten period of German filmmaking that merits reassessment. International Adventures firmly locates its case studies within the wider dynamic of European cinema. In its study of West German cinema's links and co-operations with other countries including Britain, France, and Italy, the book addresses what is perhaps the most striking phenomenon of 1960s popular film genres: the dispersal and disappearance of markers of national identity in increasingly international narratives and modes of production. |
| west german cinema: East German Cinema S. Heiduschke, 2013-10-10 East Germany's film monopoly, Deutsche Film-Aktiengesellschaft, produced a films ranging beyond simple propaganda to westerns, musicals, and children's films, among others. This book equips scholars with the historical background to understand East German cinema and guides the readers through the DEFA archive via examinations of twelve films. |
| west german cinema: German Culture through Film Robert C. Reimer, Reinhard Zachau, 2017-09-01 German Culture through Film: An Introduction to German Cinema is an English-language text that serves equally well in courses on modern German film, in courses on general film studies, in courses that incorporate film as a way to study culture, and as an engaging resource for scholars, students, and devotees of cinema and film history. In its second edition, German Culture through Film expands on the first edition, providing additional chapters with context for understanding the era in which the featured films were produced. Thirty-three notable German films are arranged in seven chronological chapters, spanning key moments in German film history, from the silent era to the present. Each chapter begins with an introduction that focuses on the history and culture surrounding films of the relevant period. Sections within chapters are each devoted to one particular film, providing film credits, a summary of the story, background information, an evaluation, questions and activities to encourage diverse interpretations, a list of related films, and bibliographical information on the films discussed. |
| west german cinema: West German Film in the Course of Time Eric Rentschler, 1984 |
| west german cinema: Cinema of Collaboration Mariana Ivanova, 2019-10-03 From their very inception, European cinemas undertook collaborative ventures in an attempt to cultivate a transnational “Film-Europe.” In the postwar era, it was DEFA, the state cinema of East Germany, that emerged as a key site for cooperative practices. Despite the significant challenges that the Cold War created for collaboration, DEFA sought international prestige through various initiatives. These ranged from film exchange in occupied Germany to partnerships with Western producers, and from coproductions with Eastern European studios to strategies for film co-authorship. Uniquely positioned between East and West, DEFA proved a crucial mediator among European cinemas during a period of profound political division. |
| west german cinema: German Film After Germany Randall Halle, 2008-06-25 A focused examination of German film's transformation from a national to transnational industry |
| west german cinema: New German Cinema James C. Franklin, 1983 |
| west german cinema: Cinema in Democratizing Germany Heide Fehrenbach, 1995 Heide Fehrenbach analyzes the important role cinema played in the reconstruction of German cultural and political identity between 1945 and 1962. Concentrating on the former West Germany, she explores the complex political uses of film--and the meanings a |
| west german cinema: Anti-Heimat Cinema Ofer Ashkenazi, 2020-09-08 Anti-Heimat Cinema: The Jewish Invention of the German Landscape studies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers’ contemplations of “Heimat”—a provincial German landscape associated with belonging and authenticity—it analyzes their distinctive contribution to the German identity discourse between 1918 and 1968. In its emphasis on rootedness and homogeneity Heimat seemed to challenge the validity and significance of Jewish emancipation. Several acculturation-seeking Jewish artists and intellectuals, however, endeavored to conceive a notion of Heimat that would rather substantiate their belonging. This book considers Jewish filmmakers’ contribution to this endeavor. It shows how they devised the landscapes of the German “Homeland” as Jews, namely, as acculturated, “outsiders within.” Through appropriation of generic Heimat imagery, the films discussed in the book integrate criticism of national chauvinism into German mainstream culture from World War One to the Cold War. Consequently, these Jewish filmmakers anticipated the anti-Heimat film of the ensuing decades, and functioned as an uncredited inspiration for the critical New German Cinema. |
| west german cinema: Take Two John E. Davidson, Sabine Hake, 2007 This anthology offers an account of German cinema in the fifties, focusing on popular genres, famous stars and dominant practices, taking into account the complicated relationships between East and West Germany, and by paying attention to the economic and political conditions of film production and reception during this period. |
| west german cinema: West German Filmmakers on Film Eric Rentschler, 1988 This collection by West German film directors provides a dramatic and comprehensive overview of the New German Cinema and its history which since the 1960s has been marked by crisis and confrontation. Battling against political and aesthetic constraints, the filmmakers represented here demand that film not be a narrow defined means of escape or distraction, nor a diminishing of historical events or memory, and not a reduction of human and artistic experience. No serious observer of new German film can ignore the obstinate, defiant, and utopian visions reflected in this unique collection, the first of its kind to appear in any language. |
| west german cinema: A New History of German Cinema Jennifer M. Kapczynski, Michael David Richardson, 2012 A dynamic, event-centered exploration of the hundred-year history of German-language film. 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. Eachof 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 ampletemporal 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-historicalframework 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 contributionsoffer 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 thinkingabout 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. |
| west german cinema: Popular Cinema of the Third Reich Sabine Hake, 2001 Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years. Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model. |
| west german cinema: Screening the East Nick Hodgin, 2011-05-01 Screening the East considers German filmmakers’ responses to unification. In particular, it traces the representation of the East German community in films made since 1989 and considers whether these narratives challenge or reinforce the notion of a separate East German identity. The book identifies and analyses a large number of films, from internationally successful box-office hits, to lesser-known productions, many of which are discussed here for the first time. Providing an insight into the films’ historical and political context, it considers related issues such as stereotyping, racism, regional particularism and the Germans’ confrontation with the past. |
| west german cinema: Cinema in Service of the State Lars Karl, Pavel Skopal, 2015-12-01 The national cinemas of Czechoslovakia and East Germany were two of the most vital sites of filmmaking in the Eastern Bloc, and over the course of two decades, they contributed to and were shaped by such significant developments as Sovietization, de-Stalinization, and the conservative retrenchment of the late 1950s. This volume comprehensively explores the postwar film cultures of both nations, using a “stereoscopic” approach that traces their similarities and divergences to form a richly contextualized portrait. Ranging from features to children’s cinema to film festivals, the studies gathered here provide new insights into the ideological, political, and economic dimensions of Cold War cultural production. |
| west german cinema: A Companion to German Cinema Terri Ginsberg, Andrea Mensch, 2012-02-13 A Companion to German Cinema A Companion to German Cinema regards the shifting terrain of German filmmaking and film studies against their larger social contexts with twenty-two newly commissioned essays by well-established and younger scholars in the field. While several of these focus on classic topics such as Weimar cinema, Fifties cinema, New German Cinema and its legacy, and Holocaust film, the collection is distinguished by its focus on new developments and the innovative light they may shed on earlier practices. A Companion to German Cinema includes essays on Berlin Film, Neue Heimat Film, New Comedy, post-Wall documentaries, the post-Wende RAF genre, and Rabenmutter imagery, as well as on the persistently overlooked and under-theorized Indianerfilme, post-AIDS documentaries, sexploitation films, and new multicultural and transnational films produced in Germany under the auspices of the European Union. Organized into three “movements” representing the significance of these developments for their aesthetic theorization, A Companion to German Cinema challenges its readers to address critical gaps in the field with the aim of opening it further onto new terrains of intellectual engagement. |
| west german cinema: Studying German Cinema Maggie Hoffgen, 2009 Taking a text-led, chronological approach, Studying German Cinema is directed at non-specialists such as students of German, film studies, and the general reader with an interest in German cinema seeking a useful primer to the subject.--P. [4] of cover. |
| west german cinema: Light Motives Randall Halle, Margaret McCarthy, 2003 Critics rarely associate popular film with German cinema, despite the international success of films including Das Boot and Run Lola Run. The essays here re-examine German popular film production along with larger cultural, historical and political meanings suggested by the term 'popular'. |
| west german cinema: Race Under Reconstruction in German Cinema Angelica Fenner, 2016 Race Under Reconstruction in German Cinema investigates postwar racial formations via a pivotal West German film by one of the most popular and prolific directors of the era. The release of Robert Stemmle's Toxi (1952) coincided with the enrolment in West German schools of the first five hundred Afro-German children fathered by African-American occupation soldiers. The didactic plot traces the ideological conflicts that arise among members of a patrician family when they encounter an Afro-German child seeking adoption, herein broaching issues of integration at a time when the American civil rights movement was gaining momentum and encountering violent resistance. Perceptions of 'Blackness' in Toxi demonstrate continuities with those prevailing in Wilhelmine Germany, but also signal the influence of American social science discourse and tropes originating in icons of American popular culture, such as Uncle Tom's Cabin, Birth of a Nation, and several Shirley Temple films. By applying a Cultural Studies approach to individual film sequences, publicity photos, and press reviews, Angelica Fenner relates West German discourses around race and integration to emerging economic and political anxieties, class antagonism, and the reinstatement of conventional gender roles--Publisher. |
| west german cinema: German National Cinema Sabine Hake, 2013-01-11 German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form. The book traces the central role of cinema in the nation’s turbulent history from the Wilhelmine Empire to the Berlin Republic, with special attention paid to the competing demands of film as art, entertainment, and propaganda. Hake also explores the centrality of genre films and the star system to the development of a filmic imaginary. This fully revised and updated new edition will be required reading for everyone interested in German film and the history of modern Germany. |
| west german cinema: German Essays on Film Richard McCormick, Alison Guenther-Pal, 2010-06-15 This fascinating volume is for all serious students of European cinema as well as historians of Germany in the 20th century. German Essays on Film is divided into five parts: Late Wilhelmine Germany; Weimar Republic (1918-33); Inside the Third Reich (1933-45); Intellectuals in Exile; and Postwar Germany: since 1945. Among the writers, thinkers, filmmakers, and scholars anthologized are: Alfred D blin, Georg Luk cs, Claire Goll, Hugo von Hofmannsthal, Fritz Lang, F. W. Murnau, Joseph Goebbels, Leni Riefenstahl, Walter Benjamin, Max Horkheimer, Theodor W. Adorno, Siegfried Kracauer, R. W. Fassbinder, Wim Wenders, Gertrud Koch, and many others. The introduction by McCormick and Guenther-Pal along with generous headnotes help to put all these essays into historic perspective. |
| west german cinema: Hollywood in Berlin Thomas J. Saunders, 2023-12-22 The setting is 1920s Berlin, cultural heart of Europe and the era's only serious cinematic rival to Hollywood. In his engaging study, Thomas Saunders explores an outstanding example of one of the most important cultural developments of this century: global Americanization through the motion picture. The invasion of Germany by American films, which began in 1921 with overlapping waves of sensationalist serials, slapstick shorts, society pictures, and historical epics, initiated a decade of cultural collision and accommodation. On the one hand it fueled an impassioned debate about the properties of cinema and the specter of wholesale Americanization. On the other hand it spawned unprecedented levels of cooperation and exchange. In Berlin, American motion pictures not only entertained all social classes and film tastes but also served as a vehicle for American values and a source of sharp economic competition. Hollywood in Berlin correlates the changing forms of Hollywood's contributions to Weimar culture and the discourses that framed and interpreted them, restoring historical contours to a leading aspect of cultural interchange in this century. At the same time, the book successfully embeds Weimar cinema in its contemporary international setting. The setting is 1920s Berlin, cultural heart of Europe and the era's only serious cinematic rival to Hollywood. In his engaging study, Thomas Saunders explores an outstanding example of one of the most important cultural developments of this century: globa |
| west german cinema: Hollywood Behind the Wall Daniela Berghahn, 2005 This book is a representative history of East German film culture from 1946 to the present, examining both DEFA's celebrated classics and the most acclaimed post-unification feature films by East German directors. 'Hollywood behind the wall' demonstrates that East German cinema occupies an ambivalent position between German national cinema on the one hand and East European and Soviet cinema on the other. It includes a wide-ranging exploration of post-unification cinema from East Germany, including cult films such as 'Sun Alley' and 'Goodbye, Lenin!' and provides contextualised, close readings of twenty significant films, referencing one hundred and ninety East German films in total, along with numerous West German and East European classics. The book's scope and its critical consideration of archival materials and scholarly literature make it an authoritative compendium for students and scholars of film studies, German studies and modern European history. |
| west german cinema: Women and the New German Cinema Julia Knight, 1992-06-17 There were virtually no women film directors in germany until the 1970s. today there are proportionally more than in any other film-making country6, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women’s film-making in the 1970s and 1980s, in particular the role of the women’s movement, the concern with the notion of a ‘feminine aesthetic’, women’s entry into the mainstream, and the emergence of a so-called post-feminist cinema. This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism. |
| west german cinema: From Hitler to Heimat Anton Kaes, 1989 Examines changing attitudes among Germans as evident in films of the modern German era, leading away from guilt and atonement and seeking national identity. |
| west german cinema: The New German Cinema Caryl Flinn, 2004-02-09 This study of New German cinema identifies different styles of historical remembrance in which music participates. |
| west german cinema: German Cinema Marc Silberman, 1995 German Cinema is the first English-language volume to provide a comprehensive historical overview of German film from the silent era to the present, as well as close readings of individual films. In the history of German cinema, film directors have developed unique visual and narrative responses to the anxieties and excesses of their own times and those of Germany's past. German Cinema is the first English-language volume to provide a comprehensive historical overview of German film from the silent era to the present, as well as close readings of individual films. |
| west german cinema: No Place Like Home Johannes von Moltke, 2005-09-06 This is the first comprehensive account of Germany's most enduring film genre, the Heimatfilm, which has offered idyllic variations on the idea that there is no place like home since cinema's early days. Charting the development of this popular genre over the course of a century in a work informed by film studies, cultural history, and social theory, Johannes von Moltke focuses in particular on its heyday in the 1950s, a period that has been little studied. Questions of what it could possibly mean to call the German nation home after the catastrophes of World War II are anxiously present in these films, and von Moltke uses them as a lens through which to view contemporary discourses on German national identity. |
| west german cinema: East German Film and the Holocaust Elizabeth Ward, 2021-04-01 East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political. |
| west german cinema: Mothers, Comrades, and Outcasts in East German Women's Films Jennifer L. Creech, 2016-08-08 Mothers, Comrades, and Outcasts in East German Women's Film merges feminist film theory and cultural history in an investigation of women's films that span the last two decades of the former East Germany. Jennifer L. Creech explores the ways in which these films functioned as an alternative public sphere where official ideologies of socialist progress and utopian collectivism could be resisted. Emerging after the infamous cultural freeze of 1965, these women's films reveal a shift from overt political critique to a covert politics located in the intimate, problem-rich experiences of everyday life under socialism. Through an analysis of films that focus on what were perceived as women's concerns—marital problems, motherhood, emancipation, and residual patriarchy—Creech argues that the female protagonist served as a crystallization of socialist contradictions. By framing their politics in terms of women's concerns, these films used women's desire and agency to contest the more general problems of social alienation and collectivism, and to re-imagine the possibilities of self-fulfillment under socialism. |
| west german cinema: Fassbinder's Germany Thomas Elsaesser, 1996 Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism. |
| west german cinema: Avant-garde to New Wave Jonathan L. Owen, 2013-02-01 The cultural liberalization of communist Czechoslovakia in the 1960s produced many artistic accomplishments, not least the celebrated films of the Czech New Wave. This movement saw filmmakers use their new freedom to engage with traditions of the avant-garde, especially Surrealism. This book explores the avant-garde's influence over the New Wave and considers the political implications of that influence. The close analysis of selected films, ranging from the Oscar-winning Closely Observed Trains to the aesthetically challenging Daisies, is contextualized by an account of the Czech avant-garde and a discussion of the films' immediate cultural and political background. |
| west german cinema: From Caligari to Hitler Siegfried Kracauer, 2019-04-02 An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts. |
| west german cinema: Screen Nazis Sabine Hake, 2012-08-31 From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil’s General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance. Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian “Naziploitation” films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s–2000s from the United States and numerous European countries. |
| west german cinema: Light Motives Randall Halle, Margaret McCarthy, 2003 Light Motives undertakes a long overdue critical reassessment of German popular cinema, challenging the traditional view of German film history and offering new ways to think about popular cinema in general. |
| west german cinema: Weimar Cinema and After Thomas Elsaesser, 2000 Offers a fresh perspective on this most 'national' of national cinemas, re-evaluating the arguments which view genres and movements as typically German contributions to twentieth century visual culture. |
| west german cinema: The Berlin School Rajendra Roy, Anke Leweke, Thomas Arslan, Valeska Grisebach, Benjamin Heisenberg, Christoph Hochhäusler, Nina Hoss, Dennis Lim, Katja Nicodemus, Christian Petzold, Rainer Rother, 2013 The informal movement that critics like to call the Berlin School, as director Christoph Hochhäusler puts it, is a loose affiliation of filmmakers who emerged around the time the Berlin Wall fell. The founding figures--Thomas Arslan, Christian Petzold, and Angela Schanelec--and their younger colleagues are not bound by a manifesto or by any singular aesthetic. Nonetheless, their observant portrayals of characters in flux offer a compelling cinematic expression of the search for new identities in a time of societal change. The films of the Berlin School have resonated profoundly since the mid-1990s, making it one of the most influential auteur movements to emerge from Europe in the new millennium. |
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West Village - Wikipedia
The West Village is a neighborhood in the western section of the larger Greenwich Village neighborhood of Lower Manhattan, New York City. [1] The West Village is bounded by the …
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The neighborhood. The West Village resides between Houston Street and West 14th Street, the Hudson River and 6th Avenue. Unlike the rest of Manhattan, it does not conform to the …
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New York City Midtown West Neighborhood Map - TripSavvy
Jul 31, 2019 · Chances are if you are visiting New York City you will find yourself in Midtown West. The neighborhood is home to many top attractions for visitors including Rockefeller Center, …
Upper West Side, NYC [Neighborhood Guide] | The Corcoran Group
Visit our site & view our Upper West Side, NYC neighborhood guide. Read about the history, schools, & dining where we offer homes and apartments for sale or rent.
Guide to the West Village Neighborhood of New York City
Oct 6, 2024 · Located in downtown Manhattan, the West Village is a historic neighborhood celebrated for its cultural and artistic heritage. It has long been a hub for diverse movements, …
Home - Manhattan West
SHOP + DINE All in Good Taste Manhattan West is where you’ll find your new favorite café, happy hour haunt, or top-tier retailer. SEE YOU THERE Events Explore our calendar of can’t …
West Village - Wikipedia
The West Village is a neighborhood in the western section of the larger Greenwich Village neighborhood of Lower Manhattan, New York City. [1] The West Village is bounded by the …
West Village — CityNeighborhoods.NYC
The neighborhood. The West Village resides between Houston Street and West 14th Street, the Hudson River and 6th Avenue. Unlike the rest of Manhattan, it does not conform to the …
Two Manhattan West Opens, Marking the Completion of a Major New York …
Jan 30, 2024 · “The completion of Two Manhattan West and the entire Manhattan West development is monumental for New York City, knitting together the urban fabric of the West …
Two Manhattan West Completes Construction in Midtown ... - New York …
Feb 7, 2024 · Last week, Skidmore Owings & Merrill and Brookfield Properties announced the completion of Two Manhattan West, a 58-story commercial skyscraper in Midtown West.The …
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Find local businesses, view maps and get driving directions in Google Maps.
Upper West Side NYC Neighborhood Guide - Compass
Nestled between Riverside and Central Park, the Upper West Side is one of the greenest parts of Manhattan. The Upper West Side is known for popular attractions like the Natural History …
New York City Midtown West Neighborhood Map - TripSavvy
Jul 31, 2019 · Chances are if you are visiting New York City you will find yourself in Midtown West. The neighborhood is home to many top attractions for visitors including Rockefeller …
Upper West Side, NYC [Neighborhood Guide] | The Corcoran Group
Visit our site & view our Upper West Side, NYC neighborhood guide. Read about the history, schools, & dining where we offer homes and apartments for sale or rent.
Guide to the West Village Neighborhood of New York City
Oct 6, 2024 · Located in downtown Manhattan, the West Village is a historic neighborhood celebrated for its cultural and artistic heritage. It has long been a hub for diverse movements, …
