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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.
Exam Board: AQA, Edexcel, Eduqas & CCEA Level: AS/A-level Subject: Modern Languages First Teaching: September 2016 First Exam: June 2017 Film analysis made easy. Build your students' confidence in their language abilities and help them develop the skills needed to critique their chosen work: putting it into context, understanding the themes and director's technique, as well as specialist terminology. Breaking down each scene, character and theme in Good bye, Lenin!, this accessible guide will enable your students to understand the historical and social context of the film and give them the critical and language skills needed to write a successful essay. - Strengthen language skills with relevant grammar, vocab and writing exercises throughout - Aim for top marks by building a bank of textual examples and quotes to enhance exam response - Build confidence with knowledge-check questions at the end of every chapter - Revise effectively with pages of essential vocabulary and key mind maps throughout - Feel prepared for exams with advice on how to write an essay, plus sample essay questions, two levels of model answers and examiner commentary
After Dorothy L. Sayers became famous for her fictional sleuth, Lord Peter Wimsey, she began investigating the mysteries of Anglo-Catholic Christianity, writing plays for both stage and radio. However, because her modernist contemporaries disdained both best-sellers and religious fiction, Sayers has been largely overlooked by the academy. Writing Performances is the first work to position Sayers' diverse writings within the critical climate of high modernism. Employing exuberant illustrations from Sayers' detective fiction to make theoretical issues accessible, the book employs insights from performance theory to argue that Sayers, though a popularizer, presciently anticipated the postmodern ironizing of Enlightenment rationality and scientific objectivity.
(Piano Solo Songbook). "I think there is a similarity between the infinite big and the infinite smallness of everything," says Yann Tiersen. "It's the same experiment looking through a microscope as it is a telescope." Named after a chapel in a small village on the island of Ushant, Kerber marks a new chapter in critically-acclaimed composer Yann Tiersen's career. A chapter still true to Tiersen's nuanced and subtle approach but one that sets out with his most overtly electronic material to date. Beautifully textured, highly immersive and thoughtfully constructed, Tiersen creates an electronic world, providing an environment in which the piano source exists. A sense of place has often been a central theme in Tiersen's work and here that is no different. Each track is tied to a place mapping out the immediate landscape that surrounds Tiersen's home, linking back to his thoughts on the possibilities of the infinite smallness. This official, exclusive folio is beautifully printed on high-quality, uncoated paper with striking graphic artwork. All seven pieces are presented for solo piano and follow an exclusive introduction to the project.
Seminar paper from the year 2005 in the subject American Studies - Miscellaneous, grade: 1, Brown University (Department of American Civilization), course: Trauma and Shame of the Unspeakable, 20 entries in the bibliography, language: English, abstract: One event that turned "ostalgia" - the term given to the nostalgia felt for East Germany - into an unstoppable popular movement in the spring of 2003 was the overwhelming success of Wolfgang Becker's film, Goodbye, Lenin, a tragicomic satire set during the time of German reunification. Becker's film portrays the East's total dissolution into the West and the resulting fractured identity of East Germans and poses the question: Do the so-called "peaceful revolution" and the major social changes that followed need to be re-evaluated as ultimately traumatizing events? This essay will investigate this issue by applying three contradictory trauma theories by Jeffrey Alexander, Piotr Sztompka and Cathy Caruth to Becker's film and examining whether the film successfully recollects German identity. If so, does the movie, according to Judith Herman's definition of trauma resolution, simultaneously help to resolve a specific East German cultural trauma that has been in a state of latency for more than thirteen years?
In keeping with the tenets of socialist internationalism, the political culture of the German Democratic Republic strongly emphasized solidarity with the non-white world: children sent telegrams to Angela Davis in prison, workers made contributions from their wages to relief efforts in Vietnam and Angola, and the deaths of Patrice Lumumba, Ho Chi Minh, and Martin Luther King, Jr. inspired public memorials. Despite their prominence, however, scholars have rarely examined such displays in detail. Through a series of illuminating historical investigations, this volume deploys archival research, ethnography, and a variety of other interdisciplinary tools to explore the rhetoric and reality of East German internationalism.
Many policymakers, journalists, and scholars insist that U.S. hegemony is essential for warding off global chaos. Good-Bye Hegemony! argues that hegemony is a fiction propagated to support a large defense establishment, justify American claims to world leadership, and buttress the self-esteem of voters. It is also contrary to American interests and the global order. Simon Reich and Richard Ned Lebow argue that hegemony should instead find expression in agenda setting, economic custodianship, and the sponsorship of global initiatives. Today, these functions are diffused through the system, with European countries, China, and lesser powers making important contributions. In contrast, the United States has often been a source of political and economic instability. Rejecting the focus on power common to American realists and liberals, the authors offer a novel analysis of influence. In the process, they differentiate influence from power and power from material resources. Their analysis shows why the United States, the greatest power the world has ever seen, is increasingly incapable of translating its power into influence. Reich and Lebow use their analysis to formulate a more realistic place for America in world affairs.
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.