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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. As Berghahn shows, 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 contextualized readings of twenty significant films, referencing one hundred and ninety East German films in total, along with numerous West German and East European classics.
Pink Floyd's The Wall is one of the most iconic and imaginative albums in the history of rock music, spawning one of the most ambitious stage show productions ever conceived, and a film that instantly became a cult classic. All three were created in close collaboration with renowned cartoonist and illustrator Gerald Scarfe. Here, for the first time, Scarfe shares his experiences with the band and reveals the inside story behind The Wall's development in the studio, on the stage, in front of the camera, and for the 2010 tour. Beautifully illustrated, The Making of Pink Floyd: The Wall contains hundreds of unseen photos as well as exclusive interviews with Roger Waters, David Gilmour, Nick Mason, and more. The result is a book Waters calls "brilliant" and "absolutely amazing."
A reassessment of the journey Germans in East and West have taken during the past two and a half decades: even today, an open-ended, unfinished journey.
Kees Madden, a young writer steeped in film history, suddenly finds himself living in the Hollywood he always imagined existed just beyond the shadows, an alternate Hollywood of malicious ghosts and the famous phantoms of filmland's past. The city has the power to shift time and space and is capable of ironic response when confronted by Madden's overactive imagination. It is also the city's perverse pleasure to confront him with a diverse cadre of Hollywood ghosts. Although enthralled by this bizarre new world, Madden finds himself eager to escape, while the unseen forces behind Dead Hollywood have other plans. In pursuit of the city's boundaries and arcane secrets, Madden encounters three enigmatic humans: a clever, sinister man and two intriguing, beautiful women. As they lead him through a fantastic dream/maze of Hollywood past and present, Madden is severely tempted by the two ladies. Although they seem to be polar opposites, could Madden be capable of falling in love with them both? Or are they only malevolent ghosts, eager to imprison Madden in their depraved Hollywood hells? Peter Beckman grew up in the northern California town of Carmichael where, at age 11, he became an actor in local theatre and college productions. In his early twenties, he attended the California Institute of the Arts, where he studied screenwriting with legendary director Alexander Mackendrick ("The Man In The White Suit," "The Sweet Smell Of Success"). Beckman has also appeared in films as varied as "Echo Park," "C.H.U.D. II" and Orson Welles' still-unreleased masterwork, "The Other Side Of The Wind." Beckman lives in Los Angeles where, under the pseudonym Anthony Landor, he currently provides voices for many of the world's most popular videogames, including "Street Fighter IV" (Zangief) and "Dissidia: Final Fantasy" (Golbez). He can also be heard as the voice of General Wolf in the Sci-Fi Channel's hit anime series "Monster." Dead Hollywood is his first novel."
By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR’s rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA’s complex post-unification “afterlife.”
In the Wall Jumper, real people cross the Wall not to defect but to quarrel with their lovers, see Hollywood movies, and sometimes just because they can't help themselves—the Wall has divided their emotions as much as it has their country.
The Allied agreement after the Second World War did not only partition Germany, it divided the nation along the fault-lines of a new bipolar world order. This inner border made Germany a unique place to experience the Cold War, and the “German question” in this post-1945 variant remained inextricably entwined with the vicissitudes of the Cold War until its end. This volume explores how social and cultural practices in both German states between 1949 and 1989 were shaped by the existence of this inner border, putting them on opposing sides of the ideological divide between the Western and Eastern blocs, as well as stabilizing relations between them. This volume’s interdisciplinary approach addresses important intersections between history, politics, and culture, offering an important new appraisal of the German experiences of the Cold War.
A thrilling Cold War narrative of superpower showdowns, media suppression, and two escape tunnels beneath the Berlin Wall. In the summer of 1962, the year after the rise of the Berlin Wall, a group of young West Germans risked prison, Stasi torture, and even death to liberate friends, lovers, and strangers in East Berlin by digging tunnels under the Wall. Then two U.S. television networks heard about the secret projects and raced to be first to document them from the inside. NBC and CBS funded two separate tunnels in return for the right to film the escapes, planning spectacular prime-time specials. President John F. Kennedy, however, was wary of anything that might spark a confrontation with the Soviets, having said, “A wall is better than a war,” and even confessing to Secretary of State Dean Rusk, “We don’t care about East Berlin.” JFK approved unprecedented maneuvers to quash both documentaries, testing the limits of a free press in an era of escalating nuclear tensions. As Greg Mitchell’s riveting narrative unfolds, we meet extraordinary characters: the legendary cyclist who became East Germany’s top target for arrest; the Stasi informer who betrays the “CBS tunnel”; the American student who aided the escapes; an engineer who would later help build the tunnel under the English channel; and the young East Berliner who fled with her baby, then married one of the tunnelers. The Tunnels captures the chilling reach of the Stasi secret police as U.S. networks prepared to “pay for play” but were willing to cave to official pressure, the White House was eager to suppress historic coverage, and ordinary people in dire circumstances became subversive. The Tunnels is breaking history, a propulsive read whose themes still reverberate.
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.
Ossi Wessi includes the proceedings of the fourteenth annual Interdisciplinary German Studies Conference at the University of California, Berkeley (2006), which explored issues surrounding the Berlin Wall, both pre- and post-reunification, in language, literature, and visual media. The collected articles discuss the situation of the Berlin Wall, describing its portrayal as both a dividing and uniting boundary, and often discussing the continued existence of the Wall in the minds of Germany’s citizens. The multi-disciplinary range of approaches contained in this volume reveals how diverse the portrayals of the history of the Wall have been, as well as how controversial the division of Germany remains today. Topics covered in this collection include Wende Literature and film, linguistic changes and attitudes since 1989, the complicated history of the Neo-Nazis, and the visual arts. Although Ossi Wessi is by no means a comprehensive reference work, each of its essays serve as a though provoking springboard for further research.