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An insightful analysis of German film in the immediate postwar era.
This volume addresses the influence of Italian neorealist films on world cinema well beyond the post-World War II period associated with the movement. Despite its lack of organization and relatively short life span, the Italian neorealist movement deeply influenced directors and film traditions around the world. This collection examines the impact of Italian neorealism beyond the period of 1945-52, the years conventionally connected to the movement, and beyond the postwar Italian film industry where the movement originated. Providing a refreshing aesthetic and ideological contrast to mainstream Hollywood films, neorealist filmmakers demonstrated not only how an engaging narrative technique could be brought to bear upon social issues but also how cinema could shape and redefine national identity. The fourteen essays in Italian Neorealism and Global Cinema consider films from Italy, India, Brazil, Africa, the Czech Republic, postwar Germany, Hong Kong, the United States, France, Belgium, Colombia, and Great Britain. Each essay explores neorealism's complex relationship to a different national film tradition, style, or historical period, illustrating the profound impact of neorealism and the ways it continues to complicate the relationship between ideas of nation, national cinema, and national identity. Many of the essays identify similar themes or motifs adapted from neorealism, and several essays address a politicized national film tradition that developed in opposition to a monolithic Western aesthetic. In all, Italian Neorealism and Global Cinema provides a novel critical understanding of the wide-ranging international impact of a short period in Italian cultural history. Film scholars and students of film history will appreciate this insightful text.
As the seat of Hitler's government, Berlin was the most frequently targeted city in Germany for Allied bombing campaigns during World War II. Air raids shelled celebrated monuments, left homes uninhabitable, and reduced much of the city to nothing but rubble. After the war's end, this apocalyptic landscape captured the imagination of artists, filmmakers, and writers, who used the ruins to engage with themes of alienation, disillusionment, and moral ambiguity. In Rubble Music, Abby Anderton explores the classical music culture of postwar Berlin, analyzing archival documents, period sources, and musical scores to identify the sound of civilian suffering after urban catastrophe. Anderton reveals how rubble functioned as a literal, figurative, psychological, and sonic element by examining the resonances of trauma heard in the German musical repertoire after 1945. With detailed explorations of reconstituted orchestral ensembles, opera companies, and radio stations, as well as analyses of performances and compositions that were beyond the reach of the Allied occupiers, Anderton demonstrates how German musicians worked through, cleared away, or built over the debris and devastation of the war.
This volume offers a cultural, aesthetic, and critical reappraisal of German 'rubble films' produced in the immediate aftermath of the Second World War and constructs their meaning in a historical context.
Afterlives of Romantic Intermediality addresses the manifold, even global artistic developments that were initiated by European Romantics. In the first section, the contributors show how the rising perspective of intermediality was discussed in philosophical terms and adapted itself to Romantic literature and music. In the second section, the contributors show how post-Romantic writers, visual artists, and composers have engaged with Romantic heritage. By exploring primary works that range from European arts to Latin American literature, these essays focus on the interdisciplinary developments that have emerged in literature, music, painting, film, architecture, and video art. Overall, the contributions in this volume demonstrate that intermedial connections—or sometimes the conscious lack of such connections—embody intriguing aspects of modernity and postmodernity.
Since the fall of the Berlin Wall, there has been a proliferation of German historical films. These productions have earned prestigious awards and succeeded at box offices both at home and abroad, where they count among the most popular German films of all time. Recently, however, the country’s cinematic take on history has seen a significant new development: the radical style, content, and politics of the New German Cinema. With in-depth analyses of the major trends and films, this book represents a comprehensive assessment of the historical film in today’s Germany. Challenging previous paradigms, it takes account of a postwall cinema that complexly engages with various historiographical forms and, above all, with film history itself.
The history of cinema charts multiple histories of exile. From the German émigrés in 1930s Hollywood to today's Iranian filmmakers in Europe and the United States, these histories continue to exert a profound influence on the evolution of cinematic narratives and aesthetics. But while the effect of exile and diaspora on film practice has been fruitfully explored from both historical and contemporary perspectives, the issues raised by return, whether literal or metaphorical, have yet to be fully considered. Cinematic Homecomings expands upon existing studies of transnational cinema by addressing the questions raised by reverse migration and the return home in a variety of historical and national contexts, from postcolonialism to post-Communism. By looking beyond exile, the contributors offer a multidirectional perspective on the relationship between migration, mobility, and transnational cinema. 'Narratives of return' are among the most popular themes of the contemporary cinema of countries ranging from Morocco to Cuba to the Soviet Union. This speaks to both the sociocultural reality of reverse migration and to its significance on the imagination of the nation.
A comprehensive account of the popular German film industry of the 1960s, its main protagonists, and its production strategies. The book challenges traditional assumptions about this mode of film-making.
German film is diverse and multi-faceted; its history includes five distinct German governments (Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany, and the German Democratic Republic), two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as the natural inclination of artists to rebel and create new styles, allow for the construction of a narrative of German film. While the disjuncture generates distinct points of separation, it also highlights continuities between the ruptures. Outlining the richness of German film, The A to Z of German Cinema covers mainstream, alternative, and experimental film from 1895 to the present through a chronology, introductory essay, appendix of the 100 most significant German films, a bibliography, and hundreds of cross-referenced dictionary entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. The book's broad canvas will lead students and scholars of cinema to appreciate the complex nature of German film.
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.