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Veit Harlan (1899--1964) was one of Germany's most controversial and loathed directors. After studying with theatre and film pioneer Max Reinhardt and beginning a promising career, he became one of Joseph Goebbels's leading filmmakers under the National Socialist regime. Harlan's Jud Süss ( Jew Suss, 1940), in particular, stands as one of the most artistically distinct and morally reprehensible films produced by the Third Reich. His involvement with this movie has led to many critical questions: Was the director truly forced to make the film under penalty of death? Is anti-Semitism a theme in his other productions? Can and should his work be studied in light of the horrors of Nazism and the Holocaust? The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work. Author Frank Noack reveals that both Harlan's life and work were marked by creative vision, startling ambiguities, and deep moral flaws. His meticulously detailed study explores the director's influence on German cinema and places his work within the contexts of World War II and film history as a whole. Rivaled only by Leni Riefenstahl, Veit Harlan remains one of Germany's most infamous filmmakers, and virtually every book on Nazi cinema contains at least one chapter about Harlan or an analysis of one of his movies. This biography -- supplemented by production histories and rare interviews with actors, actresses, and cameramen -- offers the first comprehensive analysis of the director and his work and adds new perspective to the growing body of scholarship on filmmaking under the Third Reich.
Veit Harlan (1899-1964) was one of Germany's most controversial and loathed directors. The first English-language biography of the notorious director, Veit Harlan presents an in-depth portrait of the man who is arguably the only Nazi filmmaker with a distinct authorial style and body of work.
The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.
Joseph Suss Oppenheimer (1698-1738), better known as Jew Suss, was a court Jew, who advised the Duke of Wurttemberg. Clever and handsome, even ostentatious, he fitted easily into court life, despite his humble origins. However, his unpopular economic policies made him enemies and when the Duke died suddenly Suss was arrested, convicted of 'destestable abuses' and exectued in Stuttgart in an iron cage. His spectacular rise and fall inspired a media outpouring in the eighteenth century and he has been much written about subsequently. In the twentieth century two films were made about him, one British in 1934, the other German in 1940. Goebbels took an active interest in the latter. After the war its director, Veit Harlan, was tried for Crimes against Humanity for having made the film. Despite his acquittal, the film's association with the Holocaust remains controversial to this day. For almost three centuries the life of Jew Suss has been adapted, distorted and transformed. This book tells the story of these transformations.
This comprehensive guide is an ideal reference work for film specialists and enthusiasts. First published in 1984 but continuously updated ever since, CineGraph is the most authoritative and comprehensive encyclopedia on German-speaking cinema in the German language. This condensed and substantially revised English-language edition makes this important resource available to students and researchers for the first time outside its German context. It offers a representative historical overview through bio-filmographical entries on the main protagonists, from the beginnings to the present day. Included are directors and actors, writers and cameramen, composers and production designers, film theorists and critics, producers and distributors, inventors and manufacturers. An appendix includes short introductory essays on specific periods and movements, such as Early Film, Weimar, Nazi Cinema, DEFA, New German Cinema, and German film since unification, as well as on cinematic developments in Austria and Switzerland. Sections that crossreference names around specific professional groups and themes will prove equally invaluable to researchers.
This book follows postwar Germany's leading philosopher and social thinker, Jürgen Habermas, through four decades of political and constitutional struggle over the shape of liberal democracy in Germany. Habermas's most influential theories - of the public sphere, communicative action, and modernity - were decisively shaped by major West German political events: the failure to de-Nazify the judiciary, the rise of a powerful Constitutional Court, student rebellions in the late 1960s, the changing fortunes of the Social Democratic Party, NATO's decision to station nuclear weapons, and the unexpected collapse of East Germany. In turn, Habermas's writings on state, law, and constitution played a critical role in reorienting German political thought and culture to a progressive liberal-democratic model. Matthew Specter uniquely illuminates the interrelationship between the thinker and his culture.
This is a truly interdisciplinary work. Whilst all of the contributions focus upon the central problem of the relationship between literature and the visual arts, they come from contributors working in a large number of different areas. Represented are academics from the worlds of German studies, French studies, English studies, art history and film studies. in literature, etc.
The war in Europe was reaching its cataclysmic final months with Germany surrounded on all sides. Hitler’s forces had been driven from Poland by the Red Army and the Soviets were poised a short distance from Berlin, while the Western allies, having repulsed the Führer’s Ardennes offensive, were preparing to cross the Rhine. More than ever, Hitler needed his people to stiffen their resolve for the coming onslaught. To demonstrate what will be expected of the German people, and what they could achieve if they refused to acknowledge defeat, a major feature film would be shown, featuring the one place which held out against Napoleon when he invaded Prussia in 1807 – the city of Kolberg. After crushing the Prussian Army in 1806, French forces swept into the Prussian province of Pomerania. One by one the Prussian fortresses surrendered, mostly without offering any resistance, except for Kolberg. The small and weakly-fortified city held out for four months despite being surrounded by Napoleon’s forces, with Major von Gneisenau organizing a citizen’s militia to aid the Army in its defense. Though much of the city was blasted into ruin, Kolberg remained in Prussian hands until the war with France ended with the signing of the Peace of Tilsit, by which time its defense had become legendary. Even though the Third Reich was literally entering its death-throes, in attempting to reproduce the siege of Kolberg on film, thousands of experts, extras and horses were taken from the war effort by the Reich Minister of Propaganda, Joseph Goebbels. The film’s emphasis was to show how civilians and the military can work together to save Germany – just as Kolberg had been saved from the French. The result has been stated to be the most expensive feature film ever made in Germany. This book examines the dramatic conditions under which the film was produced, and the scale of the resources needed to do so, followed by its first showing on 30 January 1945. All Goebbels' efforts, though, were to no avail, as the film never went on general release. A month later, as the author reveals, Kolberg found itself under siege once again, but this time, after bitter house-to-house fighting, it fell to the Soviets in less than four weeks.
This lavishly illustrated volume tells the story of German film through the collection of the Deutsche Kinemathek. From its beginnings in 1895 to the present day, it illustrates the artistic and technical, political, and social developments that have shaped and continue to shape, the history of film in Germany. Organized by decade and divided into twelve chapters, more than 420 essays explore films both famous and obscure. It celebrates this important cultural medium and its spectators as well as all the personalities who have shaped the diversity of German film through their creativity. More than 2,700 objects from all areas of the collection and spanning a period of around 130 years, many of them published for the first time, provide a comprehensive insight into the Kinemathek's archive holdings and an in-depth understanding of film history. The DEUTSCHE KINEMATHEK is one of the world's leading institutions for the collection, preservation, and presentation of audio-visual heritage. Hundreds of thousands of objects are permanently preserved in its archives and are available for research into film and television history. In addition to scripts, photos, posters, costumes and designs, the collection also includes film equipment. The Kinemathek curates film series and exhibitions and restores and digitizes films. Its diverse activities, including installations, publications, educational formats, and conferences, encourage visitors to discover the world of moving images.
Strehl's book chronicles the highlights of this critical history."--BOOK JACKET.