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Documents the work of the often neglected director of the German silent film classic, The Cabinet of Dr. Caligari. The chapters move chronologically through the different periods of Wiene's career, summarizing and critiquing 90 films he either directed or wrote. Originally published in German, the book includes black and white photographs and a filmography. Annotation copyrighted by Book News, Inc., Portland, OR
The burgeoning film industry in the Weimar Republic was, among other things, a major site of German-Jewish experience, one that provided a sphere for Jewish “outsiders” to shape mainstream culture. The chapters collected in this volume deploy new historical, theoretical, and methodological approaches to understanding the significant involvement of German Jews in Weimar cinema. Reflecting upon different conceptions of Jewishness – as religion, ethnicity, social role, cultural code, or text – these studies offer a wide-ranging exploration of an often overlooked aspect of German film history.
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.
""The terror film, with puzzling, disturbing, multivalent images, often leads us into regions that are strange, disorienting, yet somehow familiar; and for all the crude and melodramatic and morally qu"
Vols. 8-10 of the 1965-1984 master cumulation constitute a title index.
Most critical work on the horror film in Germany has been devoted to the period of the Weimar Republic and the classics it has produced, including Robert Wiene's The Cabinet of Dr. Caligari (1920) and F.W. Murnau's Nosferatu (1922). Postwar German horror film, however, has received little critical attention. Caligari's Heirs: The German Cinema of Fear after 1945 is a collection of essays that corrects this oversight by providing intelligent critical analyses of a variety of German horror films from the early postwar years to the present day. Following an introduction that discusses the development of critical discourse on postwar German horror film, these essays focus on four particular aspects of the genre: the immediate postwar years and the long shadow of Weimar cinema that falls over them; the dialogue between the German Autorenfilm and horror cinema; the influence of commercial American cinema on German horror films; and contemporary splatter films that have received more critical attention than any other postwar German horror films. To round out the picture of this genre in the context of a specific national tradition, the book also includes three interviews with contemporary German horror film directors working in both cinema and television. Though the book takes on a wide field of discussion--German horror film over a period of roughly fifty years--it does so by providing case studies. The essays in this collection discuss either an individual film or director, or they take on larger historical issues: from the discussion of the Nazi past in the postwar years to the heavy toll of German reunification. In its broad approach, Caligari's Heirs has something to offer to three distinct audiences: the horror film fan, the reader interested in German cinema in general, and the reader interested in discovering a national culture through its popular culture.