A Critical History of German Film (Studies in German by Stephen Brockmann
By Stephen Brockmann
A historical past of German movie facing person motion pictures as artistic endeavors has lengthy been wanted. current histories are inclined to deal with cinema as an monetary instead of a classy phenomenon; prior surveys that do interact with person motion pictures don't comprise motion pictures of contemporary a long time. This ebook treats consultant movies from the beginnings of German movie to the current. delivering ancient context via an advent and interchapters previous the remedies of every era's movies, the quantity is appropriate for semester- or year-long survey classes and for someone with an curiosity in German cinema.BR> the flicks: the scholar of Prague - the cupboard of Dr. Caligari - The final chortle - city - The Blue Angel - M - Triumph of the need - the good Love - The Murderers are between Us - sunlight Seekers - hint of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - younger T?¶rless - Aguirre, The Wrath of God - Germany in Autumn - the wedding of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of wish - might be, probably no longer - Rossini - Run Lola Run - sturdy Bye Lenin! - Head On - The Lives of Others
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Extra resources for A Critical History of German Film (Studies in German Literature Linguistics and Culture)
Even Kaiser Wilhelm II took a personal interest in film. German companies began to make newsreels about the war, along with patriotic dramas intended to strengthen the bond between soldiers at the front and their families at home. Ultimately, in 1917, the German army’s High Command under General Eric Ludendorff founded its own film propaganda unit, declaring: “We have underestimated the political influence exerted by film for mass suggestion. . ”28 By this point it was clear that film had become a significant part of the political and military landscape, and that film would play a major role in the political movements of the twentieth century.
The film was largely successful on these terms, as a review in one journal noted: “The film is not just capable of being a surrogate for this or that art — it is much more a means for creating a self-sufficient and worthy art of a distinctive kind. To express it simply and clearly: film creates a bridge between painting and poetry — both arts which we have until now thought of as divided by irreconcilable boundaries. ”21 Paul Wegener explained that by 1913, when the film was made, he had come to understand that because of its technological possibilities the cinema could actually present certain kinds of Romantic motifs — such as the motif of Doppelgänger — more successfully than literature itself.
Some of Kientopp’s harshest critics nevertheless called for drastic intervention. ”23 With this allusion to Greek mythology, the critic was demonstrating his superiority to the uneducated working-class moviegoers he was criticizing; after all, they would not have known that one of the tasks of the Greek hero Hercules had been to clean out a massive stable filled to the rafters with horse dung. In 1913 another critic declared that movies were probably not capable of improvement: “I do not believe that cinematography, just because it is relatively new, still suffers from developmental shortcomings that will disappear automatically in the near future.