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No Angels
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Der deutsche Film
Der reich bebilderte Band erzählt die Geschichte des deutschen Films anhand der Sammlungsbestände der Deutschen Kinemathek von den Anfängen im Jahr 1895 bis in die Gegenwart. Zwölf nach Dekaden gegliederte Kapitel führen prägnant in die Epochen deutscher Filmgeschichte ein. Rund 420 Textbeiträge präsentieren berühmte und wiederzuentdeckende Filme, würdigen das Kino und sein Publikum – sowie all jene, deren Kreativität der deutsche Film seine Vielfalt verdankt. Mehr als 2.700 Objekte aus sämtlichen Sammlungsbereichen und einer Zeitspanne von rund 130 Jahren, viele davon erstmals veröffentlicht, ermöglichen einen umfassenden Blick in die Archivbestände der Kinemathek und ein v...
German Film. Volume 1: 1895-1909
This e-book is part of a twelve-volume series documenting the history of German film from its beginnings in 1895 to the present day using the collection holdings of the Deutsche Kinemathek. Each volume in ePUB format focuses on a decade and offers a concise overview of the cinematic masterpieces and milestones of that era, highlights famous films and films to be rediscovered, and pays tribute to the cinema, its audience and the creative minds behind the diversity of German film. The complete work, which comprises over 2,700 objects from all areas of the collection and spans 130 years, is also available as a printed book and as a PDF in German and English. The DEUTSCHE KINEMATHEK is one of th...
German Film
Comprehensive German film history German Film. From the Archives of the Deutsche Kinemathek offers a captivating journey through the history of German cinema, from the earliest moving images of 1895 to the present day. This richly illustrated volume opens the Deutsche Kinemathek's archives, illuminating the artistic, technical, political, and social developments that have shaped German film. In twelve chapters, over 420 essays tell the stories of both celebrated and lesser-known films, paying tribute to the creativity of the many personalities who continue to shape German cinema. Featuring more than 2,700 items—from unpublished photographs to historic film posters—the book provides a uni...
East German Film and the Holocaust
East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.
Weimar Cinema, 1919-1933
Published in conjunction with the Museums presentation of 75 featurelength films from theWeimar era, many of them only recently restored, Weimar Cinema 1919-1933: Daydreams and Nightmares reconsiders the broad spectrum of influential German films made between the world wars. Both films made in Germany and those made in America by the émigré filmmakers who arrived in Hollywood before Hitler took power deeply affected American cinema. Weimar Cinema is the first comprehensive survey of this period to include popular cinema musicals, comedies, the daydreams of the working class along with the nightmarish classics such as Fritz Langs Dr.Mabuse der Spieler and M, F.W. Murnaus Nosferatu: Eine Symphonie des Grauens and G.W. Pabsts Pandoras Box. Richly illustrated with film stills, the book examines how our understanding of these films has changed in the last half century and investigates important themes in films from this period, including the portrayal of women and the role of sound. Supplementing the essays is a detailed illustrated filmography of the 75 films featured in the programme; each film is accompanied by a brief description and excerpts from reviews.
Das Recht der Filmförderung in Deutschland
In Deutschland entsteht kaum ein Film ohne staatliche Filmförderung. Jährlich werden Filme mit mehreren hundert Mio. Euro subventioniert. Das vorliegende Buch gibt einen umfassenden Überblick über die vielfältigen Möglichkeiten der Filmförderung in Deutschland und wirft auch einen Blick auf europäische Fördermaßnahmen. Dabei wird erörtert, ob nationale Filmförderung tatsächlich kulturell und wirtschaftlich sinnvoll ist, oder Kreativität und Innovationsprozesse eher beschneidet. Zudem stellen rechtliche Fragen Bund und Länder vor Probleme. Der Autor legt die rechtlichen Grundlagen der Filmförderung dar und gibt Denkanstöße für Änderungen, die der Wandel der Medienwelt erforderlich macht. Thomas Neumann studierte Rechtswissenschaften in Freiburg und Genf. Er promovierte mit dieser Arbeit an der Albert-Ludwigs-Universität Freiburg.
Film Narratology
In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.
Musical Modernism and German Cinema from 1913 to 1933
This book investigates the relationship between musical Modernism and German cinema. It paves the way for anunorthodox path of research, one which has been little explored up until now. The main figures of musical Modernism, from Alban Berg to Paul Hindemith, and from Richard Strauss to Kurt Weill, actually had a significant relationship with cinema. True, it was a complex and contradictory relationship in which cinema often emerged more as an aesthetic point of reference than an objective reality; nonetheless, the reception of the language and aesthetic of cinema had significant influence on the domain of music. Between 1913 and 1933, Modernist composers’ exploration of cinema reached suc...
Charlie Chaplin and the Nazis
Until recently, it was assumed that the Nazis agitated against Chaplin from 1931 to 1933, and then again from 1938, when his plan to make The Great Dictator became public. This book demonstrates that Nazi agitation against Chaplin was in fact a constant from 1926 through the Third Reich. When The Gold Rush was released in the Weimar Republic in 1926, the Nazis began to fight Chaplin, whom they alleged to be Jewish, and attempted to expose him as an intellectual property thief whose fame had faded. In early 1935, the film The Gold Rush was explicitly banned from German theaters. In 1936, the NSDAP Main Archives opened its own file on Chaplin, and the same year, he became entangled in the machinery of Nazi press control. German diplomats were active on a variety of international levels to create a mood against The Great Dictator. The Nazis' dehumanizing attacks continued until 1944, when an opportunity to capitalize on the Joan Barry scandal arose. This book paints a complicated picture of how the Nazis battled Chaplin as one of their most reviled foreign artists.
