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Anti-Heimat Cinema
Anti-Heimat Cinema: The Jewish Invention of the German Landscape studies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers’ contemplations of “Heimat”—a provincial German landscape associated with belonging and authenticity—it analyzes their distinctive contribution to the German identity discourse between 1918 and 1968. In its emphasis on rootedness and homogeneity Heimat seemed to challenge the validity and significance of Jewish emancipation. Several acculturation-seeking Jewish artists and intellectuals, however, endeavored to conceive a notion of Heimat that would rather substantiate their belonging. This boo...
No Place Like Home
This is the first comprehensive account of Germany's most enduring film genre, the Heimatfilm, which has offered idyllic variations on the idea that "there is no place like home" since cinema's early days. Charting the development of this popular genre over the course of a century in a work informed by film studies, cultural history, and social theory, Johannes von Moltke focuses in particular on its heyday in the 1950s, a period that has been little studied. Questions of what it could possibly mean to call the German nation "home" after the catastrophes of World War II are anxiously present in these films, and von Moltke uses them as a lens through which to view contemporary discourses on German national identity.
From Hitler to Heimat
Examines changing attitudes among Germans as evident in films of the modern German era, leading away from guilt and atonement and seeking national identity.
Belonging
* Winner of the National Book Critics Circle Award * Silver Medal Society of Illustrators * * Named a Best Book of the Year by The New York Times, The Boston Globe, San Francisco Chronicle, NPR, Comics Beat, The Milwaukee Journal-Sentinel, Kirkus Reviews, and Library Journal This “ingenious reckoning with the past” (The New York Times), by award-winning artist Nora Krug investigates the hidden truths of her family’s wartime history in Nazi Germany. Nora Krug was born decades after the fall of the Nazi regime, but the Second World War cast a long shadow over her childhood and youth in the city of Karlsruhe, Germany. Yet she knew little about her own family’s involvement; though all fo...
No Place Like Home
This is the first comprehensive account of Germany's most enduring film genre, the Heimatfilm, which has offered idyllic variations on the idea that "there is no place like home" since cinema's early days. Charting the development of this popular genre over the course of a century in a work informed by film studies, cultural history, and social theory, Johannes von Moltke focuses in particular on its heyday in the 1950s, a period that has been little studied. Questions of what it could possibly mean to call the German nation "home" after the catastrophes of World War II are anxiously present in these films, and von Moltke uses them as a lens through which to view contemporary discourses on German national identity.
A Companion to German Cinema
A Companion to German Cinema A Companion to German Cinema regards the shifting terrain of German filmmaking and film studies against their larger social contexts with twenty-two newly commissioned essays by well-established and younger scholars in the field. While several of these focus on classic topics such as Weimar cinema, Fifties cinema, New German Cinema and its legacy, and Holocaust film, the collection is distinguished by its focus on new developments and the innovative light they may shed on earlier practices. A Companion to German Cinema includes essays on Berlin Film, Neue Heimat Film, New Comedy, post-Wall documentaries, the post-Wende RAF genre, and Rabenmutter imagery, as well ...
Heimat Goes Mobile
Heimat has been a crucial concept for the construction of identity in the German-speaking world. Seemingly impossible to translate, Heimat has served to describe feelings of comfort and belonging that are traditionally tied to a specific location, be it one’s place of birth or childhood home. Yet, in a world characterized by ever increasing global influences and a fast-paced lifestyle, the notion of Heimat as a static, inflexible and rather exclusionary idea is becoming more and more obsolete and is giving way to new hybrid Heimat forms that encompass traditional as well as foreign elements. Thus, Heimat can no longer be perceived as a solely German concept but is rapidly merging binary op...
Screening Nostalgia
The Heimat film genre, assumed to be outdated by so many, is very much alive. Who would have thought that this genre - which has been almost unanimously denounced within academic circles, but which seems to resonate so deeply with the general public - would experience a renaissance in the 21st century? The genre's recent resurgence is perhaps due less to an obsession with generic storylines and stereotyped figures than to a basic human need for grounding that has resulted in a passionate debate about issues of past and present. This book traces the history of the Heimat film genre from the early mountain films to Fatih Akin's contemporary interpretations of Heimat.
