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Humorvolle, spannend und coming-outige Sommererzählungen von der ersten Liebe, der Liebe bis zum Lebensende - und der ewigen Liebe. Aber auch Menschen, die ganz ohne körperliche Liebe auskommen, kommen in dieser Anthologie zu Wort. Genau wie die, die beides lieben - oder Beide lieben :-) Manchmal sind es eben die kleinen Alltagsgeschichten, manchmal die Alltäglichkeiten, die einen ins Gefühlschaos stürzen und das eigene Weltbild und die Liebe ins Wanken bringen - oder beides stützen. Und manchmal sind es die großen, alles verändernden Dinge. Lasst euch also entführen und verzaubern in bunten Sommergeschichten, die definitiv Lust auf mehr Liebe machen.
Queer*Welten ist ein halbjährlich erscheinendes queerfeministisches Science-Fiction- und Fantasy-Magazin, das sich zum Ziel gesetzt hat, Kurzgeschichten, Gedichte, Illustrationen und Essaybeiträge zu veröffentlichen, die marginalisierte Erfahrungen und die Geschichten Marginalisierter in einem phantastischen Rahmen sichtbar machen. Außerdem beinhaltet es einen Queertalsbericht mit Rezensionen, Lesetipps, Veranstaltungshinweisen und mehr. In dieser Ausgabe: Der späte Wurm von Rebecca Westkott ( Kurzgeschichte) Ma jada von Hollarius ( Kurzgeschichte) Der Phönix von Nox Juvenell ( Gedicht) Spargelernte von Kae Schwarz ( Kurzgeschichte) Eis auf Raten von Yvonne Tunnat ( Kurzgeschichte) War...
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German director Frank Wisbar (1899-1967) had the misfortune of achieving success as a filmmaker just as Hitler came to power. While critics praised his work, Nazi cultural watchdogs were scornful of his attempts to chart "the landscape of the soul" in films like Ferryman Maria (1936) and Anna and Elisabeth (1933). Wisbar fled to America, where Hollywood saw him as no more than a technician, good for churning out low-budget horror like Strangler of the Swamp (1945) and Devil Bat's Daughter (1946). A successful stint in early television allowed him to return home to a very different Germany, where he abandoned his earlier mystical themes to tackle questions of war and peace, tabloid journalism and racial conflict. The author examines the films and career of an under-appreciated auteur who ultimately lost faith in his own vision.
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This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.
Contains more than 20,000 brief biographical entries on women, including thousands of entries on non-U.S. figures.