Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Dismantling the Dream Factory
The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.
From Fidelity to History
Scholarly approaches to the relationship between literature and film, ranging from the traditional focus upon fidelity to more recent issues of intertextuality, all contain a significant blind spot: a lack of theoretical and methodological attention to adaptation as an historical and transnational phenomenon. This book argues for a historically informed approach to American popular culture that reconfigures the classically defined adaptation phenomenon as a form of transnational reception. Focusing on several case studies— including the films Sense and Sensibility (1995) and The Portrait of a Lady (1997), and the classics The Third Man (1949) and The Bridge on the River Kwai (1957)—the author demonstrates the ways adapted literary works function as social and cultural events in history and how these become important sites of cultural negotiation and struggle.
Die Zarenmörderin - Das Leben der russischen Terroristin Sofja Perowskaja
Am 26. März standen sechs junge Leute vor Gericht. Sie wurden beschuldigt, den Zaren Alexander II. ermordet zu haben. Unter ihnen befand sich auch eine junge Frau: `Ich heiße Sofja Perowskaja und bin adliger Herkunft. Ich bin 27 Jahre alt und wohne in der Perwaja-rota-Ismailowskogopolka-Straße in St. Petersburg. Von Beruf bin ich Revolutionärin. ́ Das war die Antwort der zierlichen Frau auf die Aufforderung des Vorsitzenden Richters, ihre persönlichen Daten dem Gericht mitzuteilen. Die Tochter des ehemaligen Generalgouverneurs von St. Petersburg, des Grafen Lew Perowski, aus einem der ältesten aristokratischen Geschlechter Russlands, saß wegen Mordes auf der Anklagebank.-
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.
Teaching Film
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly interdisciplinary, film studies continues to expand and thrive, attracting new scholars and fresh ideas, direction, and research. Given the dynamism of the field, experienced and beginning instructors alike need resources for bringing the study of film into the classroom. This volume will help instructors conceptualize contemporar...
A New History of German Cinema
A dynamic, event-centered exploration of the hundred-year history of German-language film. This dynamic, event-centered anthology offers a new understanding of the hundred-year history of German-language film, from the earliest days of the Kintopp to contemporary productions like The Lives of Others. Eachof the more than eighty essays takes a key date as its starting point and explores its significance for German film history, pursuing its relationship with its social, political, and aesthetic moment. While the essays offer ampletemporal and topical spread, this book emphasizes the juxtaposition of famous and unknown stories, granting attention to a wide range of cinematic events. Brief sect...
Egon Erwin Kisch, the Raging Reporter
Egon Erwin Kisch (1885-1948) is widely regarded as one of the most outstanding journalists of the twentieth century. He is also credited with virtually defining reportage as a form of literary art in which accuracy of observation and fidelity to facts combine with creative narrative. Born in Prague under the Austro-Hungarian Empire, Kisch began his career as a crime reporter for local newspapers. He saw combat in Serbia as a soldier in the Austro-Hungarian Army in World War I, led an abortive left-wing coup d'etat in Vienna in 1918, and became famous in the German-speaking world as der rasende Reporter (the raging reporter) when he exposed the attempted cover-up of a case of treason in high places that rocked the Habsburg Empire on the eve of World War I. He visited North Africa, the Soviet Union, Central Asia, Australia, China, and the United States, where he traveled from one coast to the other as an ordinary seaman, made friends with Charlie Chaplin and Upton Sinclair, and commented with wit and irony on American life.
Legacies and Ambiguities
The literary legacies of World War II have been mixed and varied, especially in West Germany and Japan, where the burden of defeat has been expressed by novelists and intellectuals in strikingly different ways. Reflecting the cultural differences between the two nations, and the experiences of occupation and democratization that occurred after the war, the postwar literatures of Germany and Japan intimately reveal the hopes and aspirations, the dreams and the nightmares, of two peoples confronting the harsh realities of war. Using a comparative approach, Ambiguous Legacies explores the conditions and values under which the postwar literatures of West Germany and Japan were created. Specifica...
