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This is the first book in any language on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.
A Critical History of German Film by Stephen Brockmann Pdf
A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester- or year-long survey courses and for anyone with an interest in German cinema. The films: The Student of Prague - The Cabinet of Dr. Caligari - The Last Laugh - Metropolis - The Blue Angel - M - Triumph of the Will - The Great Love - The Murderers Are among Us - Sun Seekers - Trace of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - Young T rless - Aguirre, The Wrath of God - Germany in Autumn - The Marriage of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of Desire - Maybe, Maybe Not - Rossini - Run Lola Run - Good Bye Lenin - Head On - The Lives of Others Stephen Brockmann is Professor of German at Carnegie Mellon University and past President of the German Studies Assocation.
The state-sponsored Deutsche Film Anstalt (DEFA) was responsible for film production in the former GDR from 1946 until 1992. This volume traces the development of DEFA and East German cinema.
What Remains by Gerald Fetz,Patricia Herminghouse Pdf
Arguably the most important—and influential—German woman writer of the last century, Christa Wolf was long heralded as "die gesamtdeutsche Autorin," an author for all of Germany; but, after 1989 in unified Germany, Wolf found herself suddenly embroiled in controversies that challenged her integrity and consigned her to an ideologically suspect identity as "DDR Schriftstellerin” (GDR writer) or “Staatsdichterin” (state poet). What Remains: Responses to the Legacy of Christa Wolf asks the question of what truly remains of her legacy in the annals of contemporary German culture and history. Unlike most of what appeared in the wake of Wolf’s death, however, the contributions to this international volume seek neither to monumentalize her nor to dismantle her stature, but to employ a range of methodologies—comparative, intertextual, psychoanalytic, historical, transcultural—to offer sensitive assessments of Wolf’s major literary texts, as well as of her lesser known work in genres such as film and essay.
East German Film and the Holocaust by Elizabeth Ward Pdf
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.
East Germany's film monopoly, Deutsche Film-Aktiengesellschaft, produced a films ranging beyond simple propaganda to westerns, musicals, and children's films, among others. This book equips scholars with the historical background to understand East German cinema and guides the readers through the DEFA archive via examinations of twelve films.
'European Cinema in Crisis' examines the conflicting terminologies that have dominated the discussion of the future of European film-making. It takes a fresh look at the ideological agendas, from 'avante-garde cinema' to the high/low culture debate and the fate of popular European 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 book considers Jewish filmmakers’ contribution to this endeavor. It shows how they devised the landscapes of the German “Homeland” as Jews, namely, as acculturated “outsiders within.” Through appropriation of generic Heimat imagery, the films discussed in the book integrate criticism of national chauvinism into German mainstream culture from World War I to the Cold War. Consequently, these Jewish filmmakers anticipated the anti-Heimat film of the ensuing decades, and functioned as an uncredited inspiration for the critical New German Cinema.
German Cinema - Terror and Trauma by Thomas Elsaesser Pdf
In German Cinema – Terror and Trauma Since 1945, Thomas Elsaesser reevaluates the meaning of the Holocaust for postwar German films and culture, while offering a reconsideration of trauma theory today. Elsaesser argues that Germany's attempts at "mastering the past" can be seen as both a failure and an achievement, making it appropriate to speak of an ongoing 'guilt management' that includes not only Germany, but Europe as a whole. In a series of case studies, which consider the work of Konrad Wolf, Alexander Kluge, Rainer Werner Fassbinder, Herbert Achterbusch and Harun Farocki, as well as films made in the new century, Elsaesser tracks the different ways the Holocaust is present in German cinema from the 1950s onwards, even when it is absent, or referenced in oblique and hyperbolic ways. Its most emphatically "absent presence" might turn out to be the compulsive afterlife of the Red Army Faction, whose acts of terror in the 1970s were a response to—as well as a reminder of—Nazism’s hold on the national imaginary. Since the end of the Cold War and 9/11, the terms of the debate around terror and trauma have shifted also in Germany, where generational memory now distributes the roles of historical agency and accountability differently. Against the background of universalized victimhood, a cinema of commemoration has, if anything, confirmed the violence that the past continues to exert on the present, in the form of missed encounters, retroactive incidents, unintended slippages and uncanny parallels, which Elsaesser—reviving the full meaning of Freud’s Fehlleistung—calls the parapractic performativity of cultural memory.
Finding a Voice explores aspects of the use and function of language in East Germany which resulted from Party control of public discourse during the period of the German Democratic Republic. A distinctive feature of the volume, which brings together essays by British and German scholars, is the wide variety of areas which are incorporated in this survey - from political and public discourse, through aspects of sociolinguistics and the teaching of German, to a spectrum of artistic forms ranging from rock music and film to poetry and the novel. In particular, the relationship between public discourse and the events of the ‘Wende' is explored in a number of contributions. Most of the works and issues considered are discussed in English here for the first time, and the volume as a whole should be of interest to scholars concerned with the GDR and with contemporary German culture, to undergraduate and postgraduate students, and also to others interested in the history and culture of Germany since 1945. Nine of the essays are in English and four in German.
With internationalist aspirations and wide-ranging historical perspectives, East German films about artists and their work became hotly contested spaces in which filmmakers could look beyond the GDR and debate the impact of contemporary cultural policy on the reception of their pre-war cultural heritage. Spanning newsreels, documentaries, and feature films, Screening Art is the first full-length investigation into a genre that has been largely overlooked in studies of DEFA, the state-owned Eastern German film studio. As it shows, “artist-films” played an essential role in the development of new paradigms of socialist art in postwar Europe.
Daniela Berghahn demonstrates that East German cinema occupies an ambivalent position between German national cinema on the one hand and East European and Soviet cinema on the other. The book includes a wide-ranging exploration of post-unification cinemafrom East Germany.