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The Third Reich on Screen, 1929-2015 by Bob Herzberg Pdf
For more than 80 years, images of the Third Reich have appeared in newsreels, documentaries, and fictional stories--from comedies and musicals to war, horror and science fiction films. Many of these representations say as much about the filmmakers as they do about Nazism itself. Hollywood often used the brutal Nazi as an all-purpose villain in escapist adventures set during and after the war, but just as often used him to attack the evil he symbolized. Drawing on studio files, correspondence of the Production Code office and the writings of noted historians and critics, this book describes the making of many such films produced in Hollywood, Nazi Germany, the Soviet Union and Eastern Bloc nations. Biographies of several military and political figures who served as the basis for Nazi characters compare the cinematic and real-life versions.
The Third Reich on Screen, 1929-2015 by Bob Herzberg Pdf
For more than 80 years, images of the Third Reich have appeared in newsreels, documentaries, and fictional stories--from comedies and musicals to war, horror and science fiction films. Many of these representations say as much about the filmmakers as they do about Nazism itself. Hollywood often used the brutal Nazi as an all-purpose villain in escapist adventures set during and after the war, but just as often used him to attack the evil he symbolized. Drawing on studio files, correspondence of the Production Code office and the writings of noted historians and critics, this book describes the making of many such films produced in Hollywood, Nazi Germany, the Soviet Union and Eastern Bloc nations. Biographies of several military and political figures who served as the basis for Nazi characters compare the cinematic and real-life versions.
Imperial Japan on Screen, 1931-2022 by Bob Herzberg Pdf
This book deals with film depictions of Imperial Japan from the time it was a totalitarian power to the productions of recent years. It especially covers wartime depictions, as well as the historical events that inspire the stories behind these productions. In the 1930s, Hollywood gave us the likeable Mr. Moto at the same time Japan was set on its expansionist course. When war broke out, both the Allies and the Axis produced propaganda films that increased hatred for the enemy. In the postwar years as the Cold War took hold, the U.S. government encouraged friendship with their former wartime enemy. This book details correspondence between studio personnel and the Production Code office, as well as the critiques of film reviewers, historians and military figures from both sides of the conflict. Also examined are behind-the-scenes machinations from both the Japanese and American governments in the censorship of controversial film content.
Art and the Nazis, 1933-1945 by Arthur J. McLaughlin, Jr. Pdf
This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.
Hollywood and the Military Bureaucracy by Bob Herzberg Pdf
Through a century of movies, the U.S. military held sway over war and service-oriented films. Influenced by the armed forces and their public relations units, Hollywood presented moviegoers with images of a faultless American fighting machine led by heroic commanders. This book examines this cooperation with detailed narratives of military blunders and unfit officers that were whitewashed to be presented in a more favorable light. Drawing on production files, correspondence between bureaucrats and filmmakers, and contemporary critical reviews, the author reveals the behind-the-scenes political maneuvers that led to the rewriting of history on-screen.
The Routledge Companion to Global Film Music in the Early Sound Era by Jeremy Barham Pdf
In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history.
Giving deserved attention to nearly 150 neglected films, this book covers early sound era features, serials and documentaries with genre elements of horror, science fiction and fantasy, from major and minor studios and independents. Full credits, synopses, critical analyses and contemporary reviews are provided for The Blue Light, The Cat Creeps, College Scandal, Cosmic Voyage, The Dragon Murder Case, The Haunted Barn, Lost Gods, Murder in the Red Barn, The New Gulliver, Return of the Terror, Seven Footprints to Satan, S.O.S. Iceberg, While the Patient Slept, The White Hell of Pitz Palu and many others.
Film Music in the Sound Era by Jonathan Rhodes Lee Pdf
Film Music in the Sound Era: A Research and Information Guide offers a comprehensive bibliography of scholarship on music in sound film (1927–2017). Thematically organized sections cover historical studies, studies of musicians and filmmakers, genre studies, theory and aesthetics, and other key aspects of film music studies. Broad coverage of works from around the globe, paired with robust indexes and thorough cross-referencing, make this research guide an invaluable tool for all scholars and students investigating the intersection of music and film. This guide is published in two volumes: Volume 1: Histories, Theories, and Genres covers overviews, historical surveys, theory and criticism, studies of film genres, and case studies of individual films. Volume 2: People, Cultures, and Contexts covers individual people, social and cultural studies, studies of musical genre, pedagogy, and the industry. A complete index is included in each volume.
Author : Paul Matthew St. Pierre Publisher : Rowman & Littlefield Page : 287 pages File Size : 41,6 Mb Release : 2016-08-15 Category : Performing Arts ISBN : 9781611479454
Cinematography in the Weimar Republic by Paul Matthew St. Pierre Pdf
In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.
This three-volume set is a valuable resource for researching the history of American television. An encyclopedic range of information documents how television forever changed the face of media and continues to be a powerful influence on society. What are the reasons behind enduring popularity of television genres such as police crime dramas, soap operas, sitcoms, and "reality TV"? What impact has television had on the culture and morality of American life? Does television largely emulate and reflect real life and society, or vice versa? How does television's influence differ from that of other media such as newspapers and magazines, radio, movies, and the Internet? These are just a few of the questions explored in the three-volume encyclopedia TV in the USA: A History of Icons, Idols, and Ideas. This expansive set covers television from 1950 to the present day, addressing shows of all genres, well-known programs and short-lived series alike, broadcast on the traditional and cable networks. All three volumes lead off with a keynote essay regarding the technical and historical features of the decade(s) covered. Each entry on a specific show investigates the narrative, themes, and history of the program; provides comprehensive information about when the show started and ended, and why; and identifies the star players, directors, producers, and other key members of the crew of each television production. The set also features essays that explore how a particular program or type of show has influenced or reflected American society, and it includes numerous sidebars packed with interesting data, related information, and additional insights into the subject matter.
The History of German Literature on Film by Christiane Schönfeld Pdf
This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship.
European Silent Films on Video by William B. Parrill Pdf
This book is a critical encyclopedia of silent European films currently available on DVD, laser disc, and VHS. It provides concise and accurate summaries of the films, evaluates the quality of the prints, discusses the changing reputations of both films and filmmakers, and considers how the techniques developed during the silent period continue to influence filmmaking today. The book cites contemporary and recent criticism of the films and includes an extensive bibliography as well as a list of films by director. Numerous photos are also included.
Dietrich & Riefenstahl: Hollywood, Berlin, and a Century in Two Lives by Karin Wieland Pdf
A Boston Globe Best Book of 2015 A Washington Post Notable Nonfiction Pick of 2015 Magisterial in scope, this dual biography examines two complex lives that began alike but ended on opposite sides of the century’s greatest conflict. Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich’s Berlin apartment. Coming of age at the dawn of the Weimar Republic, both sought fame in Germany’s burgeoning motion picture industry. While Dietrich’s depiction of Lola-Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl—who missed out on the part—insinuated herself into Hitler’s inner circle to direct groundbreaking if infamous Nazi propaganda films, like Triumph of the Will. Dietrich, who toured tirelessly with the USO, could never truly go home again; Riefenstahl could never shake her Nazi past. Acclaimed German historian Karin Wieland examines these lives within the vicious crosscurrents of a turbulent century, evoking piercing insights into "the modern era’s most difficult questions, about illusion and mass intoxication, art and truth, courage and capitulation" (New Yorker).
Visualizing Fascism by Julia Adeney Thomas,Geoff Eley Pdf
Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman
Encyclopedia of German Literature by Matthias Konzett Pdf
Designed to provide English readers of German literature the opportunity to familiarize themselves with both the established canon and newly emerging literatures that reflect the concerns of women and ethnic minorities, the Encyclopedia of German Literature includes more than 500 entries on writers, individual work, and topics essential to an understanding of this rich literary tradition. Drawing on the expertise of an international group of experts, the essays in the encyclopedia reflect developments of the latest scholarship in German literature, culture, and history and society. In addition to the essays, author entries include biographies and works lists; and works entries provide information about first editions, selected critical editions, and English-language translations. All entries conclude with a list of further readings.