Download A Critical History of German Film (Studies in German by Stephen Brockmann PDF

By Stephen Brockmann

A background of German movie facing person movies as artworks has lengthy been wanted. current histories are likely to deal with cinema as an financial instead of a classy phenomenon; prior surveys that do interact with person movies don't comprise motion pictures of contemporary many years. This ebook treats consultant movies from the beginnings of German movie to the current. delivering old context via an creation and interchapters previous the remedies of every era's movies, the quantity is appropriate for semester- or year-long survey classes and for a person with an curiosity in German cinema.BR> the flicks: the coed of Prague - the cupboard of Dr. Caligari - The final snigger - city - The Blue Angel - M - Triumph of the desire - the good Love - The Murderers are between Us - solar Seekers - hint of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - younger T?¶rless - Aguirre, The Wrath of God - Germany in Autumn - the wedding of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of hope - perhaps, might be no longer - Rossini - Run Lola Run - solid Bye Lenin! - Head On - The Lives of Others

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Extra resources for A Critical History of German Film (Studies in German Literature Linguistics and Culture)

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Of course, the absence of a soundtrack was based on a technological problem that was not definitively solved until 1927 in the United States and 1929 in Germany — the problem of how to inscribe sound into celluloid and synchronize sound with action — and once that problem was solved, silent film quickly disappeared. It is also true that there were early attempts at sound film in Germany in the first decade of the twentieth century, but such attempts did not bear enduring fruit. Still, because it lacks a soundtrack, twenty-first-century viewers tend to regard silent film as inferior and primitive, and from a purely technological standpoint they are probably correct.

24 Hake, The Cinema’s Third Machine, 34. 25 Such beliefs ultimately led to the Reichslichtspielgesetz (censorship law) of 1920. On film censorship and state interference, see Martin Loiperdinger, “Filmzensur und Selbstkontrolle: Politische Reifeprüfung,” in Geschichte des deutschen Films, ed. Jacobsen, Kaes, and Prinzler, 525–44. 26 Hake, The Cinema’s Third Machine, 36. indd Sec1:22 9/25/2010 2:58:03 PM EARLY GERMAN FILM HISTORY 1895–1918  23 In response to the intense debate about cinema among the educated bourgeoisie, filmmakers in the second decade of the twentieth century tried to move film from the level of a technical curiosity of limited artistic value to the level of a genuine art form in its own right.

Moreover, the harsh criticism of cinema that had dominated in the early teens of the twentieth century during the Kino-Debatte began to diminish as producers saw that film could be a major money-making business and not just inferior entertainment for the working class. As movie theaters became larger, they also become more elegant. ”30 Movies were increasingly posing a real threat to traditional forms of elite entertainment, particularly the theater. As early as 1912 Friedrich Freksa welcomed this development, proclaiming: “There ought to be even more theaters that bite the dust!

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