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

By Stephen Brockmann

A heritage of German movie facing person movies as artworks has lengthy been wanted. current histories are likely to deal with cinema as an fiscal instead of a classy phenomenon; prior surveys that do have interaction with person motion pictures don't contain motion pictures of modern many years. This booklet treats consultant motion pictures from the beginnings of German movie to the current. supplying old context via an advent and interchapters previous the remedies of every era's motion pictures, the amount 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 chortle - city - The Blue Angel - M - Triumph of the need - the nice 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 - might be, possibly now not - Rossini - Run Lola Run - stable Bye Lenin! - Head On - The Lives of Others

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

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Certainly Der Student von Prag is, among other things, a demonstration of film’s considerable technical possibilities, even at this early stage of film history: it is possible to make mirror images appear or disappear in a movie. The film’s star Paul Wegener noted three years after the making of Der Student von Prag: “When I made my first movie three years ago, I did it because I believed I had an idea that could not be carried out in any other art form. I recalled trick photographs where a man played cards with himself or a student crossed swords with himself.

As Wegener noted in his 1916 lecture, “a motion picture, once produced, can be played anywhere in the world with minimal costs. Language plays no role. ”13 But silent film had the advantage not 11 Wegener, “Neue Kinoziele,” in Kein Tag ohne Kino, 350. 12 Wegener, “Neue Kinoziele,” in Kein Tag ohne Kino, 343. 13 Gore Vidal, Hollywood (New York: Random House, 1990), 98. The fictional producer is based on the publisher William Randolph Hearst, who is explaining cinema’s advantages over his own newspapers.

Paradoxically, the economic history of the German film industry more or less precisely mirrored the political and economic history of the Weimar Republic, but in a negative way. , at the beginning and end of the Weimar Republic — the German film industry tended to prosper, or at least to consolidate its position with respect to foreign competitors. What at first seems counterintuitive turns out to make eminent economic and political sense. In the early years of the Weimar Republic, when the German currency was relatively worthless, the German market was not attractive to foreign filmmakers, and therefore the German film industry faced little economic competition.

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