Jews have been well represented in the cinema industry from the beginning of the film era: behind the screen, as producers, distributors, directors, script-writers, composers, set designers; and on the screen, as Jewish actors and as named Jewish characters in the film's plot. Some of these characters are fictional; others, ranging from Rabbi Loew of Prague to Ferdinand Lassalle and Alfred Dreyfus, have a historic original. This book examines how a variety of German and Austrian films treat aspects of Jewish life, at home and in the synagogue, and Jewish interaction with fellow Jews in...
Jews have been well represented in the cinema industry from the beginning of the film era: behind the screen, as producers, distributors, directors, s...
..".provides a hugely readable, insightful examination of Billy Wilder's American films as the product of transnational cultural exchange." - Monatshefte
"Gemunden's vital decoding of Wilder's translation of himself into the American vernacular offers stimulating new material and perspectives that will no doubt shape Wilder scholarship to come." - Austrian Studies Newsletter
"Billy Wilder is hard to trump, because everything one writes about him is only half as entertaining as his great sense of humor. Gerd Gemunden, however, achieves a small miracle: his A Foreign Affair is a highly...
..".provides a hugely readable, insightful examination of Billy Wilder's American films as the product of transnational cultural exchange." - Monatshe...
Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich.
This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses...
Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A...
Bela Balazs's two works, Visible Man (1924) and The Spirit of Film (1930), are published here for the first time in full English translation. The essays offer the reader an insight into the work of a film theorist whose German-language publications have been hitherto unavailable to the film studies audience in the English-speaking world. Balazs's detailed analyses of the close-up, the shot and montage are illuminating both as applicable models for film analysis, and as historical documents of his key contribution - such contemporaries as Arnheim, Kracauer and Benjamin - to critical debate on...
Bela Balazs's two works, Visible Man (1924) and The Spirit of Film (1930), are published here for the first time in full English translation. The essa...
Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained attention, and then largely within Germany. This ambitious volume, the first in English on the subject, provides a much-needed corrective in the form of penetrating essays on the distinctive theories, practices, and social-historical contexts that have defined television in Germany. Encompassing developments from the dawn of the medium through the Cold War and post-reunification, this is an essential introduction to a rich and varied media...
Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained at...
Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the...
Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and his...
The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in the colonies demanded a new and positive image of their value for Germany. By promoting business and establishing a new genre within the fast growing film industry, films of the colonies were welcomed by organizations such as the Deutsche Kolonialgesellschaft (German Colonial Society). The films triggered patriotic feelings but also addressed the audience as travelers, explorers, wildlife protectionists, and participants in unique cultural events....
The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in th...
his ambitious volume collects penetrating essays on the distinctive theories, practices, and social-historical contexts that defined television in Germany.
his ambitious volume collects penetrating essays on the distinctive theories, practices, and social-historical contexts that defined television in Ger...
