March 7, 2017

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

By Stephen Brockmann

A historical past of German movie facing person movies as artistic endeavors has lengthy been wanted. current histories are inclined to deal with cinema as an financial instead of a classy phenomenon; past surveys that do interact with person motion pictures don't contain motion pictures of modern many years. This publication treats consultant movies from the beginnings of German movie to the current. offering old context via an advent and interchapters previous the remedies of every era's motion pictures, the amount is acceptable for semester- or year-long survey classes and for somebody with an curiosity in German cinema.BR> the flicks: the coed of Prague - the cupboard of Dr. Caligari - The final giggle - city - The Blue Angel - M - Triumph of the desire - the nice Love - The Murderers are between Us - sunlight 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 - probably, possibly no longer - Rossini - Run Lola Run - strong 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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Ultimately, in 1917, the German army’s High Command under General Eric Ludendorff founded its own film propaganda unit, declaring: “We have underestimated the political influence exerted by film for mass suggestion. . ”28 By this point it was clear that film had become a significant part of the political and military landscape, and that film would play a major role in the political movements of the twentieth century. General Ludendorff also decided to centralize and strengthen the bond between the German government and private producers, such as the early cinema innovator Oskar Messter, and out of his program for centralization came the Ufa or “Universum-Film AG” in 1917, a massive German production and distribution conglomerate comprised of several previously separate companies, which was to dominate the German film industry through the classic era of Weimar cinema in the 1920s and early 1930s and during the years of Hitler’s Third Reich as well.

Dreams, he argued, satisfy unmet, repressed desires, of which modern human beings, cooped up in big cities and leading abstract, alienated lives, have a great many. Freud did not specifically write about the cinema, but his ideas about visual pleasure, dreams, and the unconscious have had a major influence on thinking about film and its function. It is probably not a coincidence that the German psychiatrist Otto Rank, one of Freud’s followers, began a 1914 treatise on the psychological problem of the Doppelgänger (the double) with an invocation of Der Student von Prag.

Like all other western countries, Germany at the time faced severe social problems. The nation had undergone breathtaking economic growth since its foundation as a unified Reich or empire in 1871, and by the beginning of the twentieth century it was the greatest economic power in Europe, with a formidable industrial base. The workers for those industries came from the country to the city, and within a single generation many German cities became overcrowded, with large lower-class slums. In essence, Germany had transformed itself from the sleepy agricultural country it had been at the beginning of the nineteenth century into one of the world’s major industrial, economic, scientific, and military powers by the end of the nineteenth century.

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