By Terri Ginsberg, Andrea Mensch
A better half to German Cinema bargains a wide-ranging selection of essays demonstrating state-of-play scholarship on German cinema at a time in which cinema experiences in addition to German cinema have once more started to flourish.
Offers a cautious blend of theoretical rigor, conceptual accessibility, and highbrow inclusiveness
Includes essays via famous writers in addition to up-and-coming students who take cutting edge serious ways to either common and emergent components within the box, in particular concerning race, gender, sexuality, and (trans)nationalism
Distinctive for its modern relevance, reorienting the sector to the worldwide twenty-first century
Fills severe gaps within the extant scholarship, commencing the sphere onto new terrains of severe engagement
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Extra resources for A Companion to German Cinema
9. Felix Moeller, Der Filmminister. Goebbels und der Film im Dritten Reich. 235. 10. 234. See also Klaus Kreimeier, Die Ufa-Story. 362. 11. Produced by Fritz Hippler, directed by Sven Noldan and Fritz Brunsch. 12. 323. 74. 14. “So sieht Berlin aus . . 2 (January 1941): 27. 15. Howard K. 157. 16. 266. 17. See Eric Rentschler, The Ministry of Illusion. 140. 18. Such as Brandbomben und Entstehungsbrände (1943), Erst löschen, dann retten (1944) and So wird’s gemacht (1944). , ed. Peter Zimmermann (Stuttgart: Reclam, 2005), 3: 634–644, 639.
As in Claasen’s Gesang, there is no ascription of responsibility for the ruins that we see. Nowhere does the film suggest that what Werner sees (and what many Germans endure) is the just retribution for a war unleashed and supported by the same people we now see digging through the ruins. And the only hint of Allied involvement is the glimpse viewers catch of an American military vehicle parked in the ruins of what was once Potsdamer Strasse. The disgustingly rich profiteers without a conscience are German.
1057/9780230616974 - German Postwar Films, Edited by Wilfried Wilms and William Rasch 48 / dagmar barnouw reflections on the past. He intended to seize Stunde Null (Zero Hour), that important point in time when the end of the war would turn into a new beginning. As it turned out, Stunde Null was an illusion and the chaotic end would just merge with a no less chaotic and obscure beginning. But, given his pedagogical temperament, Staudte would not have seen that even in hindsight. An immediate “honest confrontation” with the military and moral catastrophe that, in his view, the Germans had brought on themselves was all that was needed now.
A Companion to German Cinema by Terri Ginsberg, Andrea Mensch