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In light of the recent rise of right-wing populism in numerous
political contexts and in the face of resurgent nationalism,
racism, misogyny, homophobia, and demagoguery, this book
investigates how historical and contemporary cultural producers
have sought to resist, confront, confound, mock, or call out
situations of political oppression in Germany, a country which has
seen a dramatic range of political extremes during the past
century. While the current turn to nationalist populism is global,
it is perhaps most disturbing in Germany, given its history with
its stormy first democracy in the interwar Weimar Republic; its
infamous National Socialist (Nazi) period of the 1930s and 1940s;
and its split Cold-War existence, with Marxist-Leninist
Totalitarianism in the German Democratic Republic and the Federal
Republic of Germany's barely-hidden ties to the Nazi past. Equally
important, Germans have long considered art and culture critical to
constructions of national identity, which meant that they were
frequently implicated in political action. This book therefore
examines a range of work by artists from the early twentieth
century to the present, work created in an array of contexts and
media that demonstrates a wide range of possible resistance.
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The New Woman Behind the Camera (Hardcover)
Andrea Nelson; Foreword by Kaywin Feldman; Preface by Mia Fineman; Text written by Elizabeth Cronin, Mila Ganeva, …
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R1,324
Discovery Miles 13 240
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Ships in 12 - 17 working days
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New essays re-evaluating Weimar cinema from a broadened, up-to-date
perspective. Traditionally, Weimar cinema has been equated with the
work of a handful of auteurist filmmakers and a limited number of
canonical films. Often a single, limited phenomenon, "expressionist
film," has been taken as synonymous with the cinema of the entire
period. But in recent decades, such reductive assessments have been
challenged by developments in film theory and archival research
that highlight the tremendous richness and diversity of Weimar
cinema. This widening of focus has brought attention to issues such
as film as commodity; questions of technology and genre;
transnational collaborations and national identity; effects of
changes in socioeconomics and gender roles onfilm spectatorship;
and connections between film and other arts and media. Such shifts
have been accompanied by archival research that has made a
cornucopia of new information available, now augmented by the
increased availability of films from the period on DVD. This wealth
of new source material calls for a re-evaluation of Weimar cinema
that considers the legacies of lesser-known directors and
producers, popular genres, experiments of the artistic avant-garde,
and nonfiction films, all of which are aspects attended to by the
essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher,
Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans,
Richard W.McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela
Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith,
Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel
Westerdale. Christian Rogowski is Professor of German at Amherst
College.
Forty five key women of the Bauhaus movement.
Bauhaus Women: A Global Perspective reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today.
The story of the Bauhaus has usually been kept narrow, localized to its original time and place and associated with only a few famous men such as Walter Gropius, Marcel Breuer, Paul Klee, Wassily Kandinsky, and László Moholy-Nagy.
Bauhaus Women: A Global Perspective bursts the bounds of this slim history by revealing fresh Bauhaus faces: Forty-five Bauhaus women unjustifiably forgotten by most history books. This book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.
A century after the Bauhaus's founding in 1919, this book
reassesses it as more than a highly influential art, architecture,
and design school. In myriad ways, emerging ideas about the body in
relation to health, movement, gender, and sexuality were at the
heart of art and life at the school. Bauhaus Bodies reassesses the
work of both well-known Bauhaus members and those who have
unjustifiably escaped scholarly scrutiny, its women in particular.
In fourteen original, cutting-edge essays by established experts
and emerging scholars, this book reveals how Bauhaus artists
challenged traditional ideas about bodies and gender. Written to
appeal to students, scholars, and the broad public, Bauhaus Bodies
will be essential reading for anyone interested in modern art,
architecture, design history, and gender studies; it will define
conversations and debates during the 2019 centenary of the
Bauhaus's founding and beyond.
An investigation of the irrational and the unconventional currents
swirling behind the Bauhaus's signature sleek surfaces and austere
structures. The Bauhaus (1919-1933) is widely regarded as the
twentieth century's most influential art, architecture, and design
school, celebrated as the archetypal movement of rational modernism
and famous for bringing functional and elegant design to the
masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates
Bauhaus history, uncovering a movement that is vastly more diverse
and paradoxical than previously assumed. Otto traces the surprising
trajectories of the school's engagement with occult spirituality,
gender fluidity, queer identities, and radical politics. The
Bauhaus, she shows us, is haunted by these untold stories. The
Bauhaus is most often associated with a handful of famous artists,
architects, and designers-notably Paul Klee, Walter Gropius, Laszlo
Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by
reclaiming the historically marginalized lives and accomplishments
of many of the more than 1,200 Bauhaus teachers and students (the
so-called Bauhausler), arguing that they are central to our
understanding of this movement. Otto reveals Bauhaus members'
spiritual experimentation, expressed in double-exposed "spirit
photographs" and enacted in breathing exercises and nude
gymnastics; their explorations of the dark sides of masculinity and
emerging female identities; the "queer hauntology" of certain
Bauhaus works; and the role of radical politics on both the left
and the right-during the school's Communist period, when some of
the Bauhausler put their skills to work for the revolution, and,
later, into the service of the Nazis. With Haunted Bauhaus, Otto
not only expands our knowledge of a foundational movement of modern
art, architecture, and design, she also provides the first
sustained investigation of the irrational and the unconventional
currents swirling behind the Bauhaus's signature sleek surfaces and
austere structures. This is a fresh, wild ride through the Bauhaus
you thought you knew.
A century after the Bauhaus's founding in 1919, this book
reassesses it as more than a highly influential art, architecture,
and design school. In myriad ways, emerging ideas about the body in
relation to health, movement, gender, and sexuality were at the
heart of art and life at the school. Bauhaus Bodies reassesses the
work of both well-known Bauhaus members and those who have
unjustifiably escaped scholarly scrutiny, its women in particular.
In fourteen original, cutting-edge essays by established experts
and emerging scholars, this book reveals how Bauhaus artists
challenged traditional ideas about bodies and gender. Written to
appeal to students, scholars, and the broad public, Bauhaus Bodies
will be essential reading for anyone interested in modern art,
architecture, design history, and gender studies; it will define
conversations and debates during the 2019 centenary of the
Bauhaus's founding and beyond.
In light of the recent rise of right-wing populism in numerous
political contexts and in the face of resurgent nationalism,
racism, misogyny, homophobia, and demagoguery, this book
investigates how historical and contemporary cultural producers
have sought to resist, confront, confound, mock, or call out
situations of political oppression in Germany, a country which has
seen a dramatic range of political extremes during the past
century. While the current turn to nationalist populism is global,
it is perhaps most disturbing in Germany, given its history with
its stormy first democracy in the interwar Weimar Republic; its
infamous National Socialist (Nazi) period of the 1930s and 1940s;
and its split Cold-War existence, with Marxist-Leninist
Totalitarianism in the German Democratic Republic and the Federal
Republic of Germany's barely-hidden ties to the Nazi past. Equally
important, Germans have long considered art and culture critical to
constructions of national identity, which meant that they were
frequently implicated in political action. This book therefore
examines a range of work by artists from the early twentieth
century to the present, work created in an array of contexts and
media that demonstrates a wide range of possible resistance.
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