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New essays examining the differences and commonalities between late
Weimar-era and early Nazi-era German cinema against a backdrop of
the crises of that time. Hitler's Machtergreifung, or seizure of
power, on January 30, 1933, marked the end of the Weimar Republic
and the beginning of the Third Reich, and German film scholarship
has generally accepted this date as the break between Weimar and
Nazi-era film as well. This collection of essays interrogates the
continuities and discontinuities in German cinema before and after
January 1933 and their relationship to the various crises of the
years 1928 to 1936in seven areas: politics, the economy, concepts
of race and ethnicity, the making of cinema stars, genre cinema,
film technologies and aesthetics, and German-international film
relations. Focusing both on canonical and lesser-known works, the
essays analyze a representative sample of films and genres from the
period. This book will be of interest to scholars and students of
Weimar and Third Reich cinema and of the sociopolitical, economic,
racial, artistic, and technological spheres in both late Weimar and
the early Third Reich, as well as to film scholars in general.
Contributors: Paul Flaig, Margrit Froelich, Barbara Hales, Anjeana
Hans, Bastian Heinsohn, Brook Henkel,Kevin B. Johnson, Owen Lyons,
Richard W. McCormick, Kalani Michell, Mihaela Petrescu, Christian
Rogowski, Valerie Weinstein, Wilfried Wilms. Barbara Hales is
Associate Professor of History at the University of Houston-Clear
Lake. Mihaela Petrescu is Visiting Lecturer at the University of
Pittsburgh. Valerie Weinstein is Assistant Professor of Women's,
Gender, and Sexuality Studies and German Studies at the University
of Cincinnati.
A guide through the many aspects of Wenders's groundbreaking film,
employing archival research to bring out new insights into its
making and its meanings. Filmed in 1986/87 in still-divided Berlin,
Wim Wenders's Wings of Desire is both a utopian fairy tale and a
fascinating time capsule of that late Cold War moment. Together
with legendary French cinematographer Henri Alekan(who had worked
on Jean Cocteau's La Belle et la BĂȘte of 1946, among many other
films) and Austrian author Peter Handke (with whom he had
collaborated before), Wenders created a multilayered filmic poem of
dazzling complexity: the skies over Berlin are populated with
angels bearing witness to its inhabitants' everyday concerns. One
falls in love with a beautiful young woman, a trapeze artist in a
traveling circus, and decides to forfeit his immortality. Wenders's
groundbreaking film has been hailed as a paean to love, a
rumination on the continued presence in Berlin of the troubled
German history, as well as an homage to the life-affirming power of
the cinematic imagination.Christian Rogowski guides the reader
through the film's many aspects, using archival research to bring
out new insights into its making and its meanings. Christian
Rogowski is G. Armour Craig Professor in Language andLiterature in
the Department of German at Amherst College.
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.
A panel of authors, critics, and academics convened by the
Literaturhaus in Munich in 1999 voted Robert Musil's The Man
without Qualities the most important German novel of the 20th
century. Their collective judgment rests on strong foundations: on
the work's encyclopedic compass, embracing intellectual, social,
political, and cultural concerns embodied in themes of striking
originality; on its probing of key issues of Austrian and German
life from the first four decades of the twentieth century; on the
brilliance of its language, unsurpassed by any other 20th-century
author writing in German. While this Companion gives The Man
without Qualities the central focus it deserves, it also
contributes to a deeper understanding of Musil's other significant
works; in harnessing a team of established scholars from North
America and Europe to the task of providing an assessment of
Musil's work, it sets new standards in scope and originality. The
analyses are embedded in an appreciation of the intellectual
contexts of Musil's writing, yielding fresh insights into Musil's
artistic accomplishment and into his place in the Austrian and
German cultural traditions of the 20th century. CONTRIBUTORS:
PHILIP PAYNE, KLAUS AMANN, GALIN TIHANOV, MATTHIAS LUSERKE-JAQUI,
SILVIA BONACCHI, CHRISTIAN ROGOWSKI, PETER HENNINGER, WALTER FANTA,
KARL CORINO, GENESE GRILL, BURTON PIKE, RA1/4DIGER GARNER Philip
Payne is Professor of German Studies at Lancaster University, UK;
Graham Bartram is Senior Lecturer in German Studies at Lancaster
University, UK; and Galin Tihanov is Professor of Comparative
Literature and Intellectual History and Co-Director of the Research
Institute for Cosmopolitan Cultures at the Universityof Manchester,
UK.
A fresh and extensive look at the works of the great Austrian
novelist in the context of the German and Austrian culture of his
time. A panel of authors, critics, and academics convened by the
Literaturhaus in Munich in 1999 voted Robert Musil's The Man
without Qualities the most important German novel of the 20th
century. Their collective judgment restson strong foundations: on
the work's encyclopedic compass, embracing intellectual, social,
political, and cultural concerns embodied in themes of striking
originality; on its probing of key issues of Austrian and German
life fromthe first four decades of the twentieth century; on the
brilliance of its language, unsurpassed by any other 20th-century
author writing in German. While this Companion gives The Man
without Qualities the central focus it deserves, it also
contributes to a deeper understanding of Musil's other significant
works; in harnessing a team of established scholars from North
America and Europe to the task of providing an assessment of
Musil's work, it setsnew standards in scope and originality. The
analyses are embedded in an appreciation of the intellectual
contexts of Musil's writing, yielding fresh insights into Musil's
artistic accomplishment and into his place in the Austrianand
German cultural traditions of the 20th century. Contributors:
Philip Payne, Klaus Amann, Galin Tihanov, Matthias Luserke-Jaqui,
Silvia Bonacchi, Christian Rogowski, Peter Henninger, Walter Fanta,
Karl Corino, GeneseGrill, Burton Pike, Rudiger Goerner Philip Payne
is emeritus Professor of German Studies at Lancaster University,
UK; Graham Bartram is retired as Senior Lecturer in German Studies
at Lancaster University, UK; and Galin Tihanov is the George
Steiner Professor of Comparative Literature at Queen Mary
University of London, UK.
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 on film 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.
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