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Re-examines German cinema's representation of the Germans as
victims during the Second World War and its aftermath. The recent
"discovery" of German wartime suffering has had a particularly
profound impact in German visual culture. Films from Margarethe von
Trotta's Rosenstrasse (2003) to Oliver Hirschbiegel's
Oscar-nominated Downfall (2004) and the two-part television
mini-series Dresden (2006) have shown how ordinary Germans suffered
during and after the war. Such films have been presented by critics
as treating a topic that had been taboo for German filmmakers.
However, the representation of wartime suffering has a long
tradition on the German screen. For decades, filmmakers have
recontextualized images of Germans as victims to engage shifting
social and ideological discourses. By focusing on this process, the
present volume explores how the changing representation of Germans
as victims has shaped the ways in which both of the postwar German
states and the now-unified nation have attempted to facethe trauma
of the past and to construct a contemporary place for themselves in
the world. Contributors: Sean Allan, Tim Bergfelder, Daniela
Berghahn, Erica Carter, David Clarke, John E. Davidson, Sabine
Hake, JenniferKapczynski, Manuel Koeppen, Rachel Palfreyman, Brad
Prager, Johannes von Moltke. Paul Cooke is Professor of German
Cultural Studies at the University of Leeds and Marc Silberman is
Professor of German at the University of Wisconsin.
Siegfried Kracauer (1889OCo1966), friend and colleague of Walter
Benjamin and Theodor Adorno, was one of the most influential film
critics of the mid-twentieth century. In this book, Johannes von
Moltke and Kristy Rawson have, for the first time assembled essays
in cultural criticism, film, literature, and media theory that
Kracauer wrote during the quarter century he spent in America after
fleeing Nazi-occupied Europe. In the decades following his arrival
in the United States, Kracauer commented on developments in
American and European cinema, wrote on film noir and neorealism,
examined unsettling political trends in mainstream cinema, and
reviewed the contemporary experiments of avant-garde filmmakers. As
a cultural critic, he also ranged far beyond cinema, intervening in
debates regarding Jewish culture, unraveling national and racial
stereotypes, and reflecting on the state of arts and humanities in
the 1950s. These essays, together with the editors' introductions
and an afterward by Martin Jay offer illuminating insights into the
films and culture of the postwar years and provide a unique
perspective on this eminent (r)migr(r) intellect
During the Weimar Republic, Siegfried Kracauer established himself
as a trenchant theorist of film, culture, and modernity, and he is
now considered one of the key thinkers of the twentieth century.
When he arrived in Manhattan aboard a crowded refugee ship in 1941,
however, he was virtually unknown in the United States and had yet
to write his best-known books, From Caligari to Hitler and Theory
of Film. Johannes von Moltke details the intricate ways in which
the American intellectual and political context shaped Kracauer's
seminal contributions to film studies and shows how, in turn,
Kracauer's American writings helped shape the emergent discipline.
Using archival sources and detailed readings, von Moltke asks what
it means to consider Kracauer as the New York Intellectual he
became in the last quarter century of his life. Adopting a
transatlantic perspective on Kracauer's work, von Moltke
demonstrates how he pursued questions in conversation with
contemporary critics from Theodor Adorno to Hannah Arendt, from
Clement Greenberg to Robert Warshow: questions about the origins of
totalitarianism and the authoritarian personality; about high and
low culture; about liberalism, democracy, and what it means to be
human. From these wide-flung debates, Kracauer's own voice emerges
as that of an incisive cultural critic invested in a humanist
understanding of the cinema.
Siegfried Kracauer (1889OCo1966), friend and colleague of Walter
Benjamin and Theodor Adorno, was one of the most influential film
critics of the mid-twentieth century. In this book, Johannes von
Moltke and Kristy Rawson have, for the first time assembled essays
in cultural criticism, film, literature, and media theory that
Kracauer wrote during the quarter century he spent in America after
fleeing Nazi-occupied Europe. In the decades following his arrival
in the United States, Kracauer commented on developments in
American and European cinema, wrote on film noir and neorealism,
examined unsettling political trends in mainstream cinema, and
reviewed the contemporary experiments of avant-garde filmmakers. As
a cultural critic, he also ranged far beyond cinema, intervening in
debates regarding Jewish culture, unraveling national and racial
stereotypes, and reflecting on the state of arts and humanities in
the 1950s. These essays, together with the editors' introductions
and an afterward by Martin Jay offer illuminating insights into the
films and culture of the postwar years and provide a unique
perspective on this eminent (r)migr(r) intellect
During the Weimar Republic, Siegfried Kracauer established himself
as a trenchant theorist of film, culture, and modernity, and he is
now considered one of the key thinkers of the twentieth century.
When he arrived in Manhattan aboard a crowded refugee ship in 1941,
however, he was virtually unknown in the United States and had yet
to write his best-known books, From Caligari to Hitler and Theory
of Film. Johannes von Moltke details the intricate ways in which
the American intellectual and political context shaped Kracauer's
seminal contributions to film studies and shows how, in turn,
Kracauer's American writings helped shape the emergent discipline.
Using archival sources and detailed readings, von Moltke asks what
it means to consider Kracauer as the New York Intellectual he
became in the last quarter century of his life. Adopting a
transatlantic perspective on Kracauer's work, von Moltke
demonstrates how he pursued questions in conversation with
contemporary critics from Theodor Adorno to Hannah Arendt, from
Clement Greenberg to Robert Warshow: questions about the origins of
totalitarianism and the authoritarian personality; about high and
low culture; about liberalism, democracy, and what it means to be
human. From these wide-flung debates, Kracauer's own voice emerges
as that of an incisive cultural critic invested in a humanist
understanding of the cinema.
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