Provides new insights into German-language cinema around 1968 and its relationship to the period's epoch-making cultural and political happenings. The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German and Austrian society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insights into what constituted German-language cinema around 1968 and beyond. Contributors engage a range of cinemas, spanning experimental and avant-garde cinema, installations and exhibits; short films, animated films, and crime films; collectively produced cinemas, feminist films, and Arbeiterfilme (workers' films); as well as their relationship to cinemas of other countries, such as French cinema verite and US direct cinema. Contributors: Marco Abel, Tilman Baumgartel, Madeleine Bernstorff, Timothy Scott Brown, Michael Dobstadt, Sean Eedy, Thomas Elsaesser, IanFleishman, Christina Gerhardt, Lisa Haegele, Randall Halle, Priscilla Layne, Ervin Malakaj, Kalani Michell, Evelyn Preuss, Patricia Anne Simpson, Fabian Tietke, Andrew Stefan Weiner. Christina Gerhardt is Associate Professor of German and Film Studies at the University of Hawai'i at Manoa. Marco Abel is Professor of English and Film Studies at the University of Nebraska-Lincoln.

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.