Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained attention, and then largely within Germany. This ambitious volume, the first in English on the subject, provides a much-needed corrective in the form of penetrating essays on the distinctive theories, practices, and social-historical contexts that have defined television in Germany. Encompassing developments from the dawn of the medium through the Cold War and post-reunification, this is an essential introduction to a rich and varied media tradition.

Long overlooked by scholars and critics, the history and aesthetics of German television have only recently begun to attract serious, sustained attention, and then largely within Germany. This ambitious volume, the first in English on the subject, provides a much-needed corrective in the form of penetrating essays on the distinctive theories, practices, and social-historical contexts that have defined television in Germany. Encompassing developments from the dawn of the medium through the Cold War and post-reunification, this is an essential introduction to a rich and varied media tradition.

In the 1950s and early 1960s, America imagined itself young and in love in Europe. And Hollywood films of the era reflected this romantic allure. From a young and naive Audrey Hepburn falling in love with Gregory Peck in "Roman Holiday" to David Lean's "Summertime", featuring Katherine Hepburn's sexual adventure in Venice, these glossy travelogue romances were shot on location, and established an exciting new genre for Hollywood. As Robert Shandley shows in "Runaway Romances", these films were not only indicative of the ideology of the American-dominated postwar world order, but they also represented a shift in Hollywood production values. Eager to capture new audiences during a period of economic crisis, Hollywood's European output utilized the widescreen process to enhance cinematic experience. The films - "To Catch a Thief", "Three Coins in the Fountain", and "Funny Face" among them - enticed viewers to visit faraway places for romantic escapades. In the process, these runaway romances captured American fantasies for a brief, but intense, period that ended as audiences grew tired of Old World splendors, and entered into a new era of sexual awakening.

At the end of World War II, Germany was a broken nation. Split in two and occupied by the victorious Allies, it would have to be rebuilt, literally, from the rubble of its own defeat. Volumes of books have been published chronicling its structural and economic rebirth; this unique study reveals how Germany rebuilt itself culturally.

Rubble Films is a close look at German cinema in the immediate postwar era, and a careful examination of its relationship to Allied occupation. Shandley reveals how German film borrowed -- both literally and figuratively -- from its Nazi past, and how the occupied powers (specifically the US) used its position as victor to open Europe to Hollywood movie products and aesthetics.

Incorporating a careful reading of several important postwar films, Shandley also discusses how the German studio system operated immediately after the war, in the east and the west, giving special focus on DEFA, the east German studio that rose during Soviet occupation.

Pathbreaking in its research, Rubble Films sheds new light on a significant moment of German cultural rebirth, and adds a new dimension to the study of the history of film.