MARC Record from marc_columbia

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001 15115735
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020 $a1299478883
020 $a9781299478886
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049 $aZCUA
100 1 $aElsaesser, Thomas,$d1943-2019.
245 10 $aWeimar cinema and after :$bGermany's historical imaginary /$cThomas Elsaesser.
260 $aLondon ;$aNew York :$bRoutledge,$c2000.
300 $a1 online resource (viii, 472 pages) :$billustrations
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
504 $aIncludes bibliographical references (pages 445-456) and indexes.
505 0 $aList of illustrations -- PART I. HAUNTED SCREENS: CALIGARI'S CABINETS AND A GERMAN STUDIO SYSTEM. Introduction: Weimar cinema's impersonations -- Expressionist film or Weimar cinema? With Siegfried Kracauer and Lotte Eisner (once more) to the movies -- Caligari's family: Expressionism, frame tales and master-narratives -- Erich Pommer, 'Die UFA', and Germany's bid for a studio system. -- PART II. IN THE REALM OF THE LOOK: LANG, LUBITSCH, MURNAU AND PABST. Fritz Lang's traps for the mind and eye: Dr Mabuse the gambler and other disguise artists -- The old and the new regime of the gaze: Ernst Lubitsch and Madame Dubarry -- Nosferatu, Tartuffe and Faust: secret affinities in Friedrich Wilhelm Murnau -- Lulu and the meter man: Louise Brooks, G.W. Pabst and Pandora's box. -- PART III. TRANSPARENT DUPLICITIES: COMEDY, OPERA, OPERETTA. Hallo Caesar!: Reinhold Schünzel, a German Chaplin? -- Transparent duplicities: Pabst's The Threepenny opera -- It's the end of the song: Walter Reisch, operetta and the double negative. -- PART IV. AFTER WEIMAR: AVANT-GARDE AND MODERNISATION, EMIGRATION AND FILM NOIR. To be or not to be: extra-territorial in Vienna-Berlin-Hollywood -- Lifestyle propaganda: modernity and modernisation in early thirties films -- Caligari's legacy? Film noir as film history's German imaginary. -- Bibliography -- Index of films -- General index.
586 $aSociety for Cinema and Media Studies Katherine Singer Kovacs Book Award, 2001.
520 $aGerman cinema of the 1920s is still regarded as one of the 'golden ages' of world cinema. Films such as The Cabinet of Dr. Caligari, Dr. Mabuse the Gambler, Nosferatu, Metropolis, Pandora's Box and The Blue Angel have long been canonised as classics, but they are also among the key films defining Germany as a nation uneasy with itself. The work of directors like Fritz Lang, F.W. Murnau and G.W. Pabst - having apparently announced the horrors of fascism, while testifying to the traumas of a defeated nation - still casts a long shadow over cinema in Germany, leaving film history and political history curiously intertwined. Weimar cinema and after: Germany's historical imaginary offers a fresh perspective on this most 'national' of national cinemas, re-evaluating such labels as 'Expressionist film' and 'The new Sobriety' and even putting 'fascinating fascism' and film noir in a different, international context. Thomas Elsaesser questions the conventional readings which link these genres and movements solely to the legacy of German romanticism and nationalism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry'. Elsaesser reads the major films as well as popular entertainment cinema against the contradictory background of avant-garde modernity and consumerist modernisation from the 1920s to the late 1930s. He argues that Weimar cinema's significance lay less in its ability either to promote socialism or predict fascism than in its contribution to the creation of a community sharing a 'historical imaginary' rather than a 'national identity'. In this respect, German cinema in the Weimar period anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory and invented traditions. -- from back cover.
588 0 $aPrint version record.
630 07 $aBibel$pPhilemonbrief$2gnd
650 0 $aMotion pictures$zGermany$xHistory.
650 0 $aExpressionism in motion pictures$zGermany.
650 6 $aCinéma$zAllemagne$xHistoire.
650 6 $aExpressionnisme (Cinéma)$zAllemagne.
650 7 $aExpressionism in motion pictures.$2fast$0(OCoLC)fst00918902
650 7 $aMotion pictures.$2fast$0(OCoLC)fst01027285
651 7 $aGermany.$2fast$0(OCoLC)fst01210272
651 7 $aDeutschland$2gnd
650 7 $aWeimarer Republik$2gnd
650 17 $aFilms.$2gtt
650 17 $aModernisme (cultuur)$2gtt
650 17 $aExpressionisme.$2gtt
650 17 $aFilmindustrie.$2gtt
650 17 $aWeimar-republiek.$2gtt
650 17 $aUniversum-Film.$2gtt
650 07 $aFilm.$2swd
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iPrint version:$aElsaesser, Thomas, 1943-$tWeimar cinema and after.$dLondon ; New York : Routledge, 2000$z0415012341$z9780415012348$w(DLC) 00021661$w(OCoLC)43296638
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15115735$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS