Download e-book for kindle: A Critical History of German Film (Studies in German by Stephen Brockmann

By Stephen Brockmann

ISBN-10: 1571134689

ISBN-13: 9781571134684

ISBN-10: 157113722X

ISBN-13: 9781571137227

A heritage of German movie facing person movies as artistic endeavors has lengthy been wanted. latest histories are likely to deal with cinema as an fiscal instead of a classy phenomenon; previous surveys that do interact with person movies don't comprise motion pictures of contemporary many years. This publication treats consultant motion pictures from the beginnings of German movie to the current. delivering historic context via an creation and interchapters previous the remedies of every era's movies, the quantity is acceptable for semester- or year-long survey classes and for an individual with an curiosity in German cinema.BR> the movies: the coed of Prague - the cupboard of Dr. Caligari - The final giggle - city - The Blue Angel - M - Triumph of the desire - the nice Love - The Murderers are between Us - sunlight Seekers - hint of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - younger T?¶rless - Aguirre, The Wrath of God - Germany in Autumn - the wedding of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of wish - might be, probably no longer - Rossini - Run Lola Run - sturdy Bye Lenin! - Head On - The Lives of Others

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Extra info for A Critical History of German Film (Studies in German Literature Linguistics and Culture)

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10 By far the most difficult problem for contemporary viewers, however, is that, like all early films, Der Student von Prag is silent. “Silent” is in fact a misnomer, however — early films were screened with accompanying music, and almost all currently available copies of these films have had musical soundtracks added to them. Nevertheless, these films have no running dialogue; the only language associated with them is occasional 6 Heide Schlüpmann, “The First German Art Film: Rye’s The Student of Prague (1913),” in German Film and Literature: Adaptations and Transformations, ed.

Of course, the absence of a soundtrack was based on a technological problem that was not definitively solved until 1927 in the United States and 1929 in Germany — the problem of how to inscribe sound into celluloid and synchronize sound with action — and once that problem was solved, silent film quickly disappeared. It is also true that there were early attempts at sound film in Germany in the first decade of the twentieth century, but such attempts did not bear enduring fruit. Still, because it lacks a soundtrack, twenty-first-century viewers tend to regard silent film as inferior and primitive, and from a purely technological standpoint they are probably correct.

Kracauer himself calls Der Student von 25 Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film (Princeton, NJ: Princeton UP, 1947). 26 Schlüpmann, “The First German Art Film,” in German Film and Literature, 13. 27 Siegfried Kracauer, letter to Carl Mayer, 29 May 1944. Cited in Uli Jung and Walter Schatzberg, Beyond Caligari: The Films of Robert Wiene (New York and Oxford: Berghahn, 1999), 73, note 4. 28 Friedrich Freksa, “Die künstlerische und kulturelle Bedeutung des Kinos,” in Kein Tag ohne Kino, 100–102; here, 101.

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A Critical History of German Film (Studies in German Literature Linguistics and Culture) by Stephen Brockmann


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