By Stephen Brockmann
A background of German movie facing person movies as artistic endeavors has lengthy been wanted. present histories are inclined to deal with cinema as an fiscal instead of a cultured phenomenon; prior surveys that do interact with person movies don't contain motion pictures of modern a long time. This booklet treats consultant motion pictures from the beginnings of German movie to the current. supplying ancient context via an advent and interchapters previous the remedies of every era's movies, the quantity is appropriate for semester- or year-long survey classes and for somebody 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 good Love - The Murderers are between Us - solar 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 - probably, perhaps no longer - Rossini - Run Lola Run - reliable Bye Lenin! - Head On - The Lives of Others
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Extra resources for A Critical History of German Film (Studies in German Literature Linguistics and Culture)
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.
Many of them, such as Lubitsch, Lang, and Dietrich, ultimately wound up in Hollywood, either before or soon after the Nazi ascension to power put an end to the Weimar Republic in January of 1933. Weimar classics like Murnau’s Nosferatu or Lang’s Metropolis continue to have an impact on world cinema today, and Weimar Expressionism and the Weimar detective film ultimately mutated in the United States into film noir in the 1940s and 1950s, often under the leadership of directors who had gotten their start in Germany in the 1920s: people like Fritz Lang, Billy Wilder, or Robert Siodmak.
In 1913 he argued 14 Wegener, “Neue Kinoziele,” in Kein Tag ohne Kino, 348. 15 Karl Hans Strobl, “Der Kinematograph,” in Kein Tag ohne Kino, 54. indd Sec1:33 9/25/2010 2:58:06 PM 34 DER STUDENT VON PRAG (1913) that because of its lack of words, cinema was ultimately superior to literary art forms: “But that was precisely what drew me to it: the possibility of finally, finally, doing without words, without words, which had previously been everything to the poet, and without which poets didn’t even seem to be possible.