A New History of German Cinema

Autorentext
Jennifer M. Kapczynski, Michael D. Richardson

Klappentext
A dynamic, event-centered exploration of the hundred-year history of German-language film.

Inhalt
Introduction - Jennifer M. Kapczynski and Michael D. Richardson 1 November 1895: Premiere of Wintergarten Program Highlights Transitional Nature of Early Film Technology - Janelle Blankenship 22 September 1907: Sigmund Freud Is Attracted to the Movies but Feels Lonely in the Crowd - Tan Waelchli Spring 1911: At Munich's Frankfurter Hof a Comedy Team Is Born - Christian Rogowski 27 May 1911: Asta Nielsen Secures Unprecedented Artistic Control - Heide Schlüpmann 18 December 1913: Atlantis Triggers Controversy about Sinking of Culture - Deniz Gokturk 21 January 1914: Premiere of Die Firma heiratet Inaugurates Fashion Farce - Mila Ganeva 6 March 1920: Chinese Students Raise Charges of Racism against Die Herrin der Welt - Tobias Nagl 23 May 1920: Das Cabinet des Dr. Caligari Brings Aesthetic Modernism to the Fairground - Paul Dobryden 23 May 1920: Das Cabinet des Dr. Caligari Brings Aesthetic Modernism to the Fairground - Michael Wedel 4 March 1921: With Das Floss der Toten, the Dead Come Back to Town - Philipp Stiasny 1 April 1921: Walther Ruttmann's Lichtspiel: Opus 1 Shapes Culture of Abstract Filmmaking - Gregory Zinman 27 May 1921: Scherben Seeks Cinematic Equivalent of Theatrical Intimacy - Patrick Vonderau 14 September 1922: Schüfftan Process Reconciles Artistic Craftsmanship with Demands of Entertainment Industry - Katharina Loew 13 October 1922: Alexander Kolowrat-Krakowsky Sets Course of Austrian (Inter)National Film - Robert von Dassanowsky 29 November 1923: Karl Grune's Die Straße Inaugurates "Street Film," Foreshadows Film Noir - Anton Kaes 31 January 1924: Premiere of Orlacs Hände Marks Beginning of the End of Expressionism - Paul Coates 14 February 1924: Die Nibelungen Premieres, Foregrounds "Germanness" - Adeline Mueller 10 May 1924: Der Berg des Schicksals Inaugurates the Genre of the "Mountain Film" - Kamaal Haque 23 December 1924: Der letzte Mann Explores Limits of Modern Community - Robert Schechtman 16 March 1925: Wege zu Kraft und Schönheit Educates Audiences in the Art of Nudity - Britta Herdegen 3 May 1925: French and German Avant-Garde Converge at Der absolute Film - Joel Westerdale 10 January 1927: Brigitte Helm Embodies Ambivalence of the New Woman - 17 June 1927: Amateur Film League Aids Invention of Film Culture - Martina Roepke 16 December 1927: Debut of Familientag im Hause Prellstein Provokes Debate about Jewish Identity in Popular Cinema - Daniel H. Magilow 31 January 1929: Limits on Racial Border-Crossing Exposed in Piccadilly - Cynthia Walk 9 May 1929: Oscar for Emil Jannings Highlights Exchange between German and American Film Industries - Gerd Gemünden 3 June 1929: Lloyd Bacon's The Singing Fool Triggers Debate about Sound Film - Lutz Koepnick 4 February 1930: Menschen am Sonntag Provides New Model of Cinematic Realism - Noah Isenberg 13 June 1930: Weekend Broadcast Tests Centrality of Image in Cinema - Brían Hanrahan 17 October 1930: Bertolt Brecht's Threepenny Opera Lawsuit Identifies Contradiction between Individual Creativity and Collective Production in Cinema - Marc Silberman 11 December 1930: Ban of All Quiet on the Western Front Highlights Tensions over Sound Technology - Dayton Henderson 11 May 1931: With Premiere of M, a Gala Hit Becomes a Cultural Controversy - Sara Hall 28 March 1933: Goebbels's Kaiserhof Speech Reveals Tension between National and International Aims of Nazi Cinema - Laura Heins 29 February 1935: Der alte und der junge König Instrumentalizes Myth of Prussian Nationalism - Martina Lüke 28 March 1935: Premiere of Triumph des Willens Presents Fascism as Unifier of Communal Will - Michael Cowan 28 March 1935: Premiere of Triumph des Willens Presents Fascism as Unifier of Communal Will - Kai Sicks 19 June 1935: Celebration of Lilian Harvey's Return Belies Ideological Incongruence in Nazi Entertainment Films - Antje Ascheid 30 August 1936: Luis Trenker Tries but Fails to Sidestep Nazi Filmpolitik - Carola Daffner 30 December 1940: Von Borsody's Wunschkonzert Mobilizes Melodrama for Total War - Jaimey Fisher 18 February 1941: The Devil and Daniel Webster Puts American Politics on Trial - Simon Richter 28 May 1942: Bertolt Brecht and Fritz Lang Write a Hollywood Screenplay - Jonathan Skolnik 3 September 1942: With Venice Premiere of Die goldene Stadt, Veit Harlan Enters Debate on Color Cinema - Russell Alt 18 January 1943: Bateson Analysis of Hitlerjunge Quex Stressses Value of Film as Key to National Culture - Gary Baker 18 May 1945: Welt im Film Newsreels, Rubble Films Model "Cool Conduct" - Wilfried Wilms 22 March 1946: Screenings of Die Todesmühlen Spark Controversy over German Readiness to Confront Nazi Crimes - Ulrike Weckel 16 August 1949: Ilse Kubaschewski Founds Gloria-Filmverleih, Sets the Course of Popular West German Film - Hester Baer 16 February 1952: Peter Lorre Leaves Germany Again - Gerd Gemünden 13 January 1954: Preminger's Dual-Language The Moon Is Blue (1953) and Die Jungfrau auf dem Dach (1954) Seek Glocal Success - Christine Haase 9 March 1954: Ernst Thälmann - Sohn seiner Klasse Marks High Point of Socialist Realism - Hunter Bivens 22 December 1955: Sissi Trilogy Bridges Hapsburg to Hollywood through Hybrid Blend of Film Genres - David Bathrick 2 February 1956: In Letter to Enno Patalas, Siegfried Kracauer Advocates a Socio-Aesthetic Approach to Film - Johannes von Moltke 21 June and 30 August 1957: Jonas and Berlin - Ecke Schönhauser Link Urban Reconstruction to National Cinema in Both West and East - Bastian Heinsohn 19 September 1958: Douglas Sirk's A Time to Love and a Time to Die Tests Limits of Postwar Feeling - Jennifer M. Kapczynski 4 September 1959: Der Frosch mit der Maske Moves Popular Cinema from Idyllic Pastures to Crime-Infested City Streets - Tassilo Schneider 28 February 1962: Oberhausen Manifesto Creates Founding Myth for New German Cinema - Eric Rentschler 1 February 1968: Herstellung eines Molotow-Cocktails Promotes Film as a Tool for Political Violence - Tilman Baumgärtel 1 February 1968: Konrad Wolf's Ich war neunzehn Evokes an East German Nation in Transition - Larson Powell 7 April 1968: Straub, Huillet, and Fassbinder Share the Stage at Munich's Action-Theater - Barton Byg 23 June 1968: Alexander Kluge Egged in Berlin, Months Later Awarded Gold Lion in Venice - Richard Langston Fall 1968: Expulsion of Thomas Brasch from GDR Film School Signals Fate of East German '68ers - Katie Trumpener 30 June 1970: A Faltering Berlinale Founders on o.k. Controversy - Kris Vander Lugt 29 February 1972: With Die Angst des Tormanns beim Elfmeter New German Cinema Learns to Read - Brad Prager 24 June 1974: Launching of Frauen und Film Creates Lasting Forum for Feminist Film Writing and Practice - Annette Brauerhoch 20 June 1977: DEFA's Biggest Star, Manfred Krug, Leaves the GDR - John Griffith Urang 27 October 1977: Deutschland im Herbst Equivocates on RAF and Marks End Stage of Radical Filmmaking - Jennifer Marston William 22 January 1979: West German Broadcast of Holocaust Draws Critical Fire and Record Audiences - Erin McGlothlin 20 August 1981: R. W. Fassbinder's Lola Revisits Kracauer to Critique Adenauer Period - Brigitte Peucker 6 August 1984: Heimat Celebrated as "European Requiem for the Little People" - Rachel Palfreyman 8 June 1986: Farocki's Wie man sieht Urges New Ways of Seeing - Michael Cowan 2 February 1988: Last Generation of DEFA Directors Calls in Vain for Reform - Reinhild Steingröver 23 July 1991: ZDF Broadcast of Ostkreuz Initiates Darker Reckoning with the Wende - Mattias Frey 6 May 1992: Marlene Dietrich's Berlin Burial Links Postunification Germany with Weimar Republic's Internationalism - Barbara Kosta 25 August 1992: Ostalgie Provides Pushback against Western Views on the East German Collapse - Roger Cook 1…

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