DOCSLIB.ORG

Hansen, Cinema and Experience: Siegfried Kracauer, Walter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hansen, Cinema and Experience: Siegfried Kracauer, Walter Cinema and Experience WEIMAR AND NOW: GERMAN CULTURAL CRITICISM Edward Dimendberg, Martin Jay, and Anton Kaes, General Editors Cinema and Experience Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno Miriam Bratu Hansen UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2012 by Th e Regents of the University of California Library of Congress Cataloging-in-Publication Data Hansen, Marian Bratu, 1949–2011. Cinema and experience : Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno / Miriam Bratu Hansen. p. cm.—(Weimar and now: German cultural criticism ; 44) Includes bibliographical references and index. isbn 978-0-520-26559-2 (cloth : alk. paper) isbn 978-0-520-26560-8 (pbk. : alk. paper) 1. Motion pictures. 2. Kracauer, Siegfried, 1889–1966—Criticism and interpretation. 3. Benjamin, Walter, 1892–1940—Criticism and interpretation. 4. Adorno, Th eodor W., 1903–1969—Criticism and interpretation. I. Title. PN1994.H265 2012 791.4309—dc23 2011017754 Manufactured in the United States of America 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Rolland Enviro100, a 100 percent postconsumer fi ber paper that is FSC certifi ed, deinked, processed chlorine-free, and manufactured with renewable biogas energy. It is acid-free and EcoLogo certifi ed. For Michael Geyer In memory of Karsten Witte (1944–1995) contents Preface ix Acknowledgments xix Abbreviations xxi part i. kracauer 1. Film, Medium of a Disintegrating World 3 2. Curious Americanism 40 part ii. benjamin 3. Actuality, Antinomies 75 4. Aura: Th e Appropriation of a Concept 104 5. Mistaking the Moon for a Ball 132 6. Micky-Maus 163 7. Play-Form of Second Nature 183 part iii. adorno 8. Th e Question of Film Aesthetics 207 part iv. kracauer in exile 9. Th eory of Film 253 Notes 281 Index 357 preface Th e question of how “to engage a living thought that is no longer historically current,” raised by Fredric Jameson with regard to Th eodor W. Adorno, has a par- ticular urgency when the body of thought revolves around the cinema, especially in today’s rapidly changing media environment.1 If that ongoing future increas- ingly became one of the concerns ticking in the background of this study, it also made me more keenly aware of the specifi c historicity of the writings discussed— less in the sense of their loss of “currency” than in their contemporaneity with key junctures in the history of the cinema and the social and political histories of the twentieth century. Much as they illuminate those junctures, they oft en do so from an untimely angle, which lends them a diff erent kind of actuality in the present. At the same time, I couldn’t fail to realize the extent to which this project was bound up with my own history, a history that entailed switching countries, lan- guages, and fi elds—from Germany to the United States, from German to English, from the study of literary modernism and the avant-garde to the study of fi lm. When I began to read my way into American cinema studies around 1980, the fi eld was dominated by psychoanalytic-semiotic fi lm theory, with its ground- ing in Lacan and Freud, Althusserian Marxism, and feminism, which had taken Anglophone shape in the British journals Screen and Edinburgh Magazine and the then-Berkeley-based Camera Obscura. Th is hegemony soon waned, challenged by the competing and asymmetrical paradigms of, on the one hand, cultural studies and, on the other, neoformalism or historical poetics and cognitivism. Yet the intellectual energy that had made psychoanalytic-semiotic theory a magnet for ix x preface fi lm scholars and a motor in the academic legitimation of cinema studies—at a time when the humanities were under the sway of poststructuralism—seemed to have migrated into the exploration of early cinema, beginning with the legendary Brighton symposium of 1978 and richly fed by the annual Pordenone Giornate del Cinema Muto and other retrospectives. I felt drawn to the study of early cinema, not least because it engaged fi lm history in a theoretically inspired mode that interlaced careful attention to formal and stylistic features with empirical research into conditions of production, distribution, and exhibition as well as broader ques- tions concerning the complex set of transformations commonly referred to as modernity. I had come from a country in which there was eff ectively no tradition of fi lm qualifying as the object of academic inquiry (with a few exceptions during the early decades of the twentieth century). Th ere was nothing comparable to the organizational eff orts in instruction, archiving, and research in the United States and France, which in recent years have themselves become the object of historical research. To be sure, fi lm history and fi lm theory were part of the curricula of the fi lm academies (Ulm, Munich, Berlin) that had been founded thanks to the fi lm politics following the 1962 Oberhausen manifesto, but these topics had no place at the universities. At the Johann Wolfgang Goethe University of Frankfurt am Main, where I was a student from 1967 to 1976, Karsten Witte’s courses on National Socialist fi lm and on “theory of cinema” (1970–71) were an early exception, fol- lowed by the fi rst fi lm courses in American Studies, which was one of my fi elds.2 In addition, Alexander Kluge taught a series of compact seminars on fi lm and media in 1975–76, which I attended (and which initiated an enduring relationship of collaboration between us). It was not that Germany—more precisely, West Germany or the Federal Repub- lic—was lacking a fi lm culture. While commercial theaters had been closing in great numbers and audiences were staying home to watch television, a new wave of alternative repertory theaters, both private and municipally sponsored (Kom- munale Kinos), took off around 1970; the same year, a festival of independent cinema (Frankfurter Filmschau ’70) was held on the campus of Frankfurt Univer- sity. In the aft ermath of the student movement, a new moviegoing public emerged, eager to overcome a history still deeply compromised by Nazi cinema’s usurpa- tion of cinematic aff ect and pleasure. We watched everything: “Young German” and European auteurs, New Hollywood and old, Spaghetti Westerns, the canonic works of international silent and sound cinema, contemporary experimental and underground fi lms. Th is new fi lm culture crucially included intellectually pointed critical writing on fi lm—in the Feuilleton or cultural sections of major papers such as Frankfurter Rundschau, Süddeutsche Zeitung, and occasionally, Frank- furter Allgemeine and Die Zeit—by authors such as Frieda Grafe, Helmut Faerber, preface xi Wolfram Schütte, Karsten Witte, Gertrud Koch, Hartmut Bitomsky, and others. And not least, there was the fl ourishing of independent fi lmmaking that benefi tted from public television stations and from subsidy legislation fought for by Kluge and others, and from which a group of Autoren or auteur directors (Fassbinder, Herzog, Wenders, et al.) was to become New German Cinema once their work was shown at the New York Film Festival and other international venues such as the Goethe Institutes. When I studied at Frankfurt University, Critical Th eory was the leading intel- lectual tradition, one that had early on analyzed the economic, social, and political conditions of fascism and had presciently warned of the rise of National Socialism; it also had assumed a critical role vis-à-vis the social and cultural order of postwar Germany, in particular its inability to “come to terms” with that historical legacy.3 By the 1960s, the term Critical Th eory was used in a broader sense to name both the Frankfurt School (referring to the members of the Institute for Social Research who had returned from exile, notably Max Horkheimer, who had coined the term Critical Th eory; Adorno; and former members such as Herbert Marcuse and Leo Löwenthal who had opted to stay in the United States) and writers associated with various forms and degrees of Marxist thought, such as Walter Benjamin, Ernst Bloch, Georg Lukács, and Siegfried Kracauer, as well as a younger generation of writers such as Jürgen Habermas, Oskar Negt, and Kluge.4 If I now, in this book, think of Kracauer, Benjamin, and Adorno not only as Critical Th eorists but also as part of the German-Jewish intellectual tradition, this was not necessarily the case when I fi rst encountered their writings (and, with Adorno, his teaching); and one would probably not have thought of Adorno in that tradition before 1933. Being Jewish was not a topic of conversation at the uni- versity when I was a student, nor anywhere else beyond the small, newly emerging Jewish congregations and organizations devoted to Christian-Jewish cooperation. Jewishness was a relatively abstract, yet highly charged symbolic—philosophical, moral, and political—category, bound up with the history of anti-Semitism and annihilation. It had presence primarily as a repressed past that had to be brought to public consciousness and justice: this had been the twofold intention, at least, of the Frankfurt Auschwitz trials of 1963–65 (which I occasionally attended because my mother was involved in taking care of survivor witnesses).5 But Jewishness referred to neither a living cultural identity nor the legacy of fractured biographies.
Load more

Recommended publications
  • NATURE, SOCIOLOGY, and the FRANKFURT SCHOOL by Ryan
    NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Sociology – Doctor of Philosophy 2014 ABSTRACT NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson Through a systematic analysis of the works of Max Horkheimer, Theodor W. Adorno, Herbert Marcuse, and Erich Fromm using historical methods, I document how early critical theory can conceptually and theoretically inform sociological examinations of human-nature relations. Currently, the first-generation Frankfurt School’s work is largely absent from and criticized in environmental sociology. I address this gap in the literature through a series of articles. One line of analysis establishes how the theories of Horkheimer, Adorno, and Marcuse are applicable to central topics and debates in environmental sociology. A second line of analysis examines how the Frankfurt School’s explanatory and normative theories of human- animal relations can inform sociological animal studies. The third line examines the place of nature in Fromm’s social psychology and sociology, focusing on his personality theory’s notion of “biophilia.” Dedicated to 바다. See you soon. iii ACKNOWLEDGEMENTS I owe my dissertation committee immense gratitude for offering persistent intellectual and emotional support. Linda Kalof overflows with kindness and her gentle presence continually put my mind at ease. It was an honor to be the mentee of a distinguished scholar foundational to the formation of animal studies. Tom Dietz is the most cheerful person I have ever met and, as the first environmental sociologist to integrate ideas from critical theory with a bottomless knowledge of the environmental social sciences, his insights have been invaluable.
    [Show full text]
  • Sébastien Goubault Le Chien Dans Les Jeux Vidéo
    Sébastien Goubault Le chien dans les jeux vidéo : archéologie, filiation et développement d’une réalité virtuelle ---------------------------------------------------------------------------------------------------------------------------------------------- GOUBAULT Sébastien. Le chien dans les jeux vidéo : archéologie, filiation et développement d’une réalité virtuelle, sous la direction d’Éric Baratay. - Lyon : Université Jean Moulin (Lyon 3), 2018. Disponible sur : http://www.theses.fr/2018LYSE3001 ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le rep roduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fin s commerciales. N°d’ordre NNT : 2018LYSE3001 THÈSE de DOCTORAT DE L’UNIVERSITÉ DE LYON Opérée au sein de l’Université Jean Moulin Lyon 3 École Doctorale de Sciences sociales ED 483 Discipline : Doctorat en Histoire mention histoire religieuse, politique et culturelle Soutenue publiquement le 17/01/2018, par : Sébastien Goubault Le chien dans les jeux vidéo Archéologie, filiation et développement d’une réalité virtuelle Devant le jury composé de : GUILLO, Dominique Directeur de recherche/CNRS Rapporteur SERVAIS Olivier Professeur/Université de Louvain Rapporteur DESPRET, Vinciane
    [Show full text]
  • Urban Mediations: the Theoretical Space of Siegfried Kracauer's Ginster
    Eric Jarosinski Urban Mediations: The Theoretical Space of Siegfried Kracauer’s Ginster Siegfried Kracauer’s notion that “reality is a construction” serves as a starting point for an exploration of urban space in his 1928 novel Ginster. Focusing on the work’s central theoretical and spatial figure, the “mosaic”, this essay argues that Kracauer challenges us to think of urban space as multiply mediated, especially when it would seem to be represented or experienced most directly. The analysis focuses specifically on linguistic mediation, as the traffic between the city as mate- rial fact and as representation is articulated within literary space. Set in opposition to figures of transparency throughout the novel, primarily in the glass and steel of proto- Modernist architecture, language becomes the object, agent, and scene of a complex web of forces inscribed into and as urban space. These “spatial turns” of Kracauer’s metaphors and tropes speak to the current theoretical challenge of con- ceiving of urban space as both material and abstract. Ginster suggests that articu- lating the tensions between the two best defines a more illuminating and dynamic notion of space itself. “Where is Kracauer?” Walter Benjamin and Theodor W. Adorno pose this question frequently in their correspondence throughout the 1920s and 1930s as the two friends attempt to keep track of the location, both geographically and intellectually, of their longtime “extraterritorial” colleague and friend. While his work for the famed Frankfurter Zeitung may have given him the most public profile of the three, Siegfried Kracauer was indeed the hardest to situate precisely. His wide-ranging interests and distaste for the philo- sophically systematic and politically doctrinaire led to an extremely produc- tive intellectual exchange, but also misunderstanding and disagreement with friends Adorno, Benjamin, and others.
    [Show full text]
  • An Exploration of Comics and Architecture in Post-War Germany and the United States
    An Exploration of Comics and Architecture in Post-War Germany and the United States A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Ryan G. O’Neill IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Rembert Hueser, Adviser October 2016 © Ryan Gene O’Neill 2016 Table of Contents List of Figures……………………………………………………………………………………...……….i Prologue……………………………………………………………………………………….....…1 Introduction………………………………………………………………………………………...8 Chapter 1: The Comic Laboratory…………………………………………………...…………………………………….31 Chapter 2: Comics and Visible Time…………………………………………………………………………...…………………..52 Chapter 3: Comic Cities and Comic Empires………………………………...……………………………...……..…………………….80 Chapter 4: In the Shadow of No Archive…………………………………………………………………………..…….…………114 Epilogue: The Painting that Ate Paris………………………………………………………………………………...…………….139 Works Cited…..……………………………………………………………………………..……152 i Figures Prologue Figure 1: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 2: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Figure 3: Image of Vitra Feuerwehrhaus Uncredited. https://www.vitra.com/de-de/campus/architecture/architecture-fire-station Figure 4: Kaczynski, Tom (w)(a). “Skyway Sleepless.” Twin Cities Noir: The Expanded Edition. Ed. Julie Schaper, Steven Horwitz. New York: Akashic Books, 2013. Print. Introduction Figure 1: Goscinny, René (w), Alberto Uderzo (i). Die Trabantenstadt. trans. Gudrun Penndorf. Stuttgart: Ehapa Verlag GmbH, 1974. Pp.28-29. Print. Figure 2: Forum at Pompeii, Vitruvius Vitrubius. The Ten Books on Architecture. trans. Morris Hicky Morgan, Ph.D., LL.D. Illustrations under the direction of Herbert Langford Warren, A.M. pp. 132. Print. Figure 3: Töpffer, Rodolphe.
    [Show full text]
  • University of Oklahoma Graduate College
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of P hilosophy BY STACI LYNN VON BOECKMANN Norman, Oklahoma 2004 UMI Number: 3147180 UMI Microform 3147180 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation APPROVED FOR THE DEPARTMENT OF ENGLISH BY ____________________________ _ Prof. Catherine Hobbs (Chair) _____________________________ Prof. David Gross ____________________________ _ Assoc. Prof. Susan Kates _____________________________ Prof. Helga Madland _____________________________ Assoc. Prof. Henry McDonald © Copyright by Staci Lynn von Boeckmann 2004 All Rights Reserved To the memory of my grandmother, Norma Lee Von Boeckman iv Acknowledgements There a number of people and institutions whose contributions to my work I would like to acknowledge. For the encouragement that came from being made a Fulbright Alternative in 1996, I would like to thank t he Fulbright selection committee at the University of Oklahoma. I would like to thank the American Association of University Women for a grant in 1997 -98, which allowed me to extend my research stay in Frankfurt am Main.
    [Show full text]
  • Film As Language: the Politics of Early Film Theory (1920-1960) the Case of Siegfried Kracauer As Émigré Intellectual
    Film as Language: The Politics of Early Film Theory (1920-1960) The case of Siegfried Kracauer as émigré intellectual Markus Rheindorf, with Alexandra Ganser and Julia Pühringeri IFK Internationales Forschungszentrum Kulturwissenschaften International Reserach Center for Cultural Studies Reichsratsstraße 17 1010 Vienna, Austria Tel.: (+43-1) 504 11 26-15 Fax: (+43-1) 504 11 32 [email protected] http://www.ifk.ac.at Department of Applied Linguistics University of Vienna Berggasse 11 1090 Vienna, Austria [email protected] www.univie.ac.at/linguistics http://homepage.univie.ac.at/Markus.Rheindorf/ That any given politics is largely constructed through and in language; that language and language use are always political and that therefore there is not only a language of politics but also a politics language; and that the sciences – whether social, natural, etc. – construct a politics inasmuch as they are a social phenomenon largely situated in the domain of language: these are three critical positions to which my argument here responds. Building on these, I would like to propose a new focus for research in the field of language and politics: the correspondence between a given political position (within the sciences) and a specific understanding and use of the notion of “language” as such. In this, I am taking a detour through a historically specific case: the discourse of early film theory, in particular the work of film critic and theorist Siegfried Kracauer (1889 – 1966). The early history of the now institutionalized discipline of film studies, as I shall argue, provides an intriguing example of the way in which the language of science and theory articulates a politics (and is articulated by politics) by way of its changing use of the term “language” – in this case, the “language of film”.
    [Show full text]
  • BOOK REVIEWS Adorno's Aesthetic Theory Is
    ,~ BOOK REVIEWS T. W. ADORNO. Aest'/Jetic' Theory_ Adorno, Jurgen Habermas), this T,anslated by C. Lenhardt. Edited by book constitutes a summa aesthe- Gretel Adorno and Rolf Tiedemann. tit;a. An English translation has London: Routledg'e & KeganPaul, long been overdue First publishe~ 1984, Pp x + 526. in German in 1970 one year after Aesthetics has be,come a central Adorno's death the boo~ soori area for Marxistthought in twentieth- app'eared in French (1974) and Italian century Europe. Among prominent (1915). For years it has been dabated Western Marxist philosophers' the and used on the EurQpean conti~ent. names of Georg lukacs, ~Jean-Paul Until recently, however, Aesthetic Theory has receiv~d little attention Sartre, and Theodor W. Adorno imm- ~ ediately, come to mind. It is not clear, in the English speaking world. Th~ however, whether Marxist thought publication of Lenhardt's translation has entered the mainstre,am of conte- in 1984 makes a wider reception mporary Western aesthetics. In add,i- possible. tion to unavoidable pol itico-economic This reception will not be easy barriers, a blockade of ignorance and, or smooth. The book is complex and hostility has prevailed between provocative, just, as its author was Anglo-Arneri~n and Continental bri IIiant and, cont roversial. An H~ge- philosophy. Although less rigid in Iian Marxist critical of bot~ Hegel aes~hetics than' in philosophy of and Marxist-Leninism; an assimilated science, this blocl-ade has often pre- German Jew exiled for more than vented productive dialogue between fifteen years in England and the Westerr) Marxists and leading figures United States; a polished, modern in Anglo-American aesthetics.
    [Show full text]
  • Adorno, the Essay and the Gesture of Aesthetic Experience Estetika, 50(2): 149-168
    http://www.diva-portal.org This is the published version of a paper published in Estetika. Citation for the original published paper (version of record): Johansson, A S. (2013) The Necessity of Over-interpretation: Adorno, the Essay and the Gesture of Aesthetic Experience Estetika, 50(2): 149-168 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-30068 Zlom2_2013_Sestava 1 1.10.13 13:28 Stránka 149 Anders Johansson THE NECESSITY OF OVER-INTERPRETATION: ADORNO, THE ESSAY AND THE GESTURE OF AESTHETIC EXPERIENCE ANDERS JOHANSSON This article is a discussion of Theodor W. Adorno’s comment, in the beginning of ‘The Essay as Form’, that interpretations of essays are over-interpretations. I argue that this statement is programmatic, and should be understood in the light of Adorno’s essayistic ideal of configuration, his notion of truth, and his idea of the enigmatic character of art. In order to reveal how this over-interpreting appears in practice, I turn to Adorno’s essay on Kafka. According to Adorno, the reader of Kafka is caught in an aporia: Kafka’s work cannot be interpreted, yet every single sentence calls for interpretation. This paradox is related to the gestures and images in Kafka’s work: like Walter Benjamin, Adorno means that they contain sedimented, forgotten experiences. Instead of interpreting these images, Adorno visualizes the experiences indirectly by presenting images of his own. His own essay becomes gestural.
    [Show full text]
  • Onkel Dagobert“-Zeichners Don Rosa Ist Da!
    PRESSEMITTEILUNG Sein Leben, seine Comics: Die lang ersehnte Gesamtausgabe des legendären „Onkel Dagobert“-Zeichners Don Rosa ist da! Berlin, 26.05.2020 – Don Rosa gehört zu den berühmtesten Zeichnern Entenhausens. Die Ducks in der Tradition seines Kindheitshelden Carl Barks zu zeichnen, so sagt er, wäre seit jeher seine Bestimmung gewesen. Seine Comics beweisen dies: schon längst gelten die Abenteuer Don Rosas rund um Onkel Dagobert als Klassiker. Jetzt endlich finden sich alle seine Geschichten mit den Ducks in einer Hardcover-Edition! In dieser neuen, chronologischen Gesamtausgabe sind sämtliche Don Rosa- Geschichten in der vom Künstler bevorzugten Kolorierung und Aufmachung enthalten. Abgerundet wird die Edition durch spannende Hintergrundinformationen, Biografien, Skizzen und Kommentaren des Comic-Zeichners selbst. Dieses auf 10 Bände ausgelegte Gesamtwerk darf in keiner Sammlung fehlen! „Dem Ingenieur ist nichts zu schwör“: Getreu dem Daniel Düsentrieb-Motto begann 1987 die Zeichnerkarriere des gelernten Ingenieurs Don Rosa aus Kentucky, als er erstmals die Gelegenheit bekam, eine Geschichte mit den legendären Ducks von Carl Barks zu zeichnen. Seitdem hat Don Rosa längst selbst den Titel eines legendären Entenzeichner erlangt: Sein schräger Witz, die detailreichen und mit Gags gefüllten Zeichnungen und vor allem seine mit historischen Fakten angereicherten Abenteuergeschichten haben ihm weltweit Fans beschert und machen ihn zu dem beliebtesten lebenden Zeichner Entenhausens. Der erste Band „Der Sohne der Sonne“ erscheint am 04. Juni bei der Egmont Comic Collection (30,00€, ISBN 978-3-7704-4052-8). Band 2 „Zurück ins Land der viereckigen Eier“ folgt am 03. September (30,00€, ISBN 978-3-7704-4053-5). Zusätzlich erscheint ebenfalls am 04. Juni eine gebündelte Schuberausgabe mit den ersten beiden Bänden der „Onkel Dagobert und Donald Duck – Don Rosa Library“ (70,00€, 978-3-7704-4113-6) in begrenzter Stückzahl.
    [Show full text]
  • [Author's Name]
    Journal of Social Science Education © JSSE 2008/2009 Volume 7/8, Number 2/1, 2008/09, pp. 119-131 ISSN 1618-5293 Nina Mahrt A Comic Approach to Politics? Political Education via Comics Abstract This article examines juvenile comics that deal with politics as a main topic. These comics introduce and develop politicised themes and topics in varying ways and their individual approaches to politics will be discussed and analysed. The first example, the German Micky Maus-Magazin series, occasionally uses political matters to create new comical stories. In the issues discussed here, democratic processes in the fictional city of Duckburg are described. The second example, Andi, published by the Interior Ministry of the State of North Rhine- Westphalia, aims at civic education. This comic explores the very real issues of rightwing extremism and rightwing propaganda within a fictional framework. The third example, Persepolis treats political issues in a serious, but not primarily pedagogical, way. It offers a personal viewpoint on the Iranian revolution in 1979. By reflecting on Iranian society, the Iranian author puts forward new perspectives on the country which are quite opposite to those that are typically represented in Western countries’ daily news. All three comics provide varying degrees of understanding on politics and political processes. Since each example combines elements of entertainment with political information, they will be analysed within the theoretical framework of what Dörner defines as politainment. Contents 1. Introduction 2. Comic series and politics 2.1 Mayoral elections in Duckburg 2.2 Politics as a topic for young people 3. Political comics aiming at civic education 3.1 Rightwing propaganda at schools 3.2 Comics as reliable sources of information 4.
    [Show full text]
  • Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
    Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
    [Show full text]
  • 10595.Ch01.Pdf
    © 2007 UC Regents Buy this book University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its ac- tivities are supported by the UC Press Foundation and by philanthropic contributions from individuals and in- stitutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Bahr, Ehrhard. Weimar on the Pacific : German exile culture in Los Angeles and the crisis of modernism / Ehrhard Bahr. p. cm.—(Weimar and now : 41) Includes bibliographical references and index. isbn 978-0-520-25128-1 (cloth : alk. paper) 1. Modern (Aesthetics)—California—Los Angeles. 2. German—California—Los Angeles—Intellectual life. 3. Jews. German—California—Los Angeles—Intellec- tual life. 4. Los Angeles (Calif.)—Intellectual life— 20th century. I. Title. bh301.m54b34 2007 700.89'31079494—dc22 200700207 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10 987654321 The paper used in this publication meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). Contents List of Illustrations vii List of Abbreviations ix Preface xiii Introduction 1 1. The Dialectic of Modernism 30 2. Art and Its Resistance to Society: Theodor W. Adorno’s Aesthetic Theory 56 3. Bertolt Brecht’s California Poetry: Mimesis or Modernism? 79 4. The Dialectic of Modern Science: Brecht’s Galileo 105 5.
    [Show full text]