The Importance of the Weimar Film Industry Redacted for Privacy Abstract Approved: Christian P
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
French and German Cultural Cooperation, 1925-1954 Elana
The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 Elana Passman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History Chapel Hill 2008 Approved by: Dr. Donald M. Reid Dr. Christopher R. Browning Dr. Konrad H. Jarausch Dr. Alice Kaplan Dr. Lloyd Kramer Dr. Jay M. Smith ©2008 Elana Passman ALL RIGHTS RESERVED ii ABSTRACT ELANA PASSMAN The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 (under the direction of Donald M. Reid) Through a series of case studies of French-German friendship societies, this dissertation investigates the ways in which activists in France and Germany battled the dominant strains of nationalism to overcome their traditional antagonism. It asks how the Germans and the French recast their relationship as “hereditary enemies” to enable them to become partners at the heart of today’s Europe. Looking to the transformative power of civic activism, it examines how journalists, intellectuals, students, industrialists, and priests developed associations and lobbying groups to reconfigure the French-German dynamic through cultural exchanges, bilingual or binational journals, conferences, lectures, exhibits, and charitable ventures. As a study of transnational cultural relations, this dissertation focuses on individual mediators along with the networks and institutions they developed; it also explores the history of the idea of cooperation. Attempts at rapprochement in the interwar period proved remarkably resilient in the face of the prevalent nationalist spirit. While failing to override hostilities and sustain peace, the campaign for cooperation adopted a new face in the misguided shape of collaborationism during the Second World War. -
Der Andere Pabst Anmerkungen Zur G
Der andere Pabst Anmerkungen zur G. W. Pabst-Retrospektive der Berliner Filmfestspiele Thomas Brandlmeier, epd Film, Nr. 05, 1997 Die letzte große Pabst-Retrospektive hierzulande wurde 1963/64 von Rudolf Joseph im Münchner Filmmuseum gezeigt. Seither gab es immer wieder kleinere Retrospektiven mit dem Kanon der Meisterwerke, "Die Büchse der Pandora", "Die freudlose Gasse", "Tagebuch einer Verlorenen, "Geheimnisse einer Seele", "Kameradschaft", dann und wann auch noch "Die Liebe der Jeanne Ney", "Westfront 1918", "L'Atlantide", "Abwege", "Der Schatz", "Die 3-Groschen-Oper", "Du haut en bas", "Skandal um Eva", "Don Quichotte", "Die weisse Hölle von Piz Palü". Das sind im wesentlichen die Filme, die unter den Oberbegriff "Pabst – späte 20er Jahre – Neue Sachlichkeit" fallen. Dazu ein bißchen Frühwerk und französische Periode. Der Rest – schamhaft verschwiegen. Die Fallhöhe zwischen "Die Büchse der Pandora" (1928/29) – in meinen Augen der ultimative Pabst-Film – und, sagen wir, "Rosen für Bettina" (1955/56) ist in der Tat gewaltig. Gemessen an der Flut von Filmbüchern, Retrospektiven und filmhistorischen Forschungs- und Rekonstruktionsarbeiten zum Werk von Murnau und Lang ist Pabst, anerkanntermaßen die Nummer Drei der deutschen Filmgeschichte, ziemlich vernachlässigt. So gesehen füllt diese Berliner Gesamt-Retrospektive der Stiftung Deutsche Kinemathek eine große Lücke. Rekonstruktionsarbeit Je stärker der Zerstörungsgrad eines Werks ist, desto drastischer sind die Dejà-vu- Effekte der besonderen Art. "Die Büchse der Pandora" (1928/29) und "Die freudlose Gasse" (1925), in Berlin in rekonstruierten Fassungen vorgestellt, kursieren, vor allem infolge von Zensureingriffen, in höchst unterschiedlichen Versionen. "Immer-wieder- Schreiben einer längst beendeten, zur Unzufriedenheit beendeten Arbeit – dieses Revenanthafte also bezeichnet die höchste Steigerung des Dejà vu nach Seite seines Versäumnis-Choks", schreibt Ernst Bloch. -
Catalogo Giornate Del Cinema Muto 2011
Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Zeughauskino: Gretchen Und Germania
GRETCHEN UND GERMANIA HOMMAGE AN HENNY PORTEN Wie kaum eine andere deutsche Schauspielerin hat Henny Porten (1890 – 1960) zwischen 1910 und 1933 das populäre Bild der Frau in Deutschland verkörpert und geprägt. Bewunderer hatte sie in allen Bevölkerungsschichten: Soldatenräte ließen sie in den November- kämpfen 1918 hochleben; Reichstagspräsident Ebert besuchte ihre Dreharbeiten; und bei ihren Filmpremieren erlebten die Innenstädte Massenaufläufe. Ironisch und ernsthaft augenzwinkernd schlug 1922 der Literat Kurt Pinthus im linksliberalen Tagebuch vor: »Man mache Henny Porten zum Reichspräsidenten! Hier ist eine Gestalt, die in Deutschland volkstümlicher ist als der alte Fritz, als der olym- pische Goethe es je waren und sein konnten... Hier ist eine schöne Frau, die als Vereinigung von Gretchen und Germania von diesem Volke selbst als Idealbild eben dieses Volkes aufgerichtet wurde«. Bereits seit 1906 war die junge Porten in Dutzenden von Tonbildern aufgetreten, in nachgestellten kurzen Opernszenen, zu denen im Kino der entsprechende Musikpart aus dem Grammophon erklang. Mit großen Posen und Affektdarstellungen eiferten die Darsteller dieser frühen, oft nur eine Minute langen Filme den bekannten Mimen der Hoftheater nach. Bekannte, zur Ikone geronnene Darstel- lungsklischees großer Gefühle nahm die junge Filmschauspielerin auf und formte daraus ein filmspezifisches Vokabular stummen Spiels, eindringlicher Gesten und Blicke. Portens Gebärdensprache betont die vereinzelte Geste und isoliert Bedeutung, die nur in Gip- felmomenten beschleunigt, ansonsten aber ausgespielt oder ver- langsamt wird. Portens häufig wiederkehrendes Darstellungsfeld – schicksalsschwe- rer Kampf und mit Demut getragenes Leid – wird während des Ers- ten Weltkriegs Realität vieler Frauen. Henny Porten, die ihren ersten Mann in diesem Krieg verlor, erschien in ihren Figuren wie in ihrem Starleben gerade in den 1910er Jahren als ein Spiegelbild der deut- Die Heimkehr des Odysseus GRETCHEN UND GERMANIA 31 GRETCHEN UND GERMANIA schen Frauenseele. -
1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan And
1 Veit Harlan and Jud Süß – Conrad Veidt and Jew Süss Veit Harlan and Conrad Veidt were both associated with the flowering of German stage and cinema in the Weimar Republic. Veidt, born in 1893, was already a major figure, starring in productions like The Cabinet of Dr.Caligari that made cinema history. Harlan, seven years younger, was beginning to make a name for himself on the stage. When Hitler came to power their paths diverged diametrically. Harlan was an opportunist, made his peace with the regime and acquired a reputation as a director of films. Later he and his second wife, Hilde Körber, became friends of Goebbels. In April 1933 Conrad Veidt, who had just married his Jewish third wife, Lily Prager, left Germany after accepting the role of the German Commandant in the British film I was a Spy . When he returned to Germany the Nazis detained him to stop him taking the lead role in the projected British Jew Süss film. He eventually got out, but his acceptance of the role made the breach with his native country irrevocable. Six years later Harlan was persuaded by Goebbels to take on the direction of Jud Süß , the most notorious but also one of the most successful of the films made under the auspices of the Nazi Propaganda Ministry. Kristina Söderbaum, then his wife, took the female lead. In the meantime Conrad Veidt had moved to Hollywood and in 1942 appeared as Major Strasser, the German officer, in Casablanca , a role for which he is probably best known in the Anglo-Saxon world. -
Download File
Rosa Porten Also Known As: Dr. R. Portegg Lived: February 18, 1884 - May 7, 1972 Worked as: co-director, film actress, journalist, novelist, screenwriter Worked In: Germany by Annette Förster Rosa Porten’s work as a screenwriter, an actress, and a film director has been practically neglected in film history, but what she accomplished in the German silent cinema is truly noteworthy. In a two-decade career, from 1906 until 1928, she created a cinematic oeuvre that was substantial, original, versatile, and entertaining. The exact number of films to which Rosa Porten contributed is uncertain, but historical substantiation points to around forty titles. Between 1916 and 1919 alone, she wrote and co-directed at least twenty-four catching comedies and gripping social dramas and in most of them she played the protagonist. Even more notable in retrospect is that Porten’s stories often privileged the perspective of a female character who, with non-conformist pragmatism or jokey recalcitrance, seizes her chance to defy bourgeois conventions and role patterns. In the trade press, the comedies were often praised: 1e Internationale Film-Zeitung highlighted the “überschäumende Komik” [scintillating jocoseness] of Die Film- Kathi (1918) (1918, 47); Der Kinematograph noted the “herzerfrischenden” [heart-freshening] humor in Die Erzkokette (1917) (1917, n.p.); both Der Film and 1e Internationale Film- Zeitung noticed the serious undertones in Der Neueste Stern vom Varieté (1917) and Das Musikantenmädel (1918) respectively (1917, 57; 1918, 58). My fascination with Rosa Porten was triggered by Wanda’s Trick (1918), a comedy with close to feminist wit brought to my attention by Elif Rongen-Kaynakçi (EYE Filmmuseum), with whom I prepared the film program for the Women and the Silent Screen V Conference in Stockholm in 2008. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Mickey Mayhew Phd Final2018.Pdf
‘Skewed intimacies and subcultural identities: Anne Boleyn and the expression of fealty in a social media forum’ Mickey Mayhew A Thesis submitted in fulfilment of the requirements for the degree of Doctor of Sociology at London South Bank University Supervisors: Doctor Shaminder Takhar (Director of Studies) and Doctor Jenny Owen Faculty of Arts and Human Sciences, Department of Social Sciences & Department of Media and Cultural Studies, London South Bank University 1 Abstract The aim of this research project was the investigation of a subculture surrounding the famous Tudor queen Anne Boleyn; what that possible subculture means for those involved, and if it constituted part of a new phenomenon of female orientated online subcultures; cybersubcultures. Through the analysis of film, TV, historical literature and fiction, the research illustrates how subcultures are perpetuated through generations cyclically. The research then documents the transition from the traditional or ‘classic’ subcultural model of the 60s to the 21st century cybersubculture and fandom, suggesting a new way of thinking about subcultures in a post-subcultural age. The research suggests that the positioning of Anne Boleyn as a feminist icon/role model, based mainly on a media-mediated image, has formed a subculture which thrives on disjointed imagery and discourse in order to form a subculture of peculiarly subtle resistance. This new cybersubculture reflects the ways in which women are now able to use social media to form communities and to communicate, sharing concerns over men and marriage, all whilst percolating around the media-mediated image of Anne Boleyn as their starting point. These interactions – and the similarities they shared with the ‘classic’ subcultural style - form the data for this research project. -
Carmen Cartellieri
Carmen Cartellieri Also Known As: Franziska Ottilia Cartellieri, Carmen Teschen, Mrs. Emanuel Ziffer Edler von Teschenbruck, Mrs. Mano Ziffer-Teschenbruck Lived: June 28, 1891 - October 17, 1953 Worked as: co-screenwriter, film actress, producer, theatre actress Worked In: Austria, Germany, Hungary by Robert von Dassanowsky Carmen Cartellieri was born Franziska Ottilia Cartellieri in Prossnitz, Austria-Hungary, which is today Prostejov, Czech Republic, but spent her childhood in Innsbruck, Austria. In 1907, at age sixteen, she married the aristocratic artist-turned-director, Emanuel Ziffer Edler von Teschenbruck. Her husband and Cornelius Hintner, a cameraman from South Tyrol who had worked for Pathé in Paris and then as a director in Hungary, helped make her one of the most fashionable stars in German-language film of the 1920s. Using the stage name of Carmen Teschen, she appeared in several Hungarian silent films between 1918 and 1919 and made her Austrian film debut in Hintner’s Die Liebe vom Zigeunerstamme/The Gypsy Girl (1919), which she reportedly cowrote. Political changes in postwar Hungary made her relocate to Vienna where she returned to her exotic surname, suggesting to the press that she was born in Italy, and founded the Cartellieri-Film company in 1920 with her husband and Hintner. The first two Cartellieri-Film productions in Vienna transferred her Hungarian fame into true stardom. Carmen lernt Skifahren/Carmen Learns to Ski (1920), a broad comedy directed by her husband, now known as Mano Ziffer-Teschenbruck, was clearly aimed at gaining Cartellieri wider recognition. Die Würghand/Die Hand des Teufels/The Hand of the Devil (1920), a crime drama set in the mountains and directed by Hintner, was critically praised for its style and narrative effectiveness as well as for Cartellieri’s performance as the femme fatale.