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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. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Klassiker Der Deutschen Filme
Klassiker der deutschen Filme Die Konferenz der Tiere (1969) ..................................................................................................3 Zwei blaue Vergißmeinnicht (1963)............................................................................................4 So liebt und küsst man in Tirol (1961) ........................................................................................5 Am Sonntag will mein Süsser… (1961) ......................................................................................5 Allotria in Zell am See (1963).....................................................................................................6 Freddy und das Lied der Südsee (1962).......................................................................................7 Lady Windermeres Fächer (1935)...............................................................................................7 Fridericus - Der Alte Fritz (1963)................................................................................................8 Paradies Paradies der Junggesellen (1939) ..................................................................................9 Der Kaiser von Kalifornien (1935/36).........................................................................................9 Amphitryon (1935) ...................................................................................................................10 Der Jugendrichter (1959) ..........................................................................................................11 -
Copyright by Christelle Georgette Le Faucheur 2012
Copyright by Christelle Georgette Le Faucheur 2012 The Dissertation Committee for Christelle Georgette Le Faucheur Certifies that this is the approved version of the following dissertation: Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 Committee: David Crew, Supervisor Sabine Hake, Co-Supervisor Judith Coffin Joan Neuberger Janet Staiger Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 by Christelle Georgette Le Faucheur, Magister Artium Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Acknowledgements Though the writing of the dissertation is often a solitary endeavor, I could not have completed it without the support of a number of institutions and individuals. I am grateful to the Department of History at the University of Texas at Austin, for its consistent support of my graduate studies. Years of Teaching Assistantships followed by Assistant Instructor positions have allowed me to remain financially afloat, a vital condition for the completion of any dissertation. Grants from the Dora Bonham Memorial Fund and the Centennial Graduate Student Support Fund enabled me to travel to conferences and present the preliminary results of my work, leading to fruitful discussions and great improvements. The Continuing Fellowship supported a year of dissertation writing. Without the help of Marilyn Lehman, Graduate Coordinator, most of this would not have been possible and I am grateful for her help. I must also thank the German Academic Exchange Service, DAAD, for granting me two extensive scholarships which allowed me to travel to Germany. -
Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939
Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939. by William Gregory Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by William Gregory, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939” by William Gregory in partial fulfilment of the requirements for the degree of Master of Arts. Dated: 25 August 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: 25 August 2011 AUTHOR: William Gregory TITLE: Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission -
A Carnivalesque Analysis of the Monster Child from Early Slapstick to the Nazified Children of Modern Horror
BEWARE! CHILDREN AT PLAY: A CARNIVALESQUE ANALYSIS OF THE MONSTER CHILD FROM EARLY SLAPSTICK TO THE NAZIFIED CHILDREN OF MODERN HORROR Submitted by Craig Alan Frederick Martin, BA (Hons), MA https://orcid.org/0000-0002-8596-6482 A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy March 2020 Faculty of Arts, School of Culture and Communication, Screen and Cultural Studies Program The University of Melbourne Abstract Monster child narratives often use a formula in which normative power relations between adults and children are temporarily inverted as the child outsmarts the adult, leading to a rupture in the social order. Where children are ordinarily subordinate to adults, this relationship is reversed as the monster child exerts dominance over their elders. Applying Mikhail Bakhtin’s carnival theory, this thesis argues that the monster child figure commonly thought of as a horror movie villain began its life on screen in early silent screen comedy. Through qualitative analysis of a range of case study films from the silent era through to the emergence of horror-themed monster child films produced in the mid- 1950s, close comparative analysis of these texts is used to support the claim that the monster children in early silent comedies and later modern horror films have a shared heritage. Such a claim warrants the question, why did the monster child migrate from comedy to horror? The contention put forward in this thesis is that during World War II dark representations of Hitler Youth in Hollywood wartime propaganda films played a significant role in the child monster trope moving from comedy to horror. -
Ocrober, 1992 N,{Onarlibrav Bibliothèque Nationale Eg'e Du Canada
NAZI IDEOLOGY AND THE FEATURE FILMS OF THE THIRD REICH by Timothy W. Stephens A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES THE UNIVERSITY OF MANITOBA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS DEPARTMENT OF POLITICAL STUDIES WINNIPEG, MANITOBA ocroBER, 1992 N,{onarLibrav Bibliothèque nationale Eg'E du Canada Acquisitions and Direction des acquisitions et Bibliographic Services Branch des services bibliograPhiques 395 Wellington St¡'eet 395, rue Wellington Ottawa, Ontario Ottawa (Ontario) K1A ON4 K1A ON4 Yout l¡le volrc télé(ence Our lìle Not.e rélérence The author has granted an L'auteur a accordé une licence irrevocable non-exclus¡ve licence irrévocable et non exclusive allowing the National Library of permettant à la Bibliothèque Canada to reproduce, loan, nationale du Canada de distribute or sell cop¡es of reproduire, prêter, distribuer ou his/her thesis by any means and vendre des copies de sa thèse in any form or format, making de quelque manière et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette thèse à la disposition des person nes i ntéressées. The author retains ownership of L'auteur conserve la propriété du the copyright in his/her thesis. droit d'auteur qu¡ protège sa Neither the thesis nor substantial thèse. Ni la thèse ni des extraits extracts from it may be printed or substantiels de celle-ci ne otherwise reproduced without doivent être imprimés ou his/her permission. autrement reproduits sans son autorisation. TEEå¡ ø-'JTN-77747-E Canadä NAZI IDEOLOGY AND THE FEATURE FÏLMS OF THE THIRD REICH BY TIMOTHY I^T. -
Verleihkopien
Mitglied der Fédération D FF – Deutsches Filminstitut & Tel.: +49 (0)611 / 97 000 10 www.dff.film Wiesbadener Volksbank Internationale des Archives Filmmuseum e.V. Fax: +49 (0)611 / 97 000 15 E-Mail: wessolow [email protected] IBAN: D E45510900000000891703 du Film (FIAF) Filmarchiv BIC: WIBADE5W XXX Friedrich-Bergius-Stra ß e 5 65203 Wiesbaden 8 / 2019 Verleihkopien Eine Auswahl aus unserem Archiv-Bestand Wir bieten16mm und 35mm Filmkopien, sowie DVDs und DCPs für den nichtkommerziellen Verleih an. Die angegebenen Preise verstehen sich pro Vorführung (zzgl. 7% MwSt. und Transportkosten). * Preis ohne Vorführrechte; Details erfragen Sie bitte im Filmarchiv Darüber hinaus stehen Ihnen noch weitere Filme zur Verfügung. Auskunft über den technischen Zustand der Kopien erhalten Sie im Filmarchiv. Erläuterung viragiert = ganze Szenen des Films sind monochrom eingefärbt koloriert = einzelne Teile des Bildes sind farblich bearbeitet ohne Angabe = schwarz/weiß restauriert = die Kopie ist technisch bearbeitet rekonstruiert = der Film ist inhaltlich der ursprünglichen Fassung weitgehend angeglichen Kurz-Spielfilm = kürzer als 60 Minuten russ./ eUT = russisch mit englischen Untertiteln dtUT = mit deutschen Untertiteln dt.vorh./engl.vorh. = deutsche oder englische Zwischentitel-Liste vorhanden Einige der Stummfilme sind auch mit Musik vorhanden Zwischen- Stummfilm Titel / Land / Jahr Regie / Darsteller Titel / Format Preis € Tonfilm Sprache Abend der Gaukler Regie: Ingmar Bergman GYKLARNAS AFTON Tonfilm Darsteller: Harriet Andersson Hasse Ekman deutsch -
Cinema As a Political Media. Germany and Italy Compared, 1945-1950S
Lutz Klinkhammer Clemens Zimmermann (Eds.) Cinema as a Political Media. Germany and Italy Compared, 1945–1950s HEIDELBERG UNIVERSITY PUBLISHING Cinema as a Political Media Online-Schriften des DHI Rom. Neue Reihe | Pubblicazioni online del DHI Roma. Nuova serie Bd. | vol. 5 Lutz Klinkhammer, Clemens Zimmermann (Eds.) Cinema as a Political Media Germany and Italy Compared, 1945–1950s HEIDELBERG UNIVERSITY PUBLISHING Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National bibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. This work is proteced by copyright and/or related rights, but accessible free of charge. Use, in particular reproduction, is only permitted within the legal limits of copyright law or with the consent of the copyright holder. Published by Heidelberg University Publishing (heiUP) Heidelberg 2021. The electronic open access version of this work is permanently available on Heidelberg University Publishing’s website: https://heiup.uni-heidelberg.de URN: urn:nbn:de:bsz:16-heiup-book-651-9 DOI: https://doi.org/10.17885/heiup.651 Text © 2021 by the authors. Typesetting: werksatz · Büro für Typografie und Buchgestaltung, Berlin ISSN (Print) 2700-144X ISSN (Online) 2700-1458 ISBN 978-3-96822-017-8 (Hardcover) ISBN 978-3-96822-016-1 (Softcover) ISBN 978-3-96822-015-4 (PDF) Contents Clemens Zimmermann Introduction: Cinema as a Political Medium – Germany and Italy Compared from 1945 to the 1950s. The Aims of this Volume 1 Claudia Dillmann Film Policies and Cinema Audiences in Germany 19 Ina Merkel Narrative Patterns in Anti-Fascist American, Soviet and European Films (1940–1950) 35 Daniel Jonah Wolpert Bodies of Evidence, Burdens of Proof. -
©Copyright 2012 Kevin B. Johnson
Copyright 2012 Kevin B. Johnson Annexation Effects: Cultural Appropriation and the Politics of Place in Czech-German Films, 1930-1945 Kevin B. Johnson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Eric Ames, Chair Richard Gray Sabine Wilke Program Authorized to Offer Degree: Germanics University of Washington Abstract Annexation Effects: Cultural Appropriation and the Politics of Place in Czech-German Films, 1930-1945 Kevin Bradley Johnson Chair of the Supervisory Committee: Associate Professor Eric Ames Department of Germanics The dissertation maps various points of cultural transfer in Czech-German films of the 1930s and 1940s. Specifically, it examines the representation and performance of ethnicity and the layered connections between geographic space, national identity, and mass culture. My work illustrates that Nazi cinema’s appropriation of Czech culture was informed and, more importantly, legitimated by the Austro-Hungarian legacy. This analysis provides a framework for understanding the German film industry’s stake in the Czech lands and its people. The dissertation further demonstrates the peculiar position within the German cinematic imagination occupied by Prague and the Czech territories. At once “familiar” and “foreign,” these cinematic spaces become settings for ethnic confrontation and for the negotiation of German identity. Each chapter examines the intersection of German and Czech cinema from a different thematic or historical perspective. Chapter One deals with questions of authorship and transnationalism in films by Czech-German directors. Chapter Two looks at the staging of female bodies and the performance of ethnic masquerade by Czech actors in German films. -
University Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality o f the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Duke University Dissertation Template
“Colonizers Are Born, Not Made”: Creating a Colonialist Identity in Nazi Germany, 1933-1945 by Willeke Hannah Sandler Department of History Duke University Date:_______________________ Approved: ___________________________ Claudia Koonz, Supervisor ___________________________ Dirk Bonker ___________________________ Tina Campt ___________________________ William Donahue ___________________________ Anna Krylova Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2012 i v ABSTRACT “Colonizers Are Born, Not Made”: Creating a Colonialist Identity in Nazi Germany, 1933-1945 by Willeke Hannah Sandler Department of History Duke University Date:_______________________ Approved: ___________________________ Claudia Koonz, Supervisor ___________________________ Dirk Bonker ___________________________ Tina Campt ___________________________ William Donahue ___________________________ Anna Krylova An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2012 Copyright by Willeke Hannah Sandler 2012 Abstract After the First World War, Germany lost its overseas territories, becoming Europe’s first post-colonial nation. After 1919, and especially between 1933 and 1945, however, German colonialists advocated for the return of these colonies and for their central importance to Germany. This dissertation tells the paradoxical story of these colonialists’ construction of a German national character driven by overseas imperialism despite the absence of a colonial reality to support this identity. In contrast to views of colonialism as marginal in Germany after the First World War or the colonialist organizations as completely subsumed under the Nazi regime, this dissertation uncovers both the colonialist organizations’ continuing public presence and their assertive promotion of their overseas goals in the Third Reich.