DOCSLIB.ORG

Mountains, Cities, and Heimat in Weimar Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mountains, Cities, and Heimat in Weimar Cinema Environmental Fantasies: Mountains, Cities, and Heimat in Weimar Cinema The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Peabody, Seth. 2015. Environmental Fantasies: Mountains, Cities, and Heimat in Weimar Cinema. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467382 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Environmental,Fantasies:, Mountains,,Cities,,and,Heimat,in,Weimar,Cinema, , , , A,dissertation,presented,, , by, , Seth,Edward,LaFond,Peabody, , to, , The,Department,of,Germanic,Languages,and,Literatures, , in,partial,fulfillment,of,the,requirements, for,the,degree,of, Doctor,of,Philosophy, in,the,subject,of, Germanic,Languages,and,Literatures, , , , Harvard,University, Cambridge,,Massachusetts, , April,2015, , , , , , , , , ©,2015,Seth,Edward,LaFond,Peabody, All,rights,reserved., , , , Dissertation,Advisor:,Eric,Rentschler, , Seth,Edward,LaFond,Peabody, , Environmental,Fantasies:,Mountains,,Cities,,and,Heimat,in,Weimar,Cinema, , , Abstract, , , This,dissertation,analyzes,filmic,environments,within,Weimar,cinema,and, argues,for,a,concept,of,Heimat,in,which,the,landscapes,of,modernity,are,embedded, into,the!environments,of,home.,Mountain,films,such,as,Der!heilige!Berg!enact,a, visual,mechanization,of,the,Alpine,landscape;,industrial,films,such,as,Sprengbagger! 1010!constellate,pastoral,and,modernized,scenes,in,a,similar,fashion,to, contemporary,Heimat,club,journals;,and,urban,films,such,as,Menschen!am!Sonntag, reveal,the,ways,in,which,the,city,figures,as,Heimat,within,Weimar,film.,Further,,film, journals,display,contradictory,discourses,surrounding,Heimat!before,the, standardization,of,idyllic,rural,scenes,in,the,postwar,Heimatfilm!genre.,, These,filmic,environments,interact,with,the,realRworld,environment,in, complex,and,multiRdirectional,ways.,They,participate,in,the,development,of,new, ways,of,seeing,,marketing,,and,using,the,environment,and,function,as,nodes,within, sociopolitical,debates,regarding,human,communities,and,physical,landscapes.,These, findings,complicate,arguments,made,by,environmental,historians,who,have,claimed, that,the,German,notion,of,Heimat,,encompassing,both,natural,and,cultural,elements,, might,offer,a,useful,alternative,to,the,essentialism,of,the,American,wilderness,ideal., In,fact,,the,image,of,Heimat,as,a,rural,natureRculture,hybrid,,at,least,within,film,,only, became,dominant,in,the,Nazi,era.,Within,Weimar,cinema,,the,term,Heimat, represents,the,focal,point,of,a,much,more,diverse,and,open,discussion,of, environmental,values.,, , iii, , , Table&of&Contents& , , Introduction,, Navigating,Filmic,Environments,, 1, , , Chapter,1,,, Before,Bavaria,Conquered,the,World:,Heimat,in,Weimar,Cinema,, 22, , , Chapter,2, The,City,in,the,Country:,Mountain,Films,and,Fantasies,of,Alpine,Tourism,, 97, , , Chapter,3,, Urban,Heimat,in,Weimar,Film,, 138, , , Conclusion,, 189, , , Bibliography,, 193, , , Filmography,, 213, , , , , , iv, , Acknowledgments& , This,project,would,not,have,been,possible,without,generous,funding,from,the, Minda,de,Gunzburg,Center,for,European,Studies,at,Harvard,University,,Fulbright,, the,Jens,Aubrey,Westengard,Scholarship,Fund,,the,John,A.,and,Elizabeth,S., Armstrong,Fellowship,Fund,,and,the,Graduate,School,of,Arts,and,Sciences,at, Harvard.,The,Fulbright,IIE,grant,was,especially,pivotal,in,that,it,allowed,me,to, spend,a,crucial,year,researching,and,writing,in,Munich., , I,have,received,steady,strong,support,from,my,thesis,advisor,Eric,Rentschler;,his, expertise,,enthusiasm,,and,rigorous,feedbacK,through,numerous,drafts,have,been, tremendous,assets,to,this,project.,My,additional,committee,members,Tom,Conley, and,Oliver,Simons,have,liKewise,been,thoughtful,and,generous,with,their,feedbacK, and,flexible,in,accommodating,my,scheduling,requirements.,I,consider,myself,lucKy, to,have,received,such,valuable,mentorship,from,my,entire,committee., , Several,institutions,have,provided,crucial,resources,and,scholarly,communities;, foremost,among,them,is,Harvard’s,Department,of,Germanic,Languages,and, Literatures.,The,Rachel,Carson,Center,for,Environment,and,Society,at,the,LMU, Munich,welcomed,me,as,a,Visiting,Scholar,during,the,2013–2014,academic,year., The,Vorarlberger,LandesbibliotheK,,HFF,Munich,,and,Munich,Film,Museum,also, provided,vital,resources,for,my,research,abroad.,Particular,thanKs,within,these, organizations,go,to,Melissa,Carden,,Rachel,Shindelar,,Janine,Fartek,,Peter,Heinrich,, and,Gisela,Pichler., , , Emily,Jones,,Daniel,Le,Ray,,Jillian,DeMair,,and,Keith,Stone,have,been,extremely, generous,as,interlocutors,and,editors,,likewise,Christine,Howard,,Cot,LaFond,,and, Lydia,Peabody.,To,the,extent,that,the,prose,is,clear,,I,owe,them,many,thanKs.,For, blemishes,that,remain,,the,fault,is,my,own.,, , I,am,grateful,to,numerous,colleagues,for,questions,and,conversations,that,have, inspired,me,throughout,this,project:,a,few,noteworthy,names,include,Ben, Anderson,,Emily,BrocK,,Chris,Brown,,Andrea,DeeKer,,Rob,Emmett,,Robert,Groß,, Thomas,Herold,,Stephanie,Hood,,Elin,Kelsey,,Björn,KühnicKe,,Pascale,Lafountain,, Jon,Mathieu,,Anna,MazaniK,,Ruth,Oldenziel,,Anders,Otterness,,Jenny,Price,,Nicole, Seymour,,and,MarKus,WilczeK.,A,special,thanKs,goes,to,Christoph,Mauch,,my, Ersatzdoktorvater!in,Munich,,for,giving,me,the,opportunity,to,work,at,the,Rachel, Carson,Center,and,for,his,thoughtful,engagement,with,my,project.,,, , , Finally,,my,family,has,offered,invaluable,support,and,enthusiasm.,To,my,parents, Cot,LaFond,and,Lionel,Peabody,,my,sister,Lydia,Peabody,,and,my,brother,Daniel, Peabody,,I,send,my,love,and,my,thanKs.,Christine,Howard,has,been,my,first, audience,,trusted,editor,,and,tireless,advocate,throughout,many,projects;,our, partnership,has,sustained,me,through,the,years,that,led,up,to,this,dissertation., Finally,,our,amazing,daughter,Josephine,gave,me,the,inspiration,to,push,through, the,final,stages.,, , v, , , ! ! ! To!Christine! , , , , , , vi, , & & & & Note& , This,work,contains,numerous,quotations,that,were,originally,printed,in,German., Unless,an,EnglishRlanguage,version,is,cited,,the,translation,is,my,own.,,, , , , vii, , , , , , , , In,Heimatfilm,we,are,allowed,to,dream.,There,the,forests,rustle,,the,heath,blooms,, the,lovers,meet,under,the,linden,tree,,the,evening,bells,ring,,and,traditional,parades, fill,the,movie,screen., , Wolfgang,Liebeneiner,,“What,is,a,Heimatfilm?”, , , , , Heimat,was,once,the,heath,,the,mountain,,the,linden,tree.,But,that,was,a,long,time, ago.,Fifty,years,ago,a,rental,apartment,could,still,become,a,Heimat.,A,family,lived, there,for,twenty,years,,and,the,children,married,into,the,next,block,around,the, corner.,One,hundred,years,ago,Heimat,was,a,force.,Today,it,is,a,bourgeois, ressentiment,,or,more,precisely:,a,requisite,for,tears,with,which,German,film,does, penance,at,the,box,office., , Hellmut,Haffner,,“The,Heimatfilm,Problem”, , , , viii, Introduction:+ Negotiating+Filmic+Environments+ ! This!study!examines!the!German!idea!of!Heimat!as!represented!in!Weimar! cinema.1!It!considers!how!mountains,!cities,!and!rural!settings!interact!on!screen,!as! well!as!how!they!interact!with!transformations!in!the!physical,!non>filmic! environment.!The!project!builds!on!a!growing!body!of!film!ecocriticism.!This! introduction!begins!by!situating!the!present!study!among!past!analyses!of!film!and! the!environment!and!then!lays!out!the!argument!to!be!developed!in!the!following! chapters.! The!words!“landscape,”!“environment,”!and!“nature”!will!recur!throughout! this!study.!Each!of!these!words!occupies!the!center!of!a!broad!field!of!discourse!and! no!single!definition!would!do!any!one!of!them!justice.!Still,!an!introduction!to!each! word!is!helpful!as!a!guide.!“Landscape”!comes!from!landscape!painting,!and!refers! etymologically!to!a!piece!of!land!that!is!seen!or!framed.!The!word!is!frequently!used! to!describe!discreet!segments!of!the!physical!world,!either!in!the!sense!of!a!specific! setting!such!as!an!urban!or!rural!landscape,!or!as!in!a!portion!of!land!that!is!literally! framed!in!a!work!of!visual!art.2!“Environment”!implies!a!perceiving!subject!within!a! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1!I!have!chosen!not!to!italicize!“Heimat”!because!the!word!is!used!frequently!in!this! study!and!because!a!number!of!italicized!film!titles!include!the!word.!In!general,! however,!German!words!are!in!italics.!! 2!For!a!useful!overview!of!the!landscape!painting!tradition!and!its!relevance!to! cinema,!see!Tom!Gunning,!“Landscape!and!the!Fantasy!of!Moving!Pictures:!Early! Cinema’s!Phantom!Rides,”!in!Cinema'and'Landscape,!ed.!Graeme!Harper!and! Jonathan!Rayner!(Bristol,!UK:!Intellect,!2010),!30–70.! ! 1! landscape.!While!a!landscape!is!seen!from!outside,!an!environment!is!experienced! from!within.3!“Nature”!is!an!extremely!complex!word!in!both!English!and!German4! and!has!been!the!subject!of!much!debate.5!In!this!study,!“nature”!is!employed!simply! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3!Jakob!von!Uexküll’s!discussion!of!“Umwelt”!is!crucial!to!our!present!understanding! of!environments.!Prior!writers!had!used!the!word!“milieu”!to!refer!to!an!organism’s! material!surroundings!and!took!a!deterministic!approach:!the!milieu!largely! determined!the!course!of!an!organism’s!existence.!In!Uexküll’s!writings,!much!more!
Load more

Recommended publications
  • Film Funding Grants Programme 2013
    Film Funding Grants Programme 2013 Film Funding Grants Programme 2013 Doha Film Institute established its Grants We contribute to films that have strong directorial Programme with the vision of fostering creative vision and that are challenging, creative and talent in the Middle East and North Africa (MENA) thought-provoking. Support for grantees is holistic, region. We are proud that over its first three- with financial assistance bolstered by professional and-a-half years the programme supported the development, mentorship and creative development development of more than 137 projects from opportunities that are made available throughout 14 countries. a project’s life cycle. In 2013, the Institute embarked on a new phase of the Grants Programme designed to further the It is our hope that through the Grants Programme goal of nurturing emerging talent. Projects from and the growing number of its alumni, we will all over the world became eligible for funding, continue to widen our flourishing community with a special focus on first- and second-time of filmmakers. As we extend our reach, we also filmmakers. enable professional, cultural and creative exchanges between our local talent and the wider international Alongside this expansion, the Institute’s industry. commitment to talent from the MENA region remains strong, with specific categories and I am honoured to welcome our newest grant criteria in place. Our focus on first- and second- recipients to the Doha Film Institute family. time filmmakers will greatly enhance our ability to discover and nurture new voices, both at home in Abdulaziz Al-Khater Qatar and around the globe.
    [Show full text]
  • The Bauhaus and Weimar Modernism
    Buchenwald Memorial, Ettersburg Castle Sömmerda (B7 / B85) 100 m weimar UNESCO World Heritage 500 m Culture City of Europe The Bauhaus and its sites in Weimar and Dessau have been on the UNESCO list of World Heritage since 1996. There are three objects in Weimar: the main building of the Bauhaus University Weimar, the former School of Applied Arts and the Haus Am Horn. Tiefurt Mansion deutschEnglish Harry-Graf-Kessler-Str. 10 5 Tiefurt Mansion Bauhaus-Universität Weimar Nietzsche Archive B Jorge-Semprùn-Platz a Oskar-Schlemmer-Str. d The building ensemble by Henry van de Velde was Friedrich Nietzsche spent the last years of his life at H e Stèphane- r 1 s revolutionary in terms of architecture at the turn of the “Villa Silberblick”. His sister established the Nietzsche Archive f Hessel-Platz e l d century. These Art School buildings became the venue here after his death and had the interior and furnishings e r S where the State Bauhaus was founded in 1919, making designed by Henry van de Velde. The current exhibition is t r a ß “Weimar” and the “Bauhaus” landmarks in the history of entitled “Kampf um Nietzsche” (“Dispute about Nietzsche”). e modern architecture. Humboldtstrasse 36 13 Mon, Wed to Sun 2pm – 5pm Geschwister-Scholl-Strasse 2 Mon to Fri 10am – 6pm | Sat & Sun 10am – 4pm Über dem Kegeltor C o u d r a y s t Erfurt (B7) r a ß e Berkaer Bahnhof 8 CRADLE, DESIGN: PETER KELER, 1922 © KLASSIK STIFTUNG WEIMAR 17 Jena (B7) 3 Tourist Information Office Weimar Haus Hohe Pappeln Weimar Municipal Museum 20 16 Markt 10, 99423 Weimar The Belgian architect Henry van de Velde, the artistic The permanent exhibition of the Municipal Museum presents Tel + 49 (0) 3643 745 0 advisor of the grand duchy, built this house for his family of “Democracy from Weimar.
    [Show full text]
  • CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
    CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church.
    [Show full text]
  • Jewish Identity and German Landscapes in Konrad Wolf's I Was Nineteen
    Religions 2012, 3, 130–150; doi:10.3390/rel3010130 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Homecoming as a National Founding Myth: Jewish Identity and German Landscapes in Konrad Wolf’s I was Nineteen Ofer Ashkenazi History Department, University of Minnesota, 1110 Heller Hall, 271 19th Ave S, Minneapolis, MN 55455, USA; E-Mail: [email protected]; Tel.: 1-651-442-3030 Received: 5 January 2012; in revised form: 13 March 2012 / Accepted: 14 March 2012 / Published: 22 March 2012 Abstract: Konrad Wolf was one of the most enigmatic intellectuals of East Germany. The son of the Jewish Communist playwright Friedrich Wolf and the brother of Markus Wolf— the head of the GDR‘s Foreign Intelligence Agency—Konrad Wolf was exiled in Moscow during the Nazi era and returned to Germany as a Red Army soldier by the end of World War Two. This article examines Wolf‘s 1968 autobiographical film I was Nineteen (Ich war Neunzehn), which narrates the final days of World War II—and the initial formation of postwar reality—from the point of view of an exiled German volunteer in the Soviet Army. In analyzing Wolf‘s portrayals of the German landscape, I argue that he used the audio- visual clichés of Heimat-symbolism in order to undermine the sense of a homogenous and apolitical community commonly associated with this concept. Thrown out of their original contexts, his displaced Heimat images negotiate a sense of a heterogeneous community, which assumes multi-layered identities and highlights the shared ideology rather than the shared origins of the members of the national community.
    [Show full text]
  • GLOBUS-FILM Hanns-Braun-Str
    DerDer RRebellebell Ein Film von Luis Trenker Darsteller Stab Luise Ullrich - Fritz Kampers - Victor Varconi - Regie ...............................................................Luis Trenker Erika Dannhoff - Ludwig Stoessel - Reinhold Bernt Kamera ................................... Sepp Allgeier, Albert Benitz, - Albert Schultes und vielen Südtiroler und Tiroler ...................................Willy Goldberg und Reimar Kuntze Bergführern und Bergbauern Musik .........................................................Giuseppe Becce Schlagzeilen Technische Daten Der junge Luis Trenker in der Titelrolle, ein listiger, drauf- Länge ...............................................................2530 Meter gängerischer Rebell, ein Patriot für Tirol! Laufzeit........................................................... 91 Minuten Aktuell wie nie zuvor! Format..................................................................... 35 mm Ein junger Student führt seine Landsleute in den Kampf ge- Bild.............................................................................. S/W gen Besatzungssoldaten für Freiheit und Gerechtigkeit! Produktionsjahr .......................................................... 1932 Männern wie „Der Rebell“ ist die Freiheit mehr wert als das Herstellungsland............................................. Deutschland Leben! FSK .............................................................. ab 12 Jahren Inhalt Werbematerial Luis Trenker, der Südtiroler Naturbursche, der Dank der Weitsicht Aushangfotos der von ihm so geliebten
    [Show full text]
  • Energy and Environmental Technologies. Environmental Protection, Resource Efficiency, Green Tech – Key Technologies Made in Thuringia
    09/2015 Energy and Environmental Technologies. Environmental protection, resource efficiency, green tech – key technologies made in Thuringia. Thuringian companies are among the world‘s leading providers of state-of-the-art power and environmental technologies: from conventional environmental protection and renewable energies to up-to-date technologies allowing an increase in energy efficiency. Quality made in Thuringia is in big demand, especially in waste Thuringia‘s energy and environmental technology processing, water and wastewater treatment, air pollution con- industry at a glance: trol, revitalization and renewable energies. By working closely > 366 companies with research institutions in these fields, Thuringia‘s companies > 5 research institutes can fully exploit their potential for growth. > 7 universities > leading engineering service providers in disciplines Proportion of companies such as industrial plant construction, hydrogeology, environmental geology and utilities (Source: In-house calculations according to LEG Industry/Technology Information Service, > market and technology leaders such as ENERCON, July 2013, N = 366 companies, multiple choices possible) Siemens and Vattenfall Seize the opportunities that our region offers. Benefit from a prime location in Europe’s heartland, highly skilled workers and a world-class research infrastructure. We provide full-service support for any investment project – from site search to project implementation and future expansions. Please contact us. www.invest-in-thuringia.de/en/top-industries/ environmental-technologies/ Skilled specialists – the keystone of success. Thuringia invests in the training and professional development of skilled workers so that your company can develop green, energy-efficient solutions for tomorrow. This maintains the competitiveness of Thuringian companies in these times of global climate change.
    [Show full text]
  • Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
    ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization.
    [Show full text]
  • Historical Aspects of Thuringia
    Historical aspects of Thuringia Julia Reutelhuber Cover and layout: Diego Sebastián Crescentino Translation: Caroline Morgan Adams This publication does not represent the opinion of the Landeszentrale für politische Bildung. The author is responsible for its contents. Landeszentrale für politische Bildung Thüringen Regierungsstraße 73, 99084 Erfurt www.lzt-thueringen.de 2017 Julia Reutelhuber Historical aspects of Thuringia Content 1. The landgraviate of Thuringia 2. The Protestant Reformation 3. Absolutism and small states 4. Amid the restauration and the revolution 5. Thuringia in the Weimar Republic 6. Thuringia as a protection and defense district 7. Concentration camps, weaponry and forced labor 8. The division of Germany 9. The Peaceful Revolution of 1989 10. The reconstitution of Thuringia 11. Classic Weimar 12. The Bauhaus of Weimar (1919-1925) LZT Werra bridge, near Creuzburg. Built in 1223, it is the oldest natural stone bridge in Thuringia. 1. The landgraviate of Thuringia The Ludovingian dynasty reached its peak in 1040. The Wartburg Castle (built in 1067) was the symbol of the Ludovingian power. In 1131 Luis I. received the title of Landgrave (Earl). With this new political landgraviate groundwork, Thuringia became one of the most influential principalities. It was directly subordinated to the King and therefore had an analogous power to the traditional ducats of Bavaria, Saxony and Swabia. Moreover, the sons of the Landgraves were married to the aristocratic houses of the European elite (in 1221 the marriage between Luis I and Isabel of Hungary was consummated). Landgrave Hermann I. was a beloved patron of art. Under his government (1200-1217) the court of Thuringia was transformed into one of the most important centers for cultural life in Europe.
    [Show full text]
  • The Stage of the Mountains
    Leopold- Franzens Universität Innsbruck The Stage of the Mountains A TRANSNATIONAL AND HISTORICAL SURVEY OF THE MOUNTAINS AS A STAGE IN 100 YEARS OF MOUNTAIN CINEMA Diplomarbeit Zur Erlangung des akademischen Grades eines Mag. phil. an der Philologisch- Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei PD Mag. Dr. Christian Quendler von Maximilian Büttner Innsbruck, im Oktober 2019 Eidesstattliche Erklärung Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister- /Master-/Diplomarbeit/Dissertation eingereicht. ______________________ ____________________________ Datum Unterschrift Table of Contents Acknowledgments .................................................................................................................... 4 Introduction .............................................................................................................................. 1 Mountain Cinema Overview ................................................................................................... 4 The Legacy: Documentaries, Bergfilm and Alpinism ........................................................... 4 Bergfilm, National Socialism and Hollywood
    [Show full text]
  • From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-Mail: [email protected]
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 16 (2019) 59–79 DOI: 10.2478/ausfm-2019-0004 From Weimar to Winnipeg: German Expressionism and Guy Maddin Andrew Burke University of Winnipeg (Canada) E-mail: [email protected] Abstract. The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema. Keywords: Guy Maddin, Canadian film, German Expressionism, Weimar cinema, cinephilia. Any effort to catalogue completely the references to, and reanimations of, German Expressionist cinema in the films of Guy Maddin would be a difficult, if not impossible, task. From his earliest work to his most recent, Maddin’s films are suffused with images and iconography drawn from the German films of the 1920s.
    [Show full text]
  • The Picture of Abjection: Film, Fetish, and the Nature of Difference
    The Picture of Abjection: Film, Fetish, and the Nature of Difference By Tina Chanter Bloomington: Indiana University Press, 2008. ISBN: 9780253219183. 15 illustrations, 377 pp. £19.99 (pbk) A review by Adrienne Angelo, Angelo, University of West Georgia, USA How do scholars and others with an interest in film studies and psychoanalysis engage with existing theoretical discourses on race, gender, culture and sexual difference in order to bypass the often polemicized and contested paradigm of fetishism and voyeurism, two critical modes that have dominated and continue to dominate film theory? It is this problematic that Tina Chanter explores in The Picture of Abjection: Film, Fetish and the Nature of Difference. For Chanter, drawing largely upon Kristeva's theoretical considerations of abjection, a point of entry to this endeavor lies precisely in further developing the implications of abjection as a "staging of a defensive dynamic that has the potential to significantly rework the imaginary commitments of Oedipal theory, specifically its privileging of masculinity and femininity" (17). Chanter's primary goal appears to be to develop a new critical model at the very center of which lies that which is otherwise neglected, excluded and expelled from dominant cultural discourse for being "too much", too "other". However, for as much as Chanter promotes a consideration of film and film theory, there is less an in-depth reading of films per se than a highly informed reconsideration of theoretical notions of subjectivity and the subject, one read through the lens of abjection and its destabilizing and thus subversive potential for considering marginalized identities and their representation in film theory.
    [Show full text]
  • Kendal Mountain Festival Tour
    1 KENDAL MOUNTAIN FESTIVAL 2020 PROGRAMME SHARE THE ADVENTURE 2 A BIG WELCOME TO KENDAL MOUNTAIN FESTIVAL 2020 At Kendal we live by our motto ‘Share the Adventure’. This year, with the global upset, life stalling and time-pausing we all find ourselves ‘caring for the adventure’. Sharing, caring, and compassion have become essential to everyone in 2020. Back in February, reviewing the 2019 Festival and our Openness initiatives, we began focussing on this year’s Festival theme of ‘Nurture’. To us, Nurture means supporting the age-old tradition of mentorship, and in respect to wilderness and the environment, we strive to encourage and champion the future generations of enthusiasts. Nurture also means caring for our attitudes to each other and to ourselves; for the Festival we will continue to play a role to nurture the whole outdoor community, its storytellers and the wider industry. And then…well, what can one say at this point? It’s not where we imagined we’d be! We have been thinking of you all out there; about everyone’s very different ‘boats’ and about how the Festival weathers this huge global storm that 2020 will be remembered for. And again we come back to Nurture… A resilient love and care of the outdoors is more visible than ever before as people have re-connected and in many cases, re- entered the natural world. Even if we can’t all go outside the channels for connection remain wide and more relevant than before. Exeter University released research this October that suggests watching nature programmes can lift mood and combat boredom and sadness.
    [Show full text]