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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. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
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. -
Liselotte Pulver: Filmreihe Und Archivgespräch 16 Versions Subtitled in English with the Abbre- Rudolf Thome: Zum 80
KINOPROGRAMM NOVEMBER 2019 DEUTSCHES FILMINSTITUT FILMMUSEUM DEUTSCHES FILMINSTITUT FILMMUSEUM ** ALLES IST FILM EVERYTHING IS FILM FILME IN ORIGINALFASSUNG NITRATE KISSES BARBARA HAMMER S. 7 ORIGINAL LANGUAGE PROGRAM November highlights Aus dem DFF 2 Letzte Chance: Digital Revolution 4 Das Kino des DFF zeigt Filme grundsätzlich in Originalfassung und nach Verfügbarkeit deutsch Filmprogramm oder englisch untertitelt. The DFF cinema shows films in their original Verborgene Blicke – Voyeurismus im Film 6 language version and subtitled in German if Festival: 7. Días de Cine 10 available (look for the abbreviations OF or Vorschau: Verso Sud / Maximilian Schell 15 OmU). For our international guests we mark Liselotte Pulver: Filmreihe und Archivgespräch 16 versions subtitled in English with the abbre- Rudolf Thome: zum 80. Geburtstag 17 viation OmeU. Klassiker & Raritäten: 100 Jahre Bauhaus 18 Lecture & Film: Jia Zhangke 20 • ‘Voyeurism in film’ series, featuring classics like REAR WINDOW and PEEPING TOM in original DILILI À PARIS MICHEL OCELOT S. 23 versions p. 6 • Días de Cine is showcasing Latin American cinema with filmmaker Q&As p. 10 • China in focus: Lecture & Film series on Jia Zhangke’s works p. 20 Further highlights include: • GOSPOD POSTOI, IMETO I’ E PETRUNIJA in Macedonian + Q&A p. 13 • Brazilian ‘Late Night’ program p.22 and spe- cial guest Helvécio Marins Jr. p. 26 • Libyan documentary FREEDOM FIELDS + workshop p. 26 Language versions can be found in the film descriptions and in the monthly calendar in the middle of this brochure, with expla- nations for abbreviations in English. Did you know? On Instagram we keep you posted on ‚everything film‘ in English. -
Staging the Urban Soundscape in Fiction Film
Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
Goebbels' Ufa: „Filmschaffen“ Und Ökonomie Elitenbildung Und Unterhaltungsproduktion
Symposium Linientreu und populär. Das Ufa-Imperium 1933 bis 1945 11. und 12. Mai, Filmreihe 11. bis 14. Mai 2017 Symposium Linientreu und populär. Das Ufa-Imperium 1933 bis 1945 Ablauf, Abstracts, Kurzbiografien, Filmreihe Do, 11.05., 13:00 Akkreditierung der Symposiumsteilnehmer*innen Deutsche Kinemathek – Museum für Film und Fernsehen im Filmhaus am Potsdamer Platz, Potsdamer Straße 2, 10785 Berlin, Veranstaltungsraum, 4. OG 14:00 Begrüßung: Rainer Rother (Künstlerischer Direktor, Deutsche Kinemathek), Wolf Bauer (Co-CEO UFA GmbH), Ernst Szebedits (Vorstand Friedrich-Wilhelm-Murnau- Stiftung) 14:30 Block 1 | 100 Jahre Ufa: Rückblicke und Ausblicke Die Ufa im Nationalsozialismus – Die ersten Jahre | Rainer Rother 15:00 Alfred Hugenberg: Wegbereiter der Ufa unterm Hakenkreuz? | Friedemann Beyer 15:30 Zwischen Tradition und Moderne. Zum NS-Kulturfilm 1933–1945 | Kay Hoffmann 16:00 Über die Popularität der Ufa-Filme, 1933–1945. Präsentation von Forschungs- ergebnissen des DFG-Projektes „Begeisterte Zuschauer: Über die Filmpräferenzen der Deutschen im Dritten Reich“ | Joseph Garncarz 16:30 Kaffeepause 17:00 Im Gespräch: Mediale Vermittlung von Zeitgeschichte. Zum Umgang mit brisanten historischen Stoffen | Teilnehmer: Nico Hofmann, Thomas Weber, Moderation: Klaudia Wick 18:00 Zwangsarbeit bei der Ufa | Almuth Püschel 18:30 Die Erinnerungen Piet Reijnens – ein niederländischer Zwangsarbeiter bei der Ufa | Jens Westemeier Ende ca. 19:00 Fr. 12.05., 9:30 Block 2 | Goebbels' Ufa: „Filmschaffen“ und Ökonomie Elitenbildung und Unterhaltungsproduktion. Ufa-Lehrschau und Deutsche Filmakademie als geistiger Ausdruck der Filmstadt Babelsberg im Nationalsozialismus | Rolf Aurich 10:00 Das große Scheitern: Die Ufa als Wirtschaftsunternehmen | Alfred Reckendrees 10:30 Mythos „Filmstadt Babelsberg“. Zur Baugeschichte der legendären Ufa-Filmfabrik | Brigitte Jacob, Wolfgang Schäche 11:15 Kaffeepause 11:45 Der merkwürdige Monsieur Raoul. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Trude Hesterberg She Opened Her Own Cabaret, the Wilde Bühne, in 1921
Hesterberg, Trude Trude Hesterberg she opened her own cabaret, the Wilde Bühne, in 1921. She was also involved in a number of film productions in * 2 May 1892 in Berlin, Deutschland Berlin. She performed in longer guest engagements in Co- † 31 August 1967 in München, Deutschland logne (Metropol-Theater 1913), alongside Massary at the Künstlertheater in Munich and in Switzerland in 1923. Actress, cabaret director, soubrette, diseuse, operetta After the Second World War she worked in Munich as singer, chanson singer theater and film actress, including as Mrs. Peachum in the production of The Threepenny Opera in the Munich „Kleinkunst ist subtile Miniaturarbeit. Da wirkt entwe- chamber plays. der alles oder nichts. Und dennoch ist sie die unberechen- Biography barste und schwerste aller Künste. Die genaue Wirkung eines Chansons ist nicht und unter gar keinen Umstän- Trude Hesterberg was born on 2 May, 1892 in Berlin den vorauszusagen, sie hängt ganz und gar vom Publi- “way out in the sticks” in Oranienburg (Hesterberg. p. 5). kum ab.“ (Hesterberg. Was ich noch sagen wollte…, S. That same year, two events occurred in Berlin that would 113) prove of decisive significance for the life of Getrude Joh- anna Dorothea Helen Hesterberg, as she was christened. „Cabaret is subtle work in miniature. Either everything Firstly, on on 20 August, Max Skladonowsky filmed his works or nothing does. And it is nonetheless the most un- brother Emil doing gymnastics on the roof of Schönhau- predictable and difficult of the arts. The precise effect of ser Allee 148 using a Bioscop camera, his first film record- a chanson is not foreseeable under any circumstances; it ing. -
Noted Scientist-Laureate in Agriculture
UNIVERSITY OF GUELPH Vol. 14 — No. 53 December 31, 1969 H.R. MacMillan Award Noted scientist-Laureate in Agriculture tribution to Canadian agriculture. His Among the positions Dr. Bell has held research on methods of utilizing and im- with associations are: chairman of the Rape- proving rapeseed meal has had a momen- seed Association of Canada's research com- tous impact on increasing the size of the mittee; chairman of the Canada Department rape crop in Canada and particularly West- of Agriculture's Canada Animal Nutrition ern Canada. Committee; chaimam of the Sub-committee on Laboratory Animal Nutrition with the Dr. Bell's extensive use of computers in United States National Research Council; designing rations has been a breakthrough and president of the Nutrition Society of in the experimental control of nutrient Canada. content. His studies of levels of nutrients for rations has contributed significantly to The second Laureate award will be made increasing the viability of Canada's livestock in 1974, the Centennial year for the Ontario industry. Agricultural College. Mr. MacMillan, noted for his contribution to the forest industry, Dr. Bell has been a professor at the Uni- has given the responsibility for selecting versity of Saskatchewan since 1948 and head award winners to the University of Guelph. Dr. J. Milton Bell of its Department of Animal Science since 1955. Born in Islay, Alberta, in 1922 he was Dr. Bell's lecture, "Advancing Nutrition raised on a mixed farm, attended the Ver- Horizons With Computers" will be held on Canada's first "Laureate in Agriculture" milion School of Agriculture and graduated Tuesday, January 6 at 3:15 p.m. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* 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. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................