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Another contributory to the German cinema's success was its sound technology which replaced most of the silent films." [Expanded Academic Index] "The recent expansion of the German film industry is not merely a market effect of globalization, but also involves a process of conscious transnationalism.
The fundamental premise of the national film industry has altered in a subtle yet important way: Industry experts no longer speak of German directors creating German films, but rather of a film as " made in Germany" or from "location Germany." The shift from "made for Germans" to "made in Germany" leads to products that sidestep apprehension by national-oriented approaches.
Contents: The gay/Super 8 connection : Berlin / Jurgen Bruning -- A cinematically divided city / Karen Rosenberg -- Self portrait with skull / Birgit Hein -- Interview with Michael Brynntrup / Steff Ulbrich -- Moderns in ruins / Madeleine Leskin -- Sucking the city pulse : interview with Penelope Buitenhuis / Torsten Alisch -- "The inter-view!
" (with Michael Krause) / Niels Kruger -- A story from a Berliner courtyard / Katarina Peters -- Excerpt from an interview with Katarina Peters / Masud Rajai -- Die Alten Filme / Andreas Dohler.
The Weimar cinema was considered as an avant-garde involving figures such as Hans Richter, Walter Ruttmann and Lotte Reiniger.
The transition of the Weimar cinema to Nazi cinema was influenced by modernism.
Berkeley: University of California Press, 1973, c1969."Film history and visual pleasure: Weimar cinemar." In: Cinema histories, cinema practices / edited by Patricia Mellencamp and Philip Rosen. Fantastique et réalisme dans le cinéma allemand 1912-1933. Surprisingly, however, there is not much research in Germany about this area of film production.
Most historians involved with Third Reich film have concerned themselves with propaganda, which is not unexpected, in view of their interest in the state and the fact that Third Reich film (of all varieties)-either overtly or covertly in numerous ways-promoted the interests of the state.
But given this interest in propaganda, the neglect of newsreels, which formed part of the Third Reich cinema program, is all the more surprising.
/ Helmut Schanze -- "Painting in time" and "visual music": on German avant-garde films of the 1920s / Walter Schobert -- Ruttmann, rhythm, and "reality": a response to Siegfried Kracauer's interpretation of Berlin, the symphony of a great city / David Macrae. Kennedy School of Government, Harvard University, 1994. Studies in German literature, linguistics, and culture (Unnumbered) "Negotiating Identities: Media Representations of Different Generations of Turkish Migrants in Germany." In: Fragments of culture: the everyday of modern Turkey / edited by Deniz Kandiyoti and Ayse Saktanber. Contents: Introduction -- The "place" of television in film studies -- Feminism and film history -- German film theory and Anglo-American film studies -- After shock, between boredom and history -- Historical ennui, feminist boredom -- World weariness, Weimar women, and visual culture -- Nazi cinema at the intersection of the classical and the popular -- The Hottentot and the Blonde Venus -- Film feminism and nostalgia for the seventies. Weimar and now ; 11Germany on Film: Theme and Content in the Cinema of the Federal Republic of Germany / Hans Gunther Pflaum; edited by Robert Picht; translated by Richard C. Nazi-retro Film: How German Narrative Cinema Remembers the Past / Robert C. In this article, the author gives a short overview of the German newsreel production in World War II, noting some aspects of the newsreels that tend to put the idea of them as perfect propaganda into question." [Communication Abstracts] "Film Music in the Third Reich." In: Composing for the screen in Germany and the USSR : cultural politics and propaganda / edited by Robynn Stilwell and Phil Powrie. Nazi-retro Film: How German Narrative Cinema Remembers the Past / Robert C. Series title: Twayne's Filmmakers Series."With a few important exceptions, Third Reich newsreels have attracted little scholarly attention.
"On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film." In: Italian neorealism and global cinema / edited by Laura E. Series title: Faculty research Working Paper Series; R94-12."Blonde Satan: Weimar Constructions of the Criminal Femme Fatale." In: Commodities of desire: the prostitute in modern German literature / Eited by Christiane Schonfeld. "Perceptions of Difference: Woman as Spectator and Spectacle." In: Women in the metropolis: gender and modernity in Weimar culture / edited by Katharina von Ankum. That feature film and documentary have attracted more is understandable, especially as many non-historians have been drawn to the subject.