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"Motion pictures Social aspects Germany History 20th century."
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Photofascism : photography, film, and exhibition culture in 1930s Germany and Italy
Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.
eBook
Screening the East
Screening the Eastconsiders German filmmakers' responses to unification. In particular, it traces the representation of the East German community in films made since 1989 and considers whether these narratives challenge or reinforce the notion of a separate East German identity. The book identifies and analyses a large number of films, from internationally successful box-office hits, to lesser-known productions, many of which are discussed here for the first time. Providing an insight into the films' historical and political context, it considers related issues such as stereotyping, racism, regional particularism and the Germans' confrontation with the past.
eBook
The Cold War
The traces of the Cold War are still visible in many places all around the world. It is the topic of exhibits and new museums, of memorial days and historic sites, of documentaries and movies, of arts and culture. There are historical and political controversies, both nationally and internationally, about how the history of the Cold War should be told and taught, how it should be represented and remembered. While much has been written about the political history of the Cold War, the analysis of its memory and representation is just beginning. Bringing together a wide range of scholars, this volume describes and analyzes the cultural history and representation of the Cold War from an international perspective. That innovative approach focuses on master narratives of the Cold War, places of memory, public and private memorialization, popular culture, and schoolbooks. Due to its unique status as a center of Cold War confrontation and competition, Cold War memory in Berlin receives a special emphasis.
eBook
Victory Banner Over the Reichstag
In one of the most iconic images from World War II, a Russian
soldier raises a red flag atop the ruins of the German Reichstag on
April 30, 1945. Known as the Victory Banner, this piece of fabric
has come to symbolize Russian triumph, glory, and patriotism.
Facsimiles are used in public celebrations all over the country,
and an exact replica is the centerpiece in the annual Victory
Parade in Moscow's Red Square. The Victory Banner Over the
Reichstag examines how and why this symbol was created, the
changing media of its expression, and the contested evolution of
its message. From association with Stalinism and communism to its
acquisition of Russian nationalist meaning, Jeremy Hicks
demonstrates how this symbol was used to construct a collective
Russian memory of the war. He traces how the Soviets, and then
Vladimir Putin, have used this image and the banner itself to build
a remarkably powerful mythology of Russian greatness.
eBook
Precarious Times
In
Precarious Times,
Anne Fuchs explores how works of German literature,
film, and photography reflect on the profound temporal
anxieties precipitated by contemporary experiences of
atomization, displacement, and fragmentation that bring about a
loss of history and of time itself and that is peculiar to our
current moment.
The digital age places premiums on just-in-time deliveries,
continual innovation, instantaneous connectivity, and
around-the-clock availability. While some celebrate this 24/7
culture, others see it as profoundly destructive to the natural
rhythm of day and night-and to human happiness. Have we entered
an era of a perpetual present that depletes the future and
erodes our grasp of the past?
Beginning its examination around 1900, when rapid
modernization was accompanied by comparably intense reflection
on changing temporal experience,
Precarious Times provides historical depth and
perspective to current debates on the \"digital now.\" Expanding
the modern discourse on time and speed, Fuchs deploys such
concepts as attention, slowness and lateness to emphasize the
uneven quality of time around the world.
eBook
Richard Wagner, Fritz Lang, and the Nibelungen the dramaturgy of disavowal
This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycleDer Ring des Nibelungenand Fritz Lang's 1920s filmDie Nibelungencreatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role.
Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 filmThe Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner'sRingand Lang'sDie Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.
eBook
The Cold War. Historiography, Memory, Representation
This volume describes and analyzes the cultural history and representation of the Cold War from an international perspective. That innovative approach focuses on master narratives of the Cold War, places of memory, public and private memorialization, popular culture, and schoolbooks. These general themes are illustrated through a case study of Cold War memory in Berlin, which was a unique former center of Cold War confrontation and competition.
eBook
Holocaust As Fiction
Holocaust as Fiction seeks to explain and critically evaluate the extraordinary success of Schlink's internationally acclaimed novel, The Reader , the widely read \"Selb\" detective trilogy, and two popular films based closely on his work.
eBook
Richard Wagner, Fritz Lang, and the Nibelungen : the dramaturgy of disavowal
This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycle Der Ring des Nibelungen and Fritz Lang's 1920s film Die Nibelungen creatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role. Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 film The Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner's Ring and Lang's Die Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.
eBook