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A critical history of German film /
author
Stephen Brockmann.
imprint
Rochester, NY : Camden House, 2010.
description
x, 522 p. : ill. ; 23 cm.
ISBN
1571134689 (pbk. : alk. paper), 9781571134684 (pbk. : alk. paper)
format
Book

Holdings
More Details
imprint
Rochester, NY : Camden House, 2010.
isbn
1571134689 (pbk. : alk. paper)
9781571134684 (pbk. : alk. paper)
contents note
Introduction : critical film history and German studies -- Early German film history 1895-1918 -- Weimar cinema 1919-1933 -- Nazi cinema 1933-1945 -- German cinema at the zero hour 1945-1949 -- Postwar East German cinema 1949-1989 -- Postwar West German cinema 1949-1989 -- German film after reunification 1990-2010.
catalogue key
7334739
 
Includes bibliographical references and index.
A Look Inside
About the Author
Author Affiliation
Stephen Brockmann is Professor of German at Carnegie Mellon University and president-elect of the German Studies Association. He received the German Academic Exchange Service's 2007 Prize for Distinguished Scholarship in German and European Studies.
Full Text Reviews
Appeared in Choice on 2011-05-01:
In this accessible study, Brockmann (Carnegie Mellon Univ.) examines German film history through seven periods: early film, Weimar, the Nazi cinema, the "zero hour" (1945-49), the postwar periods in East Germany and West Germany, and postunification. In each section a political-cultural overview leads into discussion of representative films, which range chronologically from Der Student von Prag (1913) to Das Leben der Anderen (2006). Many of the films--especially in the Nazi and "zero hour" sections--will be unfamiliar to most readers. The discussions are informative and wide ranging, but more attuned to plots and themes than to the nuances of film rhetoric. Though the book is short on examples of close scene/shot reading, the balance of the classic films with their cultural and political contexts makes this a useful resource. The chapter titles reveal the film's significance, not its director--e.g., "Aguirre, der Zorn Gottes (1972): Film and the Sublime"--but the text attends to each auteur. In sum, this overview confirms that globalization prompts not just uniformity but a "powerful counter-movement toward distinctness and singularity.. His sadder conclusion: audiences tend to resist cinema's potential to provide "an alternate, radically different reality" and to embrace the lives of the "other.. Summing Up: Recommended. All readers. M. Yacowar emeritus, University of Calgary
Reviews
This item was reviewed in:
Choice, May 2011
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Summaries
Main Description
A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester-long survey courses. The films: Der Student von Prag -- Das Cabinet des Dr. Caligari -- Der letzte Mann -- Metropolis -- Der blaue Engel -- M -- Triumph des Willens -- Die groe Liebe -- Die Mörder sind unter uns -- Sonnensucher -- Spur der Steine -- Die Legende von Paul und Paula -- Solo Sunny -- Die Brücke -- Abschied von Gestern -- Aguirre, der Zorn Gottes -- Deutschland im Herbst -- Die Ehe der Maria Braun -- Die Blechtrommel -- Berlin, City of Angels: Der Himmel über Berlin -- Der bewegte Mann -- Rossini -- Lola rennt -- Good Bye Lenin! -- Gegen die Wand -- Das Leben der anderen Stephen Brockmann is Professor of German at Carnegie Mellon University. He received the German Academic Exchange Service's 2007 Prize for Distinguished Scholarship in German and European Studies.
Main Description
A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester- or year-long survey courses and for anyone with an interest in German cinema.BR>The films: The Student of Prague - The Cabinet of Dr. Caligari - The Last Laugh - Metropolis - The Blue Angel - M - Triumph of the Will - The Great Love - The Murderers are Among Us - Sun Seekers - Trace of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - Young Törless - Aguirre, The Wrath of God - Germany in Autumn - The Marriage of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of Desire - Maybe, Maybe Not - Rossini - Run Lola Run - Good Bye Lenin! - Head On - The Lives of Others Stephen Brockmann is Professor of German at Carnegie Mellon University and president-elect of the German Studies Association. He received the German Academic Exchange Service's 2007 Prize for Distinguished Scholarship in German and European Studies.
Unpaid Annotation
A historical survey of German films as works of art from the beginnings to the present, designed for classroom use.
Unpaid Annotation
A historical survey of German films as works of art from the beginnings to the present, suitable for classroom use.
Table of Contents
Acknowledgmentsp. ix
Introduction: Critical Film History and German Studiesp. 1
Early German Film History 1895-1918
Early German Film History 1895-1918: Historical Overviewp. 13
Der Student von Prag (1913) and Learning to Lookp. 29
Weimar Cinema 1919-1933
Weimar Cinema 1919-1933: Historical Overviewp. 43
Das Cabinet des Dr. Caligari (1920) or Film as Hypnosisp. 59
Der letzte Mann (1924) or Learning to Movep. 71
Metropolis (1927) or Technology and Sexp. 81
Der blaue Engel (1930) and Learning to Talkp. 97
M (1931) or Sound and Terrorp. 113
Nazi Cinema 1933-1945
Nazi Cinema 1933-1945: Historical Overviewp. 131
Triumph des Willens (1935): Documentary and Propagandap. 151
Die große Liebe (1942) or Love and Warp. 167
German Cinema at the Zero Hour 1945-1949
German Cineman at the Zero Hour 1945-1949: Historical Overviewp. 183
Die Mörder sind unter uns (1946): The Rubble Filmp. 197
Postwar East German Cinema 1949-1989
Postwar East German Cinema 1949-1989: Historical Overviewp. 213
Sonnensucher (1958) or Searching for the Socialist Sunp. 235
Spur der Steine (1966) or Traces of Repressionp. 247
Die Legende von Paul und Paula (1973) or East Germany in the '70sp. 259
Solo Sunny (1980) or Even Socialism Can't Stave Off Lonelinessp. 275
Postwar West German Cinema 1949-1989
Postwar West German Cinema 1949-1989: Historical Overviewp. 285
Die Brücke (1959): Film and Warp. 303
Der junge Törless (1966) or Recapturing Traditionp. 315
Aguirre, der Zorn Gottes (1972): Film and the Sublimep. 329
Deutschland in Herbst (1978) or Film and Politicsp. 343
Die Ehe der Maria Braun (1979) or West Germany Rebuildsp. 357
Die Blechtrommel (1979) or Coming to Terms with the Nazi Pastp. 371
Die bleierne Zeit (1981): Film and Terrorismp. 383
Der Himmel über Berlin (1987): Berlin, City of Angelsp. 399
German Film after Reunification 1990-2010
German Film after Reunification 1990-2010: Historical Overviewp. 413
Der bewegte Mann (1994) or West German Self-Absorptionp. 437
Rossini (1997) or West German Self-Absorption Criticizedp. 447
Lola rennt (1998) or Cool Germaniap. 457
Good Bye Lenin! (2003) or Farewell to the Socialist Motherlandp. 469
Gegen die Wand (2004) or Germany Goes Multiculturalp. 479
Das Leben der anderen (2006) or the Power of Artp. 489
Indexp. 501
Table of Contents provided by Ingram. All Rights Reserved.

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