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Weimar cinema
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Journal Article
New German Critique (2024) 51 (2 (152)): 1–26.
Published: 01 August 2024
...—feminist theory of montage as disruption that hinges on unruly women workers. [email protected] Copyright © 2024 by New German Critique, Inc. 2024 Weimar cinema gendered labor montage film editing Wenn die Filmkleberin gebummelt hat/Tragödie einer Uraufführung Dziga Vertov’s...
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Journal Article
New German Critique (2015) 42 (3 (126)): 91–114.
Published: 01 November 2015
...Jaimey Fisher The article considers the 1950s revival of perhaps the best-known and most influential genre of Weimar cinema, namely, what is now termed “horror” (at the time, better known as the Gruselfilm ). The article investigates how there are deliberate, often narratively central citations...
Journal Article
New German Critique (2022) 49 (2 (146)): 161–186.
Published: 01 August 2022
... the cinematic auteur from the restraints of producers and the studio system. Neither 1950s “Papas Kino,” exactly, nor “Junger Deutscher Film” of the 1960s, Lang’s final re-émigré works maintain an uncertain status in German film history, appearing like a broken bridge between Weimar and exile cinemas and a new...
FIGURES
Journal Article
New German Critique (2022) 49 (2 (146)): 133–160.
Published: 01 August 2022
...: The Mountain Film and the Cinematic Sublime .” In Peripheral Visions: The Hidden Stages of Weimar Cinema , edited by Calhoon Kenneth S. , 171 – 90 . Detroit : Wayne State University Press , 2001 . Straw Will . “ Reinhabiting Lost Languages: Guy Maddin’s Careful .” In Playing...
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Journal Article
New German Critique (2020) 47 (1 (139)): 141–172.
Published: 01 February 2020
... “Propaganda and the Nazi War Film” as well as his classic study of Weimar cinema, From Caligari to Hitler , and Bateson’s 1943 memorandum “An Analysis of Hitlerjunge Quex ,” I approach this collaboration within the US-American “memorandum culture” in two steps. 6 First, I lay out the improvised social...
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Journal Article
New German Critique (2013) 40 (3 (120)): 65–84.
Published: 01 November 2013
...,” Women in German Yearbook 21 (2005): 163–91; and Petrescu,
“Domesticating the Vamp: Jazz and the Dance Melodrama in Weimar Cinema,” Seminar 46, no. 3
(2010): 276–92.
7. Anton Gill, A Dance between Flames: Berlin between the Wars (New York: Carroll and Graf,
1994), 190; Marko Heinrich-Christian...
Journal Article
New German Critique (2013) 40 (3 (120)): 41–64.
Published: 01 November 2013
... articulated the need to reexamine
gender politics in Weimar cinema as emerging from specific anxieties that
dominated the era. As Richard W. McCormick notes: “The sexual politics—
and misogyny—in the Weimar cinema were not merely matters of cinematic
style in relation to some kind of ‘timeless...
Journal Article
New German Critique (2019) 46 (3 (138)): 1–9.
Published: 01 November 2019
... and social traditions emerging from the Weimar and fascist periods” and to the production of culture within the West German public sphere. 2 After the demise of New German Cinema, the fall of the Berlin Wall, and German unification, New German Critique again took stock of film culture in the Federal...
Journal Article
New German Critique (2020) 47 (3 (141)): 73–91.
Published: 01 November 2020
..., the automaton becomes a figure for the mechanism of cinema itself. While selected reviews have been included in English-language sourcebooks on Weimar and German silent film, Kracauer’s copious output as a film critic (three volumes of his collected works in the German edition) still awaits translation. 2...
Journal Article
New German Critique (2023) 50 (3 (150)): 133–148.
Published: 01 November 2023
... informant. He moved from Weimar cinema, where the films he collaborated on are canonical in the field of German studies, to Hollywood, where he shot most of his films. He passed away as an American at the beginning of the twenty-first century and is buried at Pierce Brothers Westwood Village Memorial Park...
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Journal Article
New German Critique (2015) 42 (3 (126)): 115–143.
Published: 01 November 2015
... years, Jewish filmmakers
have offered different visions of Heimat and identity.25 Many of their works,
however—including some of the greatest achievements of Weimar cinema—
manifested the sensibilities highlighted by Kohn. These often popular films
sought to imagine the city as a new type...
Journal Article
New German Critique (2010) 37 (2 (110)): 73–94.
Published: 01 August 2010
... in Weimar
Berlin, and his first film had been the landmark cinema verité drama Men-
schen am Sonntag (People on Sunday, 1929), a summer slice of working-class
Berlin life in which almost nothing happens, shot wholly on location on a shoe-
string budget, with nonprofessional actors...
Journal Article
New German Critique (2019) 46 (1 (136)): 167–196.
Published: 01 February 2019
... becomes a lens for the broader picture of French society in the nineteenth century ( Jacques Offenbach , 11–13 ). In From Caligari to Hitler , Kracauer writes that “the films of a nation are fully understandable only in relation to the actual psychological patterns of this nation”; the Weimar cinema...
Journal Article
New German Critique (2019) 46 (3 (138)): 207–233.
Published: 01 November 2019
... back to the modernistic sectors of Weimar cinema and eschewing the example of Hollywood and the ways in which generic productions on the whole undermined the autonomy of spectators. All that New German Cinema had created over two decades seemed at risk in the early 1980s as the public sphere underwent...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
... a wider resonance in Weimar culture and a much longer history. This article traces the development of the concept from a type of scientific illustration to a model of sociological inquiry and finally to a mode of montage in print, photography, and film during the 1920s. Focusing in particular on Walter...
Journal Article
New German Critique (2020) 47 (3 (141)): 7–20.
Published: 01 November 2020
.... The challenge for film theorists keen to sustain the intellectual agility, activist spirit, and convivial commitments of the Weimar generation is now to develop communicative forms adequate to sustaining in virtual as well as physical film-cultural locations the critical legacy of our Weimar predecessors...
Journal Article
New German Critique (2014) 41 (2 (122)): 17–20.
Published: 01 August 2014
..., primarily
through Kracauer’s discussion of the Tiller Girls but also through his series of
articles “Little Shop Girls Go to the Movies.” Miriam mentions Kracauer’s
awareness that women formed an increasing presence in the labor force during
the Weimar period and would thus be a factor at the cinema...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
..., would animate the group’s subsequent
photomontage and, later still, direct Heartfi eld’s mature work, particularly the
montages in which he sought to impress viewers with the ideological and phys-
ical breakdown of Weimar-era Germany. In all these cases, cinematic anima-
tion’s sensorial appeal...
Journal Article
New German Critique (2017) 44 (3 (132)): 83–103.
Published: 01 November 2017
... Press . Kracauer Siegfried . 1969 . History: The Last Things before the Last . New York : Oxford University Press . ———. 1994 . “The Task of the Film Critic.” In The Weimar Republic Sourcebook , edited by Kaes Anton Jay Martin Dimendberg Edward , 634 – 35 . Berkeley...
Journal Article
New German Critique (2014) 41 (2 (122)): 159–169.
Published: 01 August 2014
... Kracauer, “The Little Shopgirls Go to the Movies,” in The Mass Ornament: Weimar
Essays, ed. and trans. Thomas Y. Levin (Cambridge, MA: Harvard University Press, 1995), 292.
2. Theodor W. Adorno, “The Curious Realist: On Siegfried Kracauer,” in Notes to Literature,
ed. Rolf Tiedemann, trans. Shierry...
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