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Weimar film

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Journal Article
New German Critique (2013) 40 (3 (120)): 65–84.
Published: 01 November 2013
... partner in Weimar Berlin, has consistently escaped the critical radar. This essay sheds light on Wilder's days as Eintänzer and points to the impact this work had on his films Hold Back the Dawn (1941) and Sunset Boulevard (1950). Furthermore, the essay places Wilder's series within the context of self...
Journal Article
New German Critique (2015) 42 (3 (126)): 115–143.
Published: 01 November 2015
... of German community, which thrives in an alternative Heimat , devoid of blood and soil connotations. © 2015 by New German Critique, Inc. 2015 Heimat Weimar film DEFA GDR Jewish identity The Non-Heimat Heimat: Jewish Filmmakers and German Nationality from Weimar to the GDR...
Journal Article
New German Critique (2020) 47 (3 (141)): 7–20.
Published: 01 November 2020
... realities of social distancing and virtual public gathering. 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...
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 (2015) 42 (3 (126)): 91–114.
Published: 01 November 2015
... of Weimar horror and violence (e.g., of Nosferatu or M ) in several important 1950s films, including Peter Lorre's Der Verlorene , Hans König's Rosen blühen auf dem Heidegrab , and Robert Siodmak's Nachts, wenn der Teufel kam . It is telling that none of these films could be considered an outright horror...
Journal Article
New German Critique (2010) 37 (1 (109)): 1–25.
Published: 01 February 2010
... image of modern Berlin promoted in the daily press, in films, and in advertising during the Weimar Republic. This was done to display the German capital as a “human” city in which the urban dweller could feel at home. Although the late 1920s are mostly considered a period of medium optimism, Stone's...
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 (2014) 41 (2 (122)): 159–169.
Published: 01 August 2014
..., however, from the psycho- analytically inflected, technologically determinist “apparatus theory” that had so powerfully captured film studies in the 1970s, Hansen looked for inspira- tion in the anthropological materialism—to adopt Benjamin’s term—of her Weimar heroes, who alerted her...
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 (2020) 47 (3 (141)): 99–140.
Published: 01 November 2020
... ) both in architectural critiques for the Frankfurter Zeitung and in his novel Ginster . This article analyzes Kracauer’s critical contribution to the modernist housing debate in the Weimar Republic. Copyright © 2020 by New German Critique, Inc. 2020 architecture housing functionalism New...
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Journal Article
New German Critique (2019) 46 (1 (136)): 127–166.
Published: 01 February 2019
.... This new literature also began to thematize female homosexuality in a way that earlier generations had not. For instance, the gay turn most visibly made its way into the Weimar film industry in the adaptation of Winsloe’s lesbian play Yesterday and Today (1930) as Girls in Uniform (1931). 70 Both...
FIGURES
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 (2015) 42 (3 (126)): 1–7.
Published: 01 November 2015
... the cinematic narration of Weimar horror films and their sophisticated resurfacing in West Germany during the decade that followed the founding of the FRG. Fisher’s analysis marginalizes the role of horror film as a distinct genre and instead character- izes horror-film “mode,” which had been...
Journal Article
New German Critique (2022) 49 (2 (146)): 161–186.
Published: 01 August 2022
... on from Lang’s Weimar-era films. 48. Deleuze, Cinema 1 , 209–10 . Deleuze refers here not to The Thousand Eyes specifically but to the more general crisis of the “action-image” in postwar cinema. 47. As André Bazin remarks, “Hitler was thinkable on radio, in cinema . . . , but his...
FIGURES
Journal Article
New German Critique (2015) 42 (3 (126)): 69–90.
Published: 01 November 2015
... importance of the myth of Ernst Thälmann, the Commu- nist Party leader during most of the Weimar Republic, who was murdered by the Nazis in 1944, is another indication of the need for a narration about his- torical continuity in the midst of rupture. Two major films about Thälmann were made...
Journal Article
New German Critique (2018) 45 (2 (134)): 33–66.
Published: 01 August 2018
... widows, was automatically regarded as suspect. 21 As Maria Makela noted in her discussion of the false or ersatz Maria in Fritz Lang’s film Metropolis (1927), Weimar-era society was marked by concerns over the perceived “opacity of identity.” Because of advances in medical technology...
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Journal Article
New German Critique (2013) 40 (3 (120)): 41–64.
Published: 01 November 2013
... that comments on the relationships between viewer and objects of the gaze, Warning Shadows responds to shifting gender roles in Weimar cul- ture. The power structures in Warning Shadows are an example of how films responded to these anxieties, which shaped the developing medium in such a way that its...
Journal Article
New German Critique (2021) 48 (1 (142)): 153–180.
Published: 01 February 2021
... the internationalist labor movement and modernism; with respect to intermedial exchanges between visual, performance, and literary aesthetics, agitprop performance and Slatan Dudow, Bertolt Brecht, Ernst Ottwalt, and Hanns Eisler’s late Weimar film Kuhle Wampe (1932) provide further cases in point. 62...
Journal Article
New German Critique (2019) 46 (1 (136)): 197–228.
Published: 01 February 2019
..., described simply in terms of its variable prominence within the magazine’s visual culture, correlates strikingly with developments in the Weimar economy and the associated national mood. The male nude, represented by topless film stars and hard-bodied athletes, made a first appearance in the July 1925 issue...
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Journal Article
New German Critique (2018) 45 (3 (135)): 39–72.
Published: 01 November 2018
... and the Paris of Surrealist Revolution . Berkeley : University of California Press . Cowan Michael . 2007 . “ The Heart Machine: ‘Rhythm’ and Body in Weimar Film and Fritz Lang’s Metropolis .” Modernism/modernity 14 , no. 2 : 225 – 48 . Dahme Heinz-Jürgen . 1990 . “ On the Current...