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Weimar film
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Journal Article
New German Critique (2024) 51 (2 (152)): 1–26.
Published: 01 August 2024
... the film within discourse on silent-film production practices and Weimar-era montage techniques, the article uses the film as a magnifying glass through which to consider female labor and its relationship to mediation and aesthetic form. It shows how the film offers a remarkable—and relatively early...
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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
.... 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 (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 (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 (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 (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 (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 (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)): 127–166.
Published: 01 February 2019
... 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 lesbians and gay men acquired, through these films, books, and periodicals...
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
... 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 (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
... “the Great Imitator” because its symptoms mimicked those of other diseases. 25 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...
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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
..., and Hanns Eisler’s late Weimar film Kuhle Wampe (1932) provide further cases in point. 62 But it is important to emphasize that while modernist realism cannot be accorded a minoritarian status within internationalist world literature, it is also not more than just one of its aesthetic instantiations...
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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