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rubble
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Journal Article
New German Critique (2010) 37 (2 (110)): 9–30.
Published: 01 August 2010
..., of the nation's survivors. As the rubble on the streets and the destruction in a returned soldier's mind, material damage and mental wreckage, become intertwined, the compensatory narrative suggests that both have been caused by outside forces. By scrutinizing the prominent role of rubble in the so-called rubble...
Journal Article
New German Critique (2012) 39 (3 (117)): 135–153.
Published: 01 November 2012
... in shaping them and about the subsequent transformations of the narratives. The evidence points to the importance of both Allies and Germans as actors, to a powerful dialectic of the rubbled space where myth formulation and claims to legitimacy could be found in areas such as housing allocation...
Journal Article
New German Critique (2010) 37 (2 (110)): 49–72.
Published: 01 August 2010
... glimpse of the German capital in the final months after the surrender. This essay argues that this postwar glimpse of Berlin challenged Thomas Pynchon to develop representational techniques for capturing urban destruction on such a scale. Behind the rubble, the missing street signs, encyclopedic lists...
Journal Article
New German Critique (2011) 38 (1 (112)): 85–113.
Published: 01 February 2011
..., but by “citing” such images, the film continues to link to the powerful discourse of victimhood that has found its expression in Dresden rubble photography. © 2011 by New German Critique, Inc. 2011 The Ruined Picture Postcard:
Dresden’s Visually Encoded History
and the Television Drama Dresden...
Journal Article
New German Critique (2024) 51 (1 (151)): 1–31.
Published: 01 February 2024
... had set out early to mine these remains systematically at scale. Its enormous Trümmerverwertungsanlage (rubble recycling plant) produced roof tiles and concrete blocks cast from a slurry of ground rubble and cement. “The plant is built in such a way,” bragged Eugen Blanck, Stadtrat (director...
FIGURES
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Journal Article
New German Critique (2011) 38 (1 (112)): 155–180.
Published: 01 February 2011
... of choosing between the postwar era and the Cold
War and permit us to entertain the ambiguity of their legacies.
Ambivalent Rubble: Beyond the Trümmerlyrik
In the late 1940s and early 1950s, when a great deal of aesthetic production
in both Germanies pivoted on rubble as an artistic point...
Journal Article
New German Critique (2010) 37 (2 (110)): 1–7.
Published: 01 August 2010
... “rubble film” addresses issues soon disavowed in a
growing Cold War divide.
German filmmakers were not the only ones who made rubble films in
Berlin. The German-born American director Billy Wilder made a love comedy
situated in the rubble of Berlin. David Bathrick’s contribution examines three...
Journal Article
New German Critique (2015) 42 (3 (126)): 91–114.
Published: 01 November 2015
... to Schlingensief,” 160.
12. See Jaimey Fisher, “Wandering in/to the Rubble-Film: Filmic Flânerie and the Exploded
Panorama after 1945,” German Quarterly 78, no. 4 (2005): 461–80.
Jaimey Fisher 95
ghettoized, in films made with female audiences in mind.13...
Journal Article
New German Critique (2011) 38 (1 (112)): 1–7.
Published: 01 February 2011
... as the particular site at
which to analyze the semiotic and aesthetic contestation of Cold War versus
postwar at work. If urban rubble immediately became the signature signifier in
postwar cultural production, it became “ambivalent rubble,” as a Cold War
semiotics eventually tried to harness...
Journal Article
New German Critique (2023) 50 (3 (150)): 25–35.
Published: 01 November 2023
... in the air, untranslated. Ellbogen ends with a frightened Hazal crouching behind a thorny bush as tanks enter the street. The final word of Dschinns creates a stark counterpoint to the gritty, pessimistic realism of Ellbogen . Buried under rubble in the aftermath of the 7.6 magnitude earthquake...
Journal Article
New German Critique (2020) 47 (1 (139)): 173–195.
Published: 01 February 2020
... the rubble, she catches a glimpse of herself in two shards of a mirror and is shocked by her face, which is still bruised from the surgery and different from her own. This division is symbolized through the divided and doubled reflection: the two shards show two partial images. Shaken, Nelly returns...
Journal Article
New German Critique (2007) 34 (3 (102)): 45–60.
Published: 01 November 2007
...-
geon, wanders aimlessly through the rubble of Berlin as though it were the
landscape of his own mind—he is “symptomatic,” like many war returnees
in postwar fi lm. Staudte repeatedly shows close-ups of Hans’s face, which
registers only contempt for life and for himself. He speaks apathetically...
Journal Article
New German Critique (2010) 37 (2 (110)): 31–47.
Published: 01 August 2010
...-
fect,” which appropriately became the title of a Wilder biography and finally
even his epitaph.16 Whereas Wilder may have started out to make a propaganda
film through entertainment, the end result is a wonderfully outlandish com-
bination of rubble film, romantic comedy, and biting social satire...
Journal Article
New German Critique (2011) 38 (1 (112)): 65–84.
Published: 01 February 2011
... lay in rubble.14 While one of the produc-
ers’ claims that Auschwitz is written all over the film is certainly exaggerated,
Dresden deserves credit for the subplot of Simon Goldberg and his German
wife, Maria Goldberg (most likely inspired by the story of Victor Klemperer,
who survived...
Journal Article
New German Critique (2011) 38 (1 (112)): 135–153.
Published: 01 February 2011
... pages to “the air war,”
including dramatic photos of civilians amid the rubble of destroyed cities.
While the text briefly mentions German attacks on Britain and the Netherlands
in 1940, it focuses squarely on the suffering of German men and women at
the war’s end. Nowhere is the emphasis...
Journal Article
New German Critique (2007) 34 (1 (100)): 165–187.
Published: 01 February 2007
... on
the world. The destructive character obliterates even the traces of destruction.”
The destructive character gets rid of “auratic” tradition, of those traces the
bourgeois can only leave in plush; “what exists he reduces to rubble—not
for the sake of the rubble, but for that of the way leading through...
Journal Article
New German Critique (2022) 49 (2 (146)): 161–186.
Published: 01 August 2022
... Hansaviertel, just recently reconstructed and rapidly redeveloped out of the rubble into a free-flowing district of high-speed thruways and scattered modernist high- and low-rise buildings in a sprawling parklike setting. 23 In the car-chase sequence at the end of The Thousand Eyes , the locations...
FIGURES
Journal Article
New German Critique (2006) 33 (2 (98)): 65–76.
Published: 01 August 2006
... Saxony, Germany, who
emerged from the rubble of World War II to immerse himself in the cultural
politics of a major communist state; the other a politically naive and dedi-
cated individualist from Waco, Texas, of the 1950s, committed to the com-
mercial success of his art and career. What drew...
Journal Article
New German Critique (2018) 45 (1 (133)): 23–47.
Published: 01 February 2018
..., res], its blessing or its curse, will be determined by the
reality of the imperium romanum, which still exists beneath the rubble. This
will be true even if anarchy and ignorance, as the consequences of spiritual
decline, are so great that they either mock or fail to see these real...
Journal Article
New German Critique (2014) 41 (2 (122)): 83–95.
Published: 01 August 2014
... of the mind,”
things revealed through cinema that would otherwise be overlooked, including
refuse:25 “Objects that push the film’s aesthetic toward the ‘formless’: images
of trash, detritus, rubble, waste—literally, the abject” (“Tracking,” 605). Han-
sen argues that American films of the Depression...
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