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Topic: German film history

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	Nowell-Smith on Elsaesser
		German films of the 1920s were often in a pure sense spectacular; they defied realist convention even when they aimed at psychological truth; and they preserved many elements of what Gunning saw as characterising cinema prior to the rise to dominance of the integrationist mode, the fairground values of the 'attraction'.
		Although the German industry was heavily leant on by the Nazis throughout their period in power, it retained its basic structure and most of its non-Jewish personnel throughout the 1930s.
		Although there were ways in which German films in general differed from American films in general, Elsaesser does not attempt to locate a unitary 'Weimar' style equivalent to the 'classical Hollywood' style identified by David Bordwell and others as having characterised the bulk of American cinema from the 1920s onwards.
	www.film-philosophy.com /vol5-2001/n43nowell-smith (2216 words)

	Expressionism (film) - Wikipedia, the free encyclopedia
		The filmmakers of the German UFA studio developed a method of compensating for the lack of high budgets, by using symbolism and mise-en-scène to insert mood and deeper meaning into a movie.
		However, the themes of Expressionism were integrated into later films of the 1920s and 1930s, resulting in an artistic control over the placement of scenery, light, and shadow to enhance the mood of a film.
		German emigrees such as Karl Freund (the cinematographer for Dracula in 1931) set the style and mood of the Universal monster movies of the 1930s with their dark and artistically designed sets, providing the benchmark for later generations of horror films.
	en.wikipedia.org /wiki/Expressionism_(film) (547 words)

	Cinema of Germany - Wikipedia, the free encyclopedia
		The film conglomerate Universum Film AGUniversum Film A.G. (better known as Ufa) was founded on behalf of the German government before the end of World War I to produce pro-war films, though after the war ended it grew to prominence with the success of German cinema in the 1920s.
		Several prominent German directors emigrated (or fled) to America, bringing their substantial talents to bear in Hollywood and having a major influence in American film as a result.
		But German film did stage a recovery during the late 1960s into the 1970s, with the emergence of a new generation of directors.
	en.wikipedia.org /wiki/German_film_history (903 words)

	Table of Contents and Excerpt, Hake, Popular Cinema of the Third Reich
		Contributing to this trend, German film scholars have turned to the cinema of the Third Reich and begun to explore previously neglected areas and uncharted territories in what is still regarded by many as a highly problematic period of film history.
		In terms of German film history, the focus on typical genres, tastes, and styles draws attention to the discontinuous continuities—that is, the prevailing modes of representation and their changing critical and aesthetic investments—that defined classical genre cinema from the late 1920s to the 1950s.
		In terms of modern German history, the emphasis on popular traditions shifts the terms of the debate from a deterministic relationship between cinema and ideology to the often inconsistent articulation of that relationship in economic strategies, political measures, artistic traditions, social movements, and, perhaps most importantly, popular tastes and mentalities.
	www.utexas.edu /utpress/excerpts/exhakpou.html (2695 words)

	Fenner on The German Cinema Book
		German culture has often been effectively regarded as 'high culture', with the notion of a popular German cinema dismissed pejoratively, whether it be the Heimat films or the comedies of the 1990s.
		It has been the fate of German high culture to be appropriated in the curricula of Germanist and art history classrooms as exemplary of a certain austere intellectualism and romantic melancholy, captured in the expressionism of the 1920s, as well as in the works of various auteurs of the New German Cinema.
		Weimar film theory has also come to represent an ideal object choice at a moment in which contemporary film scholars are rediscovering German cinema's international dimensions -- consider recent scholarship on emigre and exile cinemas, on transnational co-productions, and post-Wall assessments of the influence of globalization on media industries and forms of representation.
	www.film-philosophy.com /vol8-2004/n7fenner (2057 words)

	German 265 (Site not responding. Last check: 2007-11-05)
		The "forbidden films" from 1965/66, which until 1990 have never been seen before, show how advanced East German film was already in the early sixties.
		The last film of the semesterwill be a comedy by Frank Beyer, one of the last GDR films before the Wall came down in 1989.
		By the end of the course, students should be able both to do a "close reading" of a film and to place it within the larger historical context defined by the aesthetic and political debates in German society to which the films respond.
	vassun.vassar.edu /~vonderem/Teaching/g265 (352 words)

	Bright Lights Film Journal \| German National Cinema
		Hake heralds the German film of the 1920s and early '30s as the progressive, artistic, Hollywood-threat cinema it certainly was, without ignoring the sociocultural/economic upheaval of the Weimar Republic, which shifted conventional cinematic vocabulary in a manner found in no other Western cinema of the time.
		Certainly this aspect was part of the female image even in Hollywood, but in German film of the era, gender representation could be at once liberated and reactionary, evoking the loss of (national) identity, the recasting of social values, and, of course, the threat of economic and political strife.
		Unfortunately, the “rubble film” of East Germany did not develop its neorealist aesthetics as did Italy, and although West Germany was obsessed with the immediate past in sociopolitical thought and in literature, its films moved toward trivial entertainment, in costume epics, comic celebrations of its “economic miracle,” and in the provincial Heimatfilm.
	www.brightlightsfilm.com /38/booksgerman.htm (1463 words)

	Germany Info: Culture & Life: Arts: Performing Arts
		German cinema is in transition: Since the 1990s, a new, energetic generation of producers, writers and directors has begun to discover the cinema as its own form of expression.
		These films typically do not garner the same attention in other countries because their cultural references tend to be very specific and therefore difficult to translate for non-German audiences.
		As the social criticism of the 1968 student-revolt movement waned, discursive films lost their political backgrounds and were not able to establish a stable economic base that could withstand the offensive of commercial films.
	www.germany-info.org /relaunch/culture/arts/performing_arts/film.html (1191 words)

	German Film Studies Draw Students Across Disciplines, Academic Spotlight (Bowdoin)
		One of the recent additions is a collection of newly mastered East German films, which the College was able to acquire from the Defa Film Library at the University of Massachusetts.
		German Professor Steven Cerf brings a different perspective to the discussion of Nazi Germany with a course on "The Literary Imagination and the Holocaust," which focuses on literary accounts of Holocaust victims, including film.
		Because it is a popular medium, film has sometimes been dismissed as light entertainment, but the professors avow that cinema is to the 20th and 21st centuries what literature was to the 19th century; it is both popular and high art.
	www.bowdoin.edu /news/archives/1academicnews/003713.shtml (1133 words)

	Film Director Encyclopedia Article, Definition, History, Biography (Site not responding. Last check: 2007-11-05)
		The film director, on the right, gives last minute direction to the cast and crew, whilst filming a costume drama on location in London.
		A film director orchestrates the artistic and dramatic aspects of a film.
		Directors often work closely with film producers, who are usually responsible for the non-artistic elements of the film, such as financing, contract negotiation and marketing.
	www.alienartifacts.com /encyclopedia/Film_director (1031 words)

	German Cinema
		The DEFA Film Library/Cinema of East Germany at the University of Massachusetts, Amherst.
		The DEFA Film Library is the only archive and study center outside Europe devoted to the study of the cinema of the former GDR as well as films dealing with East Germany since unification.
		German 43: Exiles and Emigres (Gerd Gemunden, Dartmouth College) During the 1930s and 1940s, hundreds of German-speaking writers and film professionals lived and worked in Hollywood.
	www.utoronto.ca /innis/library/germanfilm.html (1634 words)

	German 265
		The "forbidden films" from 1965/66, which until 1990 have never been seen before, show how advanced East German film was already in the early sixties.
		The last film of the semesterwill be a comedy by Frank Beyer, one of the last GDR films before the Wall came down in 1989.
		By the end of the course, students should be able both to do a "close reading" of a film and to place it within the larger historical context defined by the aesthetic and political debates in German society to which the films respond.
	faculty.vassar.edu /vonderem/Teaching/g265/index.htm (352 words)

	Baylor University \|\| Modern Foreign Languages - German \|\| Hollywood Behind the Wall
		DEFA (Deutsche Film-Aktiengesellschaft), the state-owned studios of the former German Democratic Republic, produced over 750 feature films and thousands of documentaries, industrial and educational shorts, as well as numerous animation and children's films, between 1946 and 1992.
		DEFA makes up a significant segment of German film history, as the former UFA studios of Babelsberg aspired to the status of a national cinema in their own right.
		Spanning the periods from expressionism and film noir to postmodernism, with battles over new wave modernism, neo-realism and socialist realism in between, the history of DEFA is also a unique and refreshing window to everyday life in "real existing socialism" in East Germany.
	www.baylor.edu /German/index.php?id=22956 (168 words)

	No Place Like Home (Site not responding. Last check: 2007-11-05)
		In these films, "Heimat" must be incorporated or adapted into various menaces, whether the threat comes from outsiders, such as politically displaced persons or city dwellers relocating to the countryside, or via the encroachment of modernity, as with increased technological communication and transportation.
		Questions of what it could possibly mean to call the German nation "home" after the catastrophes of World War II are anxiously present in these films, and von Moltke uses them as a lens through which to view contemporary discourses on German national identity.
		Johannes von Moltke is Associate Professor of German and Screen Arts and Cultures at the University of Michigan.
	www.ucpress.edu /books/pages/10235.html (404 words)

	German Cinema - Series: German World Sales Companies (Site not responding. Last check: 2007-11-05)
		The German Parliament in Bonn seemed to have very few cineastic ambitions, merely passing a "law for the handling and de-concentration of formerly state-owned film property" in 1953.
		This could easily have given a signal to open the chase after many masterpieces of German film history, films which would have become objects of desire world-wide as a result.
		Profits are to be used for the promotion of German film culture and film art." The leading body was the foundation committee, made up of five representatives from private business and four government representatives.
	www.german-cinema.de /magazine/2001/03/germsales/murnau.html (699 words)

	Deterritorializing the New German Cinema
		By analyzing key tropes in successful films, as well as in the receptions they received abroad, he takes us past the boundaries of what have been considered the appropriate or even essential concerns of German film.
		His book is the first to examine the legitimation function of German national cinema not just in relation to the German history associated with World War II and the Holocaust, but also within the shifting configuration of neocolonialism.
		Davidson uncovers new material regarding the German government's debates about film as a means of solidifying the country's position among the Western powers in neocolonial competition.
	www.upress.umn.edu /Books/D/davidson_deterritorial.html (425 words)

	GERMAN CINEMA (Site not responding. Last check: 2007-11-05)
		To understand the film of any country, one must look at the context in which films were produced.
		Films can be government propoganda, entertainment, or art, but no matter which category a film is placed, one thing is certain of all films made: films, because they cost money to produce, are all made within a structure of politics and economics and,therefore, carry a definite message.
		My aim is to put present these films as texts which can be read only by considering the contexts to which they belong.
	members.tripod.com /michaelfussell/index.html (198 words)

	frontline: memory of the camps: frequently asked questions \| PBS
		At the time the film was transferred to the Museum, a shot list, dated May 7, 1946, suggested that the missing sixth reel comprised Russian film of the liberation of Auschwitz and Maidanek.
		The film was assembled in London within a few months after the Allied liberation and thus reflects what the filmmakers knew at the time.
		Thus, the film's aim was to universalize Hitler's victims; they would be defined by their humanity and innocence, and not by race or religion.
	www.pbs.org /wgbh/pages/frontline/camp/faqs.html (1401 words)

	american cinema foundation
		The Goethe-Institut was founded in 1951 to promote a wider knowledge of the German language abroad and to foster cultural cooperation with other countries, organizing and supporting a wide range of activities in the arts and humanities.
		Film festivals and film foundations like the ACF have been instrumental in reaching this goal.
		Germans grow up learn-ing about America through sources as diverse as Karl May and Elvis Presley; if Americans, and Hollywood, are to learn more about European attitudes about life, art, and politics, it must start with places like the Goethe Institut.
	www.cinemafoundation.com /free02/fff02_goethe.html (431 words)

	Association for Modern German Studies
		The introduction locates this study polemically within a history of German film criticism and is at pains to differentiate it from a large part of what has come before it.
		Early cinema is represented in essays by Joseph Garncarz on 'The Origins of Film Exhibition in Germany', an investigation of early exhibition practices as a key to understanding the development of film as a new mass medium before 1907, and by Frank Kessler and Eva Warth on 'Early Cinema and its Audiences'.
		Perhaps surprisingly, no essay is devoted exclusively to films of the 1950s, although this period does feature prominently in essays by Johannes von Moltke on the history of the Heimat genre and Stephen Lowry's study of the career of Heinz Rühmann.
	www.ioe.ac.uk /schools/clc/pachler/amgs/reviews/bergfelder.html (685 words)

	German Studies
		German 2701 - The New German Film: History, Theory, and Practice
		Specifically, the impact of the Oberhausen Manifesto (1962) and the development of the resulting New German Film (FRG) will be analysed and paralleled by a discussion of the East German cinema of state-decreed Socialist Realism, and a glance at Austrian and Swiss productions.
		As a result, the course will also offer insights into the political, social, and cultural development of the German speaking countries in the second half of the 20th Century.
	www.mta.ca /faculty/arts-letters/mll/german/g2701.html (107 words)

	[No title] (Site not responding. Last check: 2007-11-05)
		Caligar/i - though rated the second most important film in German film history in a recent critic's and scholar's poll - was a landmark rather than a culmination in a career that successfully oscillated between artistic andcommercial interests.
		As the field of film studies rediscovers film history and the value of historical context for the analysis of individual films, monographs on filmmakers are increasingly valuable to scholars and students of both film history and cultural studies.
		Walter Schatzberg is a professor of German and an adjunct professor of screen studies at ClarkUniversity.
	www.berghahnbooks.com /titles/Jung.htm (328 words)

	World Wide Web Virtual Library - Film History Index - Home Page
		The News Film Library, University of SouthCarolina "In an historic 1980 donation, the University of South Carolina was selected to receive a portion of the Fox Movietonews newsreel collection by the 20th Century Fox Film Corporation.
		The Film History Index is a joint project between the European University Institute's Library and History and Civilisation Department.
		The Film History Index was created in September 2000 as part of the WWW VL History Network.
	vlib.iue.it /hist-film/libraries.html (1282 words)

	German Books: German Cinema - German History
		From Caligari to Hitler : A Psychological History of the German Film,
		From Alice to Buena Vista: The Films of Wim Wenders,
		A History of the Austrian Empire and Austria-Hungary, by A. Taylor, 280 p.
	www.vistawide.com /german/german_books5.htm (467 words)

	CineFest 2004 > German-Hollywood Connection
		Apart from exploring new and forgotten areas of film history, the festival will provide a prominent showcase for archives which preserve and restore the treasures of German Cinema.
		This will be the first festival to focus on German film heritage, thus filling an important gap on the international circuit of specialist film events.
		An extensive retrospective looking at a key aspect of the history of film in Germany will be combined with workshops and conference sessions, allowing guests to see rare films from German and international archives while exchanging information and ideas with a range of professional colleagues.
	www.germanhollywood.com /cinefest04.html (544 words)

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