By Stephen Brockmann
A heritage of German movie facing person movies as artworks has lengthy been wanted. latest histories are likely to deal with cinema as an fiscal instead of a classy phenomenon; past surveys that do interact with person movies don't contain movies of contemporary a long time. This publication treats consultant movies from the beginnings of German movie to the current. delivering historic context via an creation and interchapters previous the remedies of every era's movies, the quantity is acceptable for semester- or year-long survey classes and for somebody with an curiosity in German cinema.BR> the movies: the coed of Prague - the cupboard of Dr. Caligari - The final snigger - city - The Blue Angel - M - Triumph of the need - the good Love - The Murderers are between Us - sunlight Seekers - hint of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - younger T?¶rless - Aguirre, The Wrath of God - Germany in Autumn - the wedding of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of wish - possibly, probably now not - Rossini - Run Lola Run - strong Bye Lenin! - Head On - The Lives of Others
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Additional info for A Critical History of German Film (Studies in German Literature Linguistics and Culture)
This protectionism ultimately allowed the German film industry to grow without competition from the French film industry; by the end of the First World War, German producers had the large and growing German market to themselves. In the early years of the war the German film industry was dominated by a Danish company, Nordisk, which had secured production and distribution facilities in Germany. 27 Secondly, after the beginning of the war, the German government began to intervene and support the centralization of the German film industry for military and political reasons.
W. Norton, 1989), 104. 32 Freud, Civilization and Its Discontents, 106. indd Sec1:38 9/25/2010 2:58:07 PM DER STUDENT VON PRAG (1913) 39 and in the end he seeks to destroy it, thereby destroying himself. Certainly Der Student von Prag is, among other things, a demonstration of film’s considerable technical possibilities, even at this early stage of film history: it is possible to make mirror images appear or disappear in a movie. The film’s star Paul Wegener noted three years after the making of Der Student von Prag: “When I made my first movie three years ago, I did it because I believed I had an idea that could not be carried out in any other art form.
The German government also became aware of Britain’s use of film as an effective propaganda weapon against Germany, and it decided that it needed to respond in kind. Even Kaiser Wilhelm II took a personal interest in film. German companies began to make newsreels about the war, along with patriotic dramas intended to strengthen the bond between soldiers at the front and their families at home. Ultimately, in 1917, the German army’s High Command under General Eric Ludendorff founded its own film propaganda unit, declaring: “We have underestimated the political influence exerted by film for mass suggestion.
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