1 option

German Film. Volume 3 : From the Archives of the Deutsche Kinemathek.

EBSCOhost Academic eBook Collection (North America) Available online

Format:: Book
Contributor:: Rother, Rainer.; Messlinger, Karin.; Aurich, Rolf.; Jaspers, Kristina.; Mänz, Peter.
Language:: English
Subjects (All):: Motion pictures.
Physical Description:: 1 online resource (111 pages)
Edition:: 1st ed.
Place of Publication:: Berlin : Hatje Cantz Verlag GmbH & Co KG, 2024.
Summary:: This e-book is part of a twelve-volume series documenting the history of German film from its beginnings in 1895 to the present day using the collection holdings of the Deutsche Kinemathek. Each volume in ePUB format focuses on a decade and offers a concise overview of the cinematic masterpieces and milestones of that era, highlights famous films and films to be rediscovered, and pays tribute to the cinema, its audience and the creative minds behind the diversity of German film. The complete work, which comprises over 2,700 objects from all areas of the collection and spans 130 years, is also available as a printed book and as a PDF in German and English. The DEUTSCHE KINEMATHEK is one of the world's leading institutions for the collection, preservation, and presentation of audio-visual heritage. Hundreds of thousands of objects are permanently preserved in its archives and are available for research into film and television history. In addition to scripts, photos, posters, costumes and designs, the collection also includes film equipment. The Kinemathek curates film series and exhibitions and restores and digitizes films. Its diverse activities, including installations, publications, educational formats, and conferences, encourage visitors to discover the world of moving images.
Contents:: Front Cover; Halftitle; Titlepage; Contents; Foreword; 1895-1909; Introduction; The World in Upheaval; The Sensation of the Moving Image; The Proliferation of the Medium; The Sound for the Image; The Medium in Society; The Path to the Modern Cinema Projector; The Lumière Brothers in Germany; The Skladanowsky Brothers; The Inventor and Entrepreneur Oskar Messter; Guido Seeber and the "Giant Living Photographs"; From Traveling to Stationary Cinemas; Footage Filmed by Guido Seeber at the Farewell Ceremony for Soldiers by Kaiser Wilhelm II; DER UNTERGANG DER JEANNETTE; Gerhard Lamprecht (I/II): Collector in the Early Days of Cinema; Gerhard Lamprecht (II/II): From Private Collector to the Kinemathek; Kaiser Wilhelm II in Film; DER HAUPTMANN VON KÖPENICK and Later Versions; 1910-1919; Wilhelmine Cinema; Auteur vs. Trash Film?; Monopolized Distribution and Stars; Genres; The Great War; A Time of Transition; Guido Seeber and Animation Techniques; Friedrichstrasse, Berlin: An Early Center of the Film Industry; The Weekly Programs: Cinema of Attractions; Adventure Films from Hagenbeck's Zoo; Early Film Posters; Poster Design; Color in Early Film; The Birth of the Babelsberg Studio Lot; Women in the Film Industry in the 1910s; Foundation of the Geyer-Werke; The First International Star of German Cinema: Asta Nielsen; The First German Film Star: Henny Porten; The Emergence of Film Journalism; From Crank Box to Professional Film Camera; The Film Pioneer Luise del Zopp; Star Postcards from the 1910s; Early Cinema Culture; A Highly Successful Genre: Detective Films; A Touch of Hollywood: Fern Andra; Early Auteur Films; Field Cinemas in the First World War; Ernst Lubitsch and the 1918-19 Revolution in Berlin; Sittenfilme: Between Sex Education and Exploitation; Richard Oswald; Marlene Dietrich's Early Love of the Cinema; The Director Rudolf Meinert; Sensations in Series: Joe May's Multipart Prunkfilme; The Opening of the Ufa-Palast am Zoo; 1920-1929; Booms; Innovations; Perspectives; DAS CABINET DES DR. CALIGARI (I/II): On the Advertising Campaign and Film Architecture; DAS CABINET DES DR. CALIGARI (II/II):On the History of Its Impact; Ken Adam and Caligarism; The Reich Cinema Act; Censorship of Posters: Ernst Lubitsch's SUMURUN; German Silent Westerns; Corporate Consolidation in the Film Industry; Erich Pommer; Reich President Ebert on the Set of ANNA BOLEYN; Asta Nielsen Plays Hamlet; Star Postcards from the 1920s; The First Vampire Film: Friedrich Wilhelm Murnau's NOSFERATU; Monumental History; The Geiselgasteig Studio Lot; Film Publications from the 1920s; The First Blockbuster: DR. MABUSE, DER SPIELER; Animation and the Avant-Garde: Lotte Reiniger and the Silhouette Film; Jewish Life in Film: Two Examples; Buddenbrooks as a Silent Film; Film Restoration (I/IV): SYLVESTER - TRAGÖDIE EINER NACHT; National Socialism and DIE NIBELUNGEN; Innovation in Film Editing: The Lyta Universal Editing Table; METROPOLIS: Inspired by New York?; The Unleashed Camera; The Cinema and Photo Exhibition (Kipho); The "Babelsberg Bauhütte": Film Architecture and Production Conditions; Advertising for Parufamet Distribution Films; Kulturfilme; The Film Composer Giuseppe Becce; Still Photography in the 1920s; Guido Seeber's Early History of the Camera; Psychoanalysis in Film; Expedition Films of the 1920s; Friedrich Wilhelm Murnau's FAUST; Gerhard Lamprecht's Zille Films; METROPOLIS (I/III): Art Direction; METROPOLIS (II/III): Music and Restoration; METROPOLIS (III/III): Reception and Impact; The Costume Designer Aenne Willkomm; Walther Ruttmann's BERLIN. DIE SINFONIE DER GROẞSTADT; Cross-Dressing Films in the Weimar Republic; Prussian Films about "Old Fritz"; Film Restoration (II/IV): DER KATZENSTEG; The Bauhaus and Film; Women Film Professionals of the 1920s; Women Screenwriters in the 1920s; World War Trauma and Returnee Films; Fritz Lang's FRAU IM MOND; Big City Traffic in the Studio: Joe May's ASPHALT; Louise Brooks: A Girl in Babelsberg; New Hairstyles; The Mountain Film Genre and Arnold Fanck; Richard Eichberg's Popular Films; Proletarian Cinema in the 1920s; 1930-1939; The Great Depression; New Tones; Dictatorship; Nationalization; Exile; Genres, Stars, Contradictions; The First Sound Films; DER BLAUE ENGEL: Marlene Dietrich's Path to Stardom; Sports and the Cult of the Body; Film Restoration (III/IV): Early Sound Films; Fritz Lang's Serial Killer Film M; Innovations at the Babelsberg Studio; New Objectivity in Berlin; Images of France; Cinema's Struggle against Repressive Sexual Morality; Women Film Professionals in the 1930s: The End of a Development; Short Sound Films of the 1930s; The Sound Film Operetta; Brigitte Helm: A Starlet and Her Fans; Die Dreigroschenoper by Brecht and Weill as a Film; Collective Films; Still Photography in the 1930s; Ufa Sound Films up to 1933; Embattled Memory: The First World War in Film; Similarities between Two Stars: Hans Albers and Heinz Rühmann; Prussian Films with a Nationalist Perspective; Variants of the Mountain Film; Star Postcards from the 1930s; Cultural Breach: On the Way to Nazi Film; Film Journalism under the Influence of National Socialism; Traces of Weimar Cinema; The Graphic Designer and Film Director Peter Pewas; Designs for the Future and Zeitgeist; DAS TESTAMENT DES DR. MABUSE by Fritz Lang and Thea von Harbou; Film Professionals in Exile (I/IV); Film Professionals in Exile (II/IV); Film Professionals in Exile (III/IV); Film Professionals in Exile (IV/IV); Glorification of the Nazi Kampfzeit; Anti-Semitism in Nazi Films through 1939; The European Film Fund; The German Film Academy; Berlin and Babelsberg as Centers of Film Archiving and Education; The Actor Heinrich George; Riefenstahl and the Nazi Party Rallies, 1933-1935; The Film Composer Herbert Windt; Places of Longing: Five Comedies; Film as a Document of Its Time; The International Aspect of Nazi Film Policy; World's Fair and Venice; Actresses under National Socialism: Careers between Adaptation and Resistance; Nazi Versions of Prussian History; Queens of American Cinema; "Exotic" Stars in Nazi Cinema; Camera Equipment: Franz Weihmayr's Five Cases; Frank Wysbar's FÄHRMANN MARIA; Film Aesthetics and Industry in the Nazi Era; Geyer-Werke in the 1930s; The Early Peak of Home Cinema; Loyal to the Party Line: Veit Harlan's DER HERRSCHER; Costume and Architectural Sketches; A Flagship Product: URLAUB AUF EHRENWORT; Period Films; Women's and Men's Apartment Shares; Colonial Melodramas; The Writer Jochen Huth; The Accompanying Program in the Cinema; Soldiers' Cinemas during the Second World War; 1940-1949; Against the "Flickering Magic"; Change of Direction; Decline in Production, Record Attendances; The Last Film Productions; Continuities and New Beginnings; Anti-Semitic Infamy: Veit Harlan's JUD SÜẞ; Film Posters of the 1940s; Love on the "Home Front"; The Major Nazi Propaganda Film OHM KRÜGER; Three Film Composers: Michael Jary, Peter Igelhoff, Norbert Schultze; "Great Germans" as Film Heroes in the Nazi State; Film Europe under the Swastika; Late Films in the "Third Reich" (I/II): MÜNCHHAUSEN; Afro-German Actors in Nazi Films; Late Films in the "Third Reich" (II/II): DIE FEUERZANGENBOWLE; The Anti-Nazi Film HANGMEN ALSO DIE!; The Daily Routine of War in the Guise of a Revue: DIE FRAU MEINER TRÄUME; JUNGE ADLER: On the Ground of Wartime Reality; Testimonies of a Cinemagoer; Aesthetic Opposition: DER VERZAUBERTE TAG and UNTER DEN BRÜCKEN; International Film Professionals as Victims of National Socialism; A Final Film Production: DAS LEBEN GEHT WEITER; The Year 1945; Acting Training for Film; Building East Germany: The Founding of DEFA; A New Beginning in the West; Open Field: Trümmerfilme in East and West; Gert Fröbe; Marlene Dietrich in Postwar Germany; The Past and a New Beginning: DEFA's Anti-Fascist Stance; Film and the Institutions of.; Its Administration; Films about the Recent Past: LANG IST DER WEG and MORITURI; The Importance of Women Film Editors (I/II); Film Criticism in Postwar West Germany; Kulturfilm Themes: Atom and Nature; Remigrated German Film Professionals; 1950-1959; Much Glamor with "Gloria"; Under Central Administration; Reconstruction and Competing Systems; Looking Across the Border; Boom Years; The Boom of the West German Heimatfilm; About the Heimatfilm Genre; DEFA Fairy-Tale Films; Oscar Martay's Showcase of the West; The German Film Award and the Bambi; The Founding of the Berlin International Film Festival and Other Festivals; Scandal Surrounding DIE SÜNDERIN; Changes at the FSK; Prestige Project of the Young DEFA: DER UNTERTAN; Karena Niehoff and the Harlan Trial; Portrayals of Women in a Political Context; Film Stars (I/VI) (FRG and GDR); Automobile Complexes; NATÜRLICH DIE AUTOFAHRER; Ilse Kubaschewski's Gloria Film-Verleih and DIE TRAPP-FAMILIE; Continuities: Herbert Reinecker and Alfred Weidenmann; The Second World War in West German Feature Films; Film Adaptations of Erich Kästner's Children's Books; The Newsreel in East and West Germany; MÄDCHEN IN UNIFORM: The 1958 Remake; Thomas Mann Film Adaptations in the Adenauer Era; The Stauffenberg Assassination Plot in Film; Film Posters: Entertainment and Social Critique (GDR); Film Posters: Entertainment and Social Critique (FRG); Karlheinz Böhm: From SISSI TO PEEPING TOM; Fade into Ruins: Films Shot in Berlin's Tiergarten District; An Explosive Topic: The Inner-German Border; Homosexuality in 1950s West Germany: ANDERS ALS DU UND ICH; Films about Rebellious Teenagers in East and West Germany; Bavaria International; Music Films in West Germany; Anti-Black Racism in ZWEI BAYERN IM URWALD; The Photographer Heinz Köster and the Berlinale, 1951-1959; Heinz Köster; Social Criticism in the Adenauer Era; Showplace Berlin; SERENGETI DARF NICHT STERBEN: No Place for Humans; 1960-1969; Successful Series; A Time of Crises; The Downturn in Numbers; Coming to Terms with the Past in East and West; Utopian Film: Science Fiction at DEFA; DER MANN MIT DEM OBJEKTIV; DEFA Film Language in an International Format; A Cold War Comedy: ONE, TWO, THREE; Republikflucht as a Theme in West German Film; Toward Self-Determination: LOTS WEIB; Architecture and Criticism of the Nazi Era: BRUTALITÄT IN STEIN; Divided Berlin and the Building of the Wall in 1961; Film Stars (II/VI) (FRG and GDR); The Oberhausen Manifesto; Spearheads of the New German Cinema: Hansjürgen Pohland, Herbert Vesely, and Wolf Wirth; Westerns "Made in Germany": The Karl May Film Adaptations of the 1960s; The Opening of the Deutsche Kinemathek in 1963; The Film Critic Joe Hembus; Early Heinrich Böll Adaptations; Film as "Optical Literature": The Films of the Literarisches Colloquium Berlin; The Relationship between Film and Television; Television Productions at the Berlinale; Posters from the Film Distributor Neue Filmkunst Walter Kirchner; Modern Graphics in Film Posters; Posters from Atlas Filmverleih; Ambitious Advertising Concepts; Versatile: The Director Frank Beyer; James Bond Hunts German Villains; The Protection of "Moral Sensibilities" by the FSK; New Departure in the GDR (I/II): Banned DEFA Films; New Departure in the GDR (II/II): Reconstructions; The Edgar Wallace Films; Chronicler of a Red-Light District: Jürgen Roland in St. Pauli; Signs of the Present in the New German Cinema; Kafka on the Big Screen; The Awakening of Women Filmmakers in 1966; Posters of DEFA Entertainment Films, 1960-1964; Posters of DEFA Entertainment Films, 1965-1969; The Documentarist and Chronicler Peter Nestler; Films from the Police Historical Collection, Berlin; The Collection of Film Extracts from the Estate of Gerhard Lamprecht; The DEFA Adventure Films and Westerns; The Kuratorium junger deutscher Film; Experimental Film Work: Dore O.; Experimental Films by Werner Nekes; The Genesis of the Hamburger Filmmacher Cooperative; In the Shadow of Bavaria: New Munich Cinema; Film Restoration (IV/IV): NEUN LEBEN HAT DIE KATZE; The Sex Wave in the East and West German Summer Films of 1968; 1969: The Year of Rainer Werner Fassbinder; Film and Television Converge; Charles Wilp: Advertising Productions of the 1960s; 1970-1979; The Boom Period of the New German Cinema; General Conditions; Political Trends; The Scandal at the Berlinale about o.k. by Michael Verhoeven; The Creation of Communal Cinemas; Everyday Working Life in DEFA Films of the 1970s; The Battle of the Sexes in German Feature Films; The REPORT Films in West German Cinema; People with Disabilities in Werner Herzog's Early Films; Ingemo Engström: Research into Flight and Resistance; Film Stars (III/VI) (FRG and GDR); Laurens Straub and the Filmverlag der Autoren; CABARET: Dance on the Volcano; Class Clown and Teacher Films; Rosa von Praunheim's Breakthrough Becomes a Social Awakening; The New Heimatfilm: Volker Vogeler's JAIDER - DER EINSAME JÄGER and Reinhard Hauff's MATHIAS KNEIBL; West German Labor Disputes in Film; Between Individual Longing and Socialist Fulfillment of Duty: DER DRITTE and DIE SCHLÜSSEL; Two Hitler Films: Alienation Technique versus Psychologism; Two World Stars: Marlene Dietrich and David Bowie; Artur Brauner's Films against Forgetting; The VW Beetle as a Movie Star; The 1973 Women's Film Seminar and the Feminist Film Movement; "Wenn ein Mensch lebt": DIE LEGENDE VON PAUL UND PAULA; Migration Themes in the Films of Rainer Werner Fassbinder and Helma Sanders-Brahms; Film Adaptations of Effi Briest; The German Autumn in Film; A New Regional Film from Hamburg: Hark Bohm's NORDSEE IST MORDSEE; JAKOB DER LÜGNER by Frank Beyer and Jurek Becker; Posters from the 1970s: Films from the FRG Shown in the GDR; Posters from the 1970s: Films from the GDR Shown in the FRG; German Road Movies; Ingmar Bergman in Munich; Social Studies in the Provinces: PAULE PAULÄNDER and DAS BROT DES BÄCKERS; Rebellion and Reappraisal: Theodor Kotulla and the Traces of History in the Present; Helke Sander and Elfi Mikesch: Two Views of West Berlin in the 1970s; Documentaries and Feature Films by Christian Rischert; An International Success: DIE BLECHTROMMEL by Volker Schlöndorff; Escape from Germany: Peter Lilienthal's David; DEFA Children's Films; Film Artists against All Conventions: Helmut Herbst and Vlado Kristl; 1980-1989; Narrative Cinema between Auteurism and Commitment to Genre; Political Fronts; Global Market Perspective; The Final Years of DEFA; DEFA Films at the Berlinale; The Wendländische Filmkooperative; Remembrance Work: DEUTSCHLAND BLEICHE MUTTER by Helma Sanders-Brahms; The Cameraman Jürgen Jürges; Adolf Winkelmann's Cinematic Monuments to the Ruhr Region; Berlin Subculture in the 1980s; Biographies of Women: DIE BLEIERNE ZEIT and ROSA LUXEMBURG by Margarethe von Trotta; Film Stars (IV/VI) (FRG and GDR); The BRD Trilogy by Rainer Werner Fassbinder; CHRISTIANE F..; - WIR KINDER VOM BAHNHOF ZOO; Oscar Nominations for an Amphibious Film: Wolfgang Petersen's DAS BOOT; The Film Architect, Set and Costume Designer Monika Bauert; Women's Roles in the Films of Ulrike Ottinger; The White Rose in Film; A French-German Co-Production: Romy Schneider's Last Film; Portraits of Women in DEFA Films; Werner Herzog and Klaus Kinski on Location in the Amazon; Documentaries by Helga Reidemeister; Herbert Achternbusch's DAS GESPENST and the "Münchner Erklärung"; The Münchner Erklärung Verbatim; "Impossible Shots": The Steadycam; Alexander Kluge: The All-Rounder; Milieu Study: Uwe Schrader's KANAKERBRAUT; The Postwar Period in Germany: PEPPERMINT FRIEDEN; The Experimental Film ECHTZEIT; Excerpt from "Foreword to a Film" by Hellmuth Costard and Jürgen Ebert; The Filming of DIE UNENDLICHE GESCHICHTE; Maximilian Schell's Documentary on Marlene Dietrich; The Epic Film HEIMAT by Edgar Reitz; Cinematic Explorations of the Holocaust; Posters for Children's Films from the 1980s; Doris Dörrie: Ethnologist, Filmmaker, Author; Film Comedians: Otto Waalkes and Dieter Hallervorden; The Figure of the Alien in ENEMY MINE; Reinhard Hauff's STAMMHEIM at the Berlinale; A Major International Production: DER NAME DER ROSE; Wim Wenders's DER HIMMEL ÜBER BERLIN; Between the Baghdad Café and Paris, Texas; The Dawn of German-Turkish Cinema; A Pioneer of Queer Cinema: Monika Treut; Loriot and the Cinema; Action Films by Dominik Graf; The Films of Jeanine Meerapfel; Coming Out on November 9, 1989; 1990-1999; Reflections of History; Comedies, Mainstream, and New Voices; The End of DEFA, Change in Babelsberg; Stocktaking, Review, and Anniversary; With Reservations: The Nazi Film Heritage; Before and After Reunification: Documentaries by Volker Koepp; Films by Christoph Schlingensief; DEFA's Last Youth Films; Posters for Comedies of the 1990s; Comedies of the 1990s; The GDR and the Stasi: Questions to the Perpetrators; The Emergence of Multiplexes; Development of Film Criticism in Germany since the 1990s; Along History: Films by Andreas Dresen; Comedies by Helmut Dietl; The Children of Golzow: Observations of Life in the Oderbruch Region; Films by Pia Frankenberg; "Ecstatic Truths" in the Work of Werner Herzog; The Importance of Women Film Editors (II/II); The Comic Adaptation DER BEWEGTE MANN; SCHINDLER'S LIST in Germany; Science Fiction Films by Roland Emmerich; INDEPENDENCE DAY: RESURGENCE; Two Films about Writing: HEINRICH and MEIN HERZ - NIEMANDEM! by Helma Sanders-Brahms; LOLA RENNT and the Founding of the Production Company X Filme; Post-Unification Berlin: Andreas Kleinert's WEGE IN DIE NACHT; 2000-2009; New Structures; Film Production; Contemporary History and Themes of the Time; Art, Autobiography, and Fiction: DIE UNBERÜHRBARE and DER ALTE AFFE ANGST by Oskar Roehler; The Ghost Trilogy by Christian Petzold; Andres Veiel's BLACK Box BRD; Successful Comedy: DER SCHUH DES MANITU; Posters for Children's and Youth Films of the 2000s; A Literary Adaptation by Caroline Link: NIRGENDWO IN AFRIKA; GOOD BYE, LENIN! Seventy-Nine Square Meters of GDR; Soccer Films of the 2000s; Success at the Berlinale: Fatih Akin's GEGEN DIE WAND; Bernd Eichinger as Screenwriter and Producer; State Security and an Aesthetic Parallel Universe; Dani Levy's Comedies ALLES AUF ZUCKER and MEIN FÜHRER - DIE WIRKLICH WAHRSTE WAHRHEIT ÜBER ADOLF HITLER; The Film Adaptation of Patrick Süskind's Novel Das Parfum; The Salzgeber Film Distribution Company; Posters of the Berlin Film Distributor Salzgeber; Berlin Milieu Studies; Neo-Mountain Films; Film Stars (V/VI); DAS WEIBE BAND - EINE DEUTSCHE KINDERGESCHICHTE by Michael Haneke; 2010-2024; Film Production and Streaming Services; In Crisis Mode; Crowd Pleasers, Artistic Successes, New Approaches; Digitization and Film Heritage; "Honor Crimes" and the Struggle for Self-Determination; The Filmmaker Tatjana Turanskyj; Genre and Auteur Films; Biopics as Musicals; Right-Wing Terror in the Twenty-First Century; Ulrike Ottinger's Ethnological Travels; Costume Design in Period Films; Cinematic Dystopia: Tim Fehlbaum's HELL; The Present in Christian Petzold's Historical Narration; Margarethe von Trotta Portrays Hannah Arendt; Culture Clash Comedies: The Film Series FACK JU GÖHTE; Developments in Gay Cinema; Social Criticism: The Director Johannes Naber; Lesbian-Queer Self-Searching; Fritz Bauer in Films; TONI ERDMANN by Maren Ade; Komplizen Film; Hape Kerkeling: ICH BIN DANN MAL WEG; Film Stars (VI/VI); Uli Hanisch Transforms the Filming Location Berlin; ICH WAR ZUHAUSE, ABER by Angela Schanelec; Identity and Power Relations: Films by Maria Schrader; Social Criticism in Nora Fingscheidt's SYSTEMSPRENGER; Films by Andreas Dresen: History and the Individual; The Film Architect Silke Buhr; Fatih Akin's Physical Cinema; Schools of Seeing: Artists' Biographies; Films by Edward Berger; Commitment to Audiovisual Heritage; Appendix; Index of Films; Index of Persons; Image Credits: Sources and Copyrights; Authors; Acknowledgments; Imprint; Back Cover.
Notes:: Description based on publisher supplied metadata and other sources.
ISBN:: 9783775759670; 3775759670
OCLC:: 1465268359

The Penn Libraries is committed to describing library materials using current, accurate, and responsible language. If you discover outdated or inaccurate language, please fill out this feedback form to report it and suggest alternative language.

1 option

German Film. Volume 3 : From the Archives of the Deutsche Kinemathek.

Find

My Account

Guides