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The many faces of Weimar cinema : rediscovering Germany's filmic legacy /

Traditionally, Weimar cinema has been equated with the work of a handful of 'auteurist' filmmakers and a limited number of canonical films. Often a single, limited phenomenon, ""expressionist film,"" has been taken as synonymous with the cinema of the entire period. But...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Rogowski, Christian, 1956- (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: New York : Boydell & Brewer Group Ltd, 2013.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 4 |a The many faces of Weimar cinema :  |b rediscovering Germany's filmic legacy /  |c Christian Rogowski. 
264 1 |a New York :  |b Boydell & Brewer Group Ltd,  |c 2013. 
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505 0 |a Frontcover; Title; Introduction: Images and Imaginaries; Notes; 1: Richard Oswald and the Social Hygiene Film: Promoting Public Health or Promiscuity?; Notes; 2: Unsettling Nerves: Investigating War Trauma in Robert Reinert's 'Nerven' (1919); Notes; 3: Humanity Unleashed: Anti-Bolshevism as Popular Culture in Early Weimar Cinema; Notes; 4: Desire versus Despotism: The Politics of 'Sumurun' (1920), Ernst Lubitsch's "Oriental" Fantasy; Notes; 5: Romeo with Sidelocks: Jewish-Gentile Romance in E. A. Dupont's 'Das alte Gesetz' (1923) and Other Early Weimar Assimilation Films; Notes. 
505 8 |a 6: "These Hands Are Not My Hands": War Trauma and Masculinity in Crisis in Robert Wiene's 'Orlacs Hände' (1924)Notes; 7: The Star System in Weimar Cinema; Notes; 8: 'Schaulust': Sexuality and Trauma in Conrad Veidt's Masculine Masquerades; Notes; 9: The Musical Promise of Abstract Film; Notes; 10: The International Project of National(ist) Film: Franz Osten in India; Notes; 11: The Body in Time: Wilhelm Prager's 'Wege zu Kraft und Schönheit' (1925); Notes; 12: Henrik Galeen's 'Alraune' (1927): The Vamp and the Root of Horror; Notes. 
505 8 |a 13: The Dialectic of (Sexual) Enlightenment: Wilhelm Dieterle's 'Geschlecht in Fesseln' (1928)Notes; 14: Babel's Business -- On Ufa's Multiple Language Film Versions, 1929-1933; Notes; 15: "A New Era of Peace and Understanding": The Integration of Sound Film into German Popular Cinema, 1929-1932; Notes; 16: Landscapes of Death: Space and the Mobilization Genre in G. W. Pabst's 'Westfront 1918' (1930); Notes; 17: Undermining Babel: Victor Trivas's 'Niemandsland' (1931); Notes; 18: Unmasking Brigitte Helm and Marlene Dietrich: The Vamp in German Romantic Comedies (1930-33); Notes; Filmography. 
505 8 |a ContributorsIndex; List of Illustrations; Copyright. 
520 |a Traditionally, Weimar cinema has been equated with the work of a handful of 'auteurist' filmmakers and a limited number of canonical films. Often a single, limited phenomenon, ""expressionist film,"" has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational co. 
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650 6 |a Cinéma  |z Allemagne  |x Histoire  |y 20e siècle. 
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