By Jennifer M. Kapczynski, Michael D. Richardson
This dynamic, event-centered anthology bargains a brand new realizing of the hundred-year historical past of German-language movie, from the earliest days of the "Kintopp" to modern productions like "The Lives of Others". all of the greater than 80 essays takes a key date as its start line and explores its importance for German movie heritage, pursuing its dating with its social, political, and aesthetic second. whereas the essays provide abundant temporal and topical unfold, this e-book emphasizes the juxtaposition of well-known and unknown tales, granting consciousness to quite a lot of cinematic occasions. short part introductions offer a bigger historic and film-historical framework that illuminates the essays inside it, providing either students and the overall reader a environment for the person texts and figures below research. Cross-references to different essays within the e-book are incorporated on the shut of every access, encouraging readers not just to pursue frequent trajectories within the improvement of German movie, but in addition to track specific figures and motifs throughout genres and old sessions. jointly, the contributions supply a brand new view of the a number of, intersecting narratives that make up German-language cinema. The constellation that's therefore verified demanding situations unidirectional narratives of German movie heritage and charts new methods of pondering movie historiography extra extensively. Jennifer Kapczynski is affiliate Professor of German at Washington college, St. Louis, and Michael Richardson is affiliate Professor of German at Ithaca collage.
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Additional info for A New History of German Cinema
50. Daily Express, 3 February 1976. 51. Jarman Papers, Sebastiane Papers, Item 2b. 52. , Item 4. 53. , Box 23, Notebook, February 1975. For a fuller account of the film, see Rowland Wymer, Derek Jarman (Manchester: Manchester University Press, 2005), pp. 36–48. 1 Many people who have no formal knowledge of history will gain an understanding of the past from film and television. Nations often identify themselves by glorifying key moments in their history, and film and television interpretations then bring these events to life in a more immediate way than any other form of communication.
Notes 1. On the ‘continuing’ Civil War, see David Goldfield, Still Fighting the Civil War: The American South and Southern History (Baton Rouge: Louisiana State University Press, 2002), pp. 1–2, 9, 299, 302–4. 2. David W. Blight, Beyond the Battlefield: Race, Memory, and the American Civil War (Amherst and Boston: University of Massachusetts Press, 2002), pp. 102–3. Melvyn Stokes 25 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. Also see Thomas L. Connelly and Barbara L. Bellows, God and General Longstreet: The Lost Cause and the Southern Mind (Baton Rouge: Louisiana State University Press, 1982), pp.
It included some tenets of the Lost Cause while contradicting others. It largely followed the Lost Cause interpretation of the South’s inevitable defeat. While broadly endorsing the idea that the Old South was a land of cavaliers and their ladies, it simultaneously undermined it by suggesting that Southern men had been boastful enough and aggressive enough to start a war that would destroy their way of life for good – and by having as its heroine a strong, determined woman who was far from being a typical ‘lady’.