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Generic histories of German cinema : genre and its deviations / edited by Jaimey Fisher.

Contributor(s): Fisher, Jaimey [editor.].
Material type: TextTextSeries: JSTOR eBooks.Screen cultures: Publisher: Rochester, New York : Camden House, 2013Description: 1 online resource (vi, 326 pages) : illustrations.Content type: text Media type: computer Carrier type: online resourceISBN: 9781571138705; 1571138706; 1299941109; 9781299941106.Subject(s): Motion pictures -- Germany -- History and criticism | Film genres -- GermanyAdditional physical formats: Print version:: Generic histories of German cinema.DDC classification: 791.430943 Online resources: Click here to view this ebook.
Contents:
Introduction: toward generic histories: film genre, genre theory, and German film studies / Jaimey Fisher -- Parallel modernities: from haunted screen to universal horror / Gerd Gemunden -- The essay film and its German variations / Nora M. Alter -- The limits of futurity: German science fiction film in the course of time / Lutz Koepnick -- The situation is hopeless, but not desperate: UFA's early sound film musicals / Eric Rentschler -- Resisting the war (film): Wicki's "masterpiece" Die Brucke (1959) and its generic transformations / Jaimey Fisher -- Ironizing identity: the German crime genre and the Edgar Wallace production trend of the 1960s / Sascha Gerhards -- From Siodmak to Schlingensief: the return of history as horror / Kris Vander Lugt -- Producing adaptations: Bernd Eichinger, Christiane F., and German film history / Hester Baer -- Exceptional thrills: genrification, Dr. Mabuse, and Das Experiment / Steve Choe -- The Heimat film in the twenty-first century: negotiating the New German cinema to return to Papas Kino / Paul Cooke -- The romantic comedy and its other: representations of romance in German cinema since 1990 / Antje Ascheid -- Yearning for genre: the films of Dominik Graf / Marco Abel.
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
PN1993.5.G3 G3573 2013 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.7722/j.ctt31nhth Available ocn859383012

Includes bibliographical references (pages 285-300) and index.

Print version record.

Introduction: toward generic histories: film genre, genre theory, and German film studies / Jaimey Fisher -- Parallel modernities: from haunted screen to universal horror / Gerd Gemunden -- The essay film and its German variations / Nora M. Alter -- The limits of futurity: German science fiction film in the course of time / Lutz Koepnick -- The situation is hopeless, but not desperate: UFA's early sound film musicals / Eric Rentschler -- Resisting the war (film): Wicki's "masterpiece" Die Brucke (1959) and its generic transformations / Jaimey Fisher -- Ironizing identity: the German crime genre and the Edgar Wallace production trend of the 1960s / Sascha Gerhards -- From Siodmak to Schlingensief: the return of history as horror / Kris Vander Lugt -- Producing adaptations: Bernd Eichinger, Christiane F., and German film history / Hester Baer -- Exceptional thrills: genrification, Dr. Mabuse, and Das Experiment / Steve Choe -- The Heimat film in the twenty-first century: negotiating the New German cinema to return to Papas Kino / Paul Cooke -- The romantic comedy and its other: representations of romance in German cinema since 1990 / Antje Ascheid -- Yearning for genre: the films of Dominik Graf / Marco Abel.

Reviews provided by Syndetics

CHOICE Review

These 12 essays, with a comprehensive introduction by the editor, provide the first examination of German film genres that takes the reader beyond the boundaries of Weimar expressionism to accomplishments of moviemakers from the 1950s to the current moment. It is time that critics of the German cinema build a bridge between entertainment and art: the genre film is the perfect building block. The contributors examine, among other genres, the horror film, science fiction, the uniquely German Heimat (i.e., homeland) cinema, war movies, musicals, and detective films. This is an excellent overview of themes, actors, production values, and historical context. Taken together, the essays present a picture of industry and its art; the directors, producers, and designers play a role in explaining how the German cinema survived the deadly force of Nazi film propaganda. The emphasis is on the West and the emergence of a popular German cinema industry that produced, in the period from the 1950s, a lively and attractive style of moviemaking that set the industry on a course that led to high art and pure entertainment. The thorough bibliography, including both English and German resources, covers the range of theory and genre in exploring the roots of German cinema. Summing Up: Highly recommended. All readers. S. Gittleman Tufts University

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