A second life : German cinema's first decades
Author(s)
Bibliographic Information
A second life : German cinema's first decades
（Film culture in transition）
Amsterdam University Press, c1996
- : pbk
- : hbk
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Note
Bibliography: p. 337-345
Description and Table of Contents
- Volume
-
: pbk ISBN 9789053561720
Description
German cinema is best known for its art cinema and its long line of outstanding individual directors. The double spotlight on these two subject has only deepened the obscurity surrounding the popular cinema. A Second Life performs a kind of archaeology on a period largely overlooked: the first two decades of German cinema. This collection of essays by established authors refocuses the terms of a debate that will develop in the years to come concerning the historical and cultural significance of popular cinema in Wilhelmine Germany.
Table of Contents
CONTENTS - 6[-]Preface and Acknowledgements - 8[-]General Introduction - 10[-] Early German Cinema: A Second Life? - 10[-]SECTION I: AUDIENCES AND THE CINEMA INDUSTRY - 40[-] The Kaiser's Cinema: An Archeology of Attitudes and Audiences - 42[-] Oskar Messter, Film Pioneer: Early Cinema between Science, Spectacle, and Commerce - 52[-] The French Connection: Franco-German Film Relations before World War I - 63[-] The Danish Influence: David Oliver and Nordisk in Germany - 73[-] Paul Davidson, the Frankfurt Film Scene and AFGRUNDEN in Germany - 80[-] Munich's First Fiction Feature: DIE WAHRHEIT - 87[-] Moving Images of America in Early German Cinema - 94[-]SECTION II: POPULAR STARS AND GENRES - 102[-] Comedy - 104[-] Early German Film Comedy, 1895-1917 - 104[-] The Spectator as Accomplice in Ernst Lubitsch's SCHUHPALAST PINKUS - 115[-] Melodrama and Social Drama - 119[-] Asta Nielsen and Female Narration: The Early Films - 119[-] Melodrama and Narrative Space: Franz Hofer's HEIDENR SLEIN - 124[-] Crime Drama and Detective Film - 133[-] Cinema from the Writing Desk: Detective Films in Imperial Germany - 133[-] Ernst Reicher alias Stuart Webbs: King of the German Film Detectives - 143[-] The Early Fantasy Film - 152[-] The Faces of Stellan Rye - 152[-] HOMUNCULUS: A Project for a Modern Cinema - 161[-] Non-Fiction: War Films, Industrial Films, Propaganda and Advertising - 169[-] Julius Pinschewer: A Trade-mark Cinema - 169[-] Newsreel Images of the Military and War, 1914-1918 - 176[-] Learning from the Enemy: German Film Propaganda in World War I - 186[-] The Reason and Magic of Steel: Industrial and Urban Discourses in DIE POLDIH TTE - 193[-]SECTION III: FILM STYLE AND INTERTEXTS: AUTHORS, FILMS, AND AUTHORS' FILMS - 204[-] Max Mack: The Invisible Author - 206[-] From Peripetia to Plot Point: Heinrich Lautensack and ZWEIMAL GELEBT - 214[-] Giuseppe Becce and RICHARD WAGNER: Paradoxes of the First German Film Score - 220[-] Early German Film: The Stylistics in Comparative Context - 226[-] Self-Referentiality in Early German Cinema - 238[-] Of Artists and Tourists: 'Locating' Holland in Two Early German Films - 247[-] Stylistic Expressivity in DIE LANDSTRASSE - 257[-] Two 'Stylists' of the Teens: Franz Hofer and Yevgenii Bauer - 265[-] The Voyeur at Wilhelm's Court: Franz Hofer - 278[-]Notes - 286[-]Bibliography - 338[-]Publication Acknowledgements - 347[-]List of Contributors - 350
- Volume
-
: hbk ISBN 9789053561836
Description
German cinema is best known for its art cinema and its long line of outstanding individual directors. The double spotlight on these two subject has only deepened the obscurity surrounding the popular cinema. German Cinema performs a kind of archaeology on a period largely overlooked: the first two decades of German cinema. This collection of essays by established authors refocuses the terms of a debate that will develop in the years to come concerning the historical and cultural significance of popular cinema in Wilhelmine Germany.
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