Dismantling the dreamfactory : gender, German cinema, and the postwar quest for a new film language
著者
書誌事項
Dismantling the dreamfactory : gender, German cinema, and the postwar quest for a new film language
（Film Europa : German cinema in an international context, v. 9）
Berghahn Books, 2009
- : hbk
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注記
Includes bibliographical references and index
収録内容
- Pt. 1. Relegitimating cinema: female spectators and the problem of representation
- How do you solve a problem like Susanne?: the female gaze in Wolfgang Staudte's The murderers are among us (1946)
- When fantasy meets reality: authorship and stardom in Rudolf Jugert's Film without a title (1948)
- Gendered visions of the German past: Wolfgang Liebeneiner's Love '47 (1949) as woman's film
- Unsolved mysteries: race, ethnicity, and gender in Helmut Kütner's Epilogue (1950)
- Pt. 2. Art on film: representing gender and sexuality in popular cinema
- "Through her eyes": regendering representation in Willi Forst's The sinner (1951)
- Looking at Heimat: visual pleasure and cinematic realism in Alfons Stummer's The forester of the silver wood (1955)
- Degenerate art?: problems of gender and sexuality in Veit Harlan's Different from you and me (§175) (1957)
- Pt. 3. Towards the new wave: gender and the critique of popular cinema
- Pleasurable negotiations: spectatorship and genre in Helmut Käutner's "Anti-tearjerker" Engagement in Zurich (1957)
- Sound and spectacle in the wirtschaftswunder: the critical strategies of Rolf Thiele's The girl Rosemarie
- Gender and the new wave: Herbert Vesely's The bread of those early years (1962) as transitional film
- Epilogue. Adapting the 1950s: the afterlife of postwar cinema in post-unification popular culture
内容説明・目次
内容説明
The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.
目次
Figures
Acknowledgments
Introduction: Postwar German Cinema
Chapter 1. The Female Gaze in The Murderers Are Among Us
Chapter 2. Authorship and Stardom in Film Without a Title
Chapter 3. Love '47 as Woman's Film
Chapter 4. Race, Ethnicity, and Gender in Epilogue
Chapter 5. Regendering Representation in The Sinner
Chapter 6. Visual Pleasure and Cinematic Realism in The Forester of the Silver Wood
Chapter 7. Gender and Sexuality in Different From You and Me
Chapter 8. Spectatorship and Genre in Engagement in Zurich
Chapter 9. Critical Strategies of The Girl Rosemarie
Chapter 10. The Bread of Those Early Years as Transitional Film
Epilogue: Adapting the 1950s
Bibliography
Index
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