German Cinema

V Workshop LBS, 14 maggio 2012

by La Bottega dello Storico LBS

La Bottega dello Storico è lieta di presentarvi un nuovo workshop dal titolo "Il cinema tedesco durante le due... more La Bottega dello Storico è lieta di presentarvi un nuovo workshop dal titolo "Il cinema tedesco durante le due guerre mondiali". A discutere come relatrice sarà presente la Prof.ssa Chiara Tognolotti (Università di Firenze), coadiuvata dal Prof. Andrea D'Onofrio (Università di Napoli Federico II) e dal Prof. Pasquale Iaccio (Università di Salerno) come discussant. Moderatore dell'incontro sarà il Dott. Fabrizio Novellino, dottorando presso l'Università di Trento. Appuntamento presso il Goethe Institut Neapel, Riviera di Chiaia 202, il 14/05/2012 alle ore 16.00.

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

Irgendwo in der BRD

by Heike Klippel

Klippel, Heike: Irgendwo in der BRD. Ortlosigkeit im Nachkriegskino. In: der architekt, Nr. 5, 2009, p. 55-59.

The Misogyny of Trümmer A New Reading of the Trümmerfilm

by Richard McKenzie

Presented at theThe 51st National Postgraduate Colloquium in German Studies 29th March

The post war Trümmerfilm forms a key part of German foundational iconography in relation to the immediate effects of... more The post war Trümmerfilm forms a key part of German foundational iconography in relation to the immediate effects of Germany’s defeat and capitulation in 1945.

Whether created in the Western or Soviet occupation zones this genre has been have been read as texts which begin the rehabilitation of the defeated Landser, begin the process of Vergangenheitsbewältigung and make the first tentative steps at attributing guilt for the catastrophe that befell Germany between 1933 and 1945. Key commentators, such as Pinkert and Silbermann, concentrate on the male experience, where female characters exist principally to rehabilitate and redeem their men folk.

Concentrating on Staudte’s Die Mörder sind unter uns this presentation will provide a new reading of the Trümmerfilm genre. This reading sees the role of the female characters less in a redemptive and more in a controlling negative role in which their independence and sexuality are employed to reduce and defeat the male characters essential masculinity. In this final battle of the German catastrophe the female characters are criticised for attempting to “civilise” the returning Landser in their own image and constraining his essential self.

Contrasting images of resistance and resisters in East and West German warfilms of the 1950’s and 1960’s.

by Richard McKenzie

Konrad Wolf, the East German film director, described himself as a “Vaterlandsverrätter” because of his experience of... more Konrad Wolf, the East German film director, described himself as a “Vaterlandsverrätter” because of his experience of resisting the Nazis by fighting as a Red Army soldier against his native land. His film Ich war 19 and other German war films of the 1950’s and 1960’s grapple with the dilemma of presenting those that resisted fascism in a positive light despite a majority of adults believing, even in the 1950’s that resistance to Hitler was treason . The German war film genre bloomed in the 1950’s and 1960’s on both sides of the Wall as it was co-opted in to efforts to support re armament, nation building and the portray resistors as suitable heroes in the hunt for “usable” heroes in Germany’s catastrophic recent past.

Building on work undertaken for my Phd this paper will present the efforts of East and West German film makers to present resistance and resistors as positive heroes. It will contrast the positions taken by the film makers on both sides of the ideological divide and examine the extent to which these “foundational” films have laid down some of the national myths of German military resistance to fascism and the Wehrmacht’s culpability in the Second World War that persist in to German war film making in to the 21st Century.

G.M. Höllering életrajz

by Andras Szekfu

Egy készülő hosszabb monográfiából rövidítve - Abridged from a longer Hoellering monograph "under construction".

Georg Michael Höllering (George Hoellering, Höllering György, 1897. július 20. – 1980. február 10.) a Hortobágy (1936)... more Georg Michael Höllering (George Hoellering, Höllering György, 1897. július 20. – 1980. február 10.) a Hortobágy (1936) című filmjével írta be nevét a magyar filmtörténetbe. A puszta addig nem ismert szépségű dokumentum felvételeit (operatőr: Schäffer László) egyesítette egy helybeli pásztorok és parasztok által eljátszott történettel (filmnovella: Móricz Zsigmond), és Lajtha Lászlótól rendelt hozzá népdalokból és eredeti szimfónikus tételekből összeállított filmzenét. Angliába emigrálva, mint mozitulajdonos és filmforgalmazó, ő mutatta be a hatvanas évek legjobb magyar filmjeit, Jancsó, Kovács, Kósa és mások alkotásait.

“On the Oberhausen Short Film Festival,” in Directory of World Cinema: Germany, ed. Michelle Langford. Bristol, UK: Intellect, Limited, 2013 (in preparation).

by Ger Zielinski

La Cámara Internacional del Cine dentro del contexto de las coproducciones hispano-italianas de los años 1939-1943

by Felix Monguilot

Felix Monguilot Benzal, La Cámara Internacional del Cine dentro del contexto de las coproducciones hispano-italianas de los años 1939-1943, Actas del X Congreso de la AEHC: El Documental Carcoma de la Ficción, Tomo 2, Consejería de Cultura Filmoteca de Andalucía / Ediciones Litopress, Córdoba, 2004, pp. 65-80.

The International Film Chamber in Europe The International Film Chamber in Europe

'Face to Face with History: Downfall and Heimat 3'

by Hamish Ford

RealTime, no. 66, April-May 2005.

'Meditations and Contradictions (Festival of German Films)'

by Hamish Ford

RealTime, no. 79, 2007.

'Screening the "Other" Deutschland (German Film Festival)'

by Hamish Ford

RealTime, no. 23, 2009.

Bordering on Disaster: Toward an Epistemology of Divided Cinematic Space

by Terri Ginsberg

Spectator 29.1 (Spring 2009): 30-36

" Literatur und Linse": Enzensberger Goes to the Movies

by Alasdair King

Landscape, ideology and national identity in the German cinema: A case study of Die goldene Stadt (1942)

by Alasdair King

Placing Green is the Heath (1951). Spatial Politics and Emergent West German Identity'

by Alasdair King

The Province Always Rings Twice: Christian Petzold's Heimatfilm noir

by Alasdair King

Klaus Kinski (1926-91): The Outsider, Decadent and Libertine-Reduced to the Status of Playing Genre Villains

by Adrian Horrocks

Ein glücklicher Ausgang für die deutsche Geschichte? Heimat 3 und die Romantik als Gründungsmythos des wiedervereinigten Deutschland

by Simone Costagli

in: Matteo Galli / Heinz-Peter Preußer, Deutsche Gründungsmythen, Universitätsverlag Winter, Heidelberg, 2008

Of Artists and Tourists. Locating Holland in Two Early German Films

by Ivo Blom

'Of Artists and Tourists. Locating Holland in Two Early German Films‘, in: Thomas Elsaesser, Michael Wedel (eds.), A Second Life: German Cinema’s First Decades (Amsterdam: Amsterdam University Press, 1996), p. 246-255. Courtesy Amsterdam University Press.

Weisse Sklavinnen und deutsche Kultur. Filmverleih und Programmstrategien von Jean Desmet in den Niederlanden, 1910-1914.

by Ivo Blom

‘Weisse Sklavin und deutsche Kultur. Filmverleih und Programmstrategien von Jean Desmet in den Niederlanden’, KINtop 11, 2002, pp. 49-80. Courtesy KINtop.