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Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles on film spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available, now augmented by the increased availability of films from the period on DVD. This wealth of new source material calls fora re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume.
Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P.Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale.
Christian Rogowski is Professor of German at Amherst College.
Motion pictures --- Cinéma --- History --- Histoire --- Cinéma --- Weimar cinema. --- artistic avant-garde. --- auteurist filmmakers. --- canonical films. --- expressionist film. --- film as commodity. --- gender roles. --- genre. --- national identity. --- nonfiction films. --- socioeconomics. --- technology. --- transnational collaborations.
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Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.
Cinéma --- Critique cinématographique --- Motion pictures --- Film criticism --- Histoire et critique --- History --- Histoire et critique. --- Film --- anno 1900-1909 --- anno 1910-1919 --- anno 1920-1929 --- anno 1930-1939 --- Germany --- Film criticism. --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Evaluation --- aesthetics and german cinema. --- bela balazs. --- cinema and film. --- early 20th century german film. --- early 20th century germany. --- early 20th century media. --- film history. --- film scholarship. --- film studies. --- film theory. --- fritz lang. --- fw murnau. --- german cinema. --- german cinematography. --- german film. --- german filmmaking. --- german media. --- german study of film. --- history of cinema. --- history of german film. --- study of german film. --- weimar cinema. --- weimar filmmakers.
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