A Second Life

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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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Product Details

  • ISBN-13: 9789053561720
  • Publisher: Amsterdam University Press
  • Publication date: 6/28/1996
  • Series: Film Culture in Transition Series
  • Edition description: New Edition
  • Pages: 356
  • Sales rank: 1,195,836
  • Lexile: 1620L (what's this?)
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.74 (d)

Meet the Author

Thomas Elsaesser is Professor of Film and TV Studies at the University of Amsterdam and General Editor of the series 'Film Culture in Transition'. Among his publications are New German Cinema: A History (1989) and, as editor, Early Cinema: Frame Space Narrative (1990).

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Table of Contents

Preface and Acknowledgements 7
General Introduction: Early German Cinema: A Second Life? 9
The Kaiser's Cinema: An Archeology of Attitudes and Audiences 41
Oscar Messter, Film Pioneer: Early Cinema between Science, Spectacle, and Commerce 51
The French Connection: Franco-German Film Relations before World War I 62
The Danish Influence: David Oliver and Nordisk in Germany 72
Paul Davidson, the Frankfurt Film Scene and AFGRUNDEN in Germany 79
Munich's First Fiction Feature: DIE WAHRHEIT 86
Moving Images of American in Early German Cinema 93
Early German Film Comedy, 1895-1917 103
The Spectator as Accomplice in Ernst Lubitsch's SCHUHPALAST PINKUS 114
Asta Nielsen and Female Narration: The Early Films 118
Melodrama and Narrative Space: Franz Hofer's HEIDENROSLEIN 123
Cinema from the Writing Desk: Detective Films in Imperial Germany 132
Ernst Reicher alias Stuart Webbs: King of the German Film Detectives 142
The Faces of Stellan Rye 151
HOMUNCULUS: A Project for a Modern Cinema 160
Julius Pinschewer: A Trade-mark Cinema 168
Newsreel Images of the Military and War, 1914-1918 175
Learning from the Enemy: German Film Propaganda in World War I 185
The Reason and Magic of Steel: Industrial and Urban Discourses in the DIE POLDIHUTTE 192
Max Mack: The Invisible Author 205
From Peripetia to Plot Point: Heinrich Lautensack and ZWEIMAL GELEBT 213
Giuseppe Becce and RICHARD WAGNER: Paradoxes of the First German Film Score 219
Early German Film: The Stylistics in Comparative Context 225
Self-Referentiality in Early German Cinema 237
Of Artists and Tourists: 'Locating' Holland in Two Early German Films 246
Stylistic Expressivity in DIE LANDSTRASSE 256
Two 'Stylists' of the Teens: Franz Hofer and Yevgenii Bauer 264
The Voyeur at Wilhelm's Court: Franz Hofer 277
Notes 285
Bibliography 337
Publication Acknowledgements 346
List of Contributors 349
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