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: 1,426,857
  • 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
General Introduction
Early German Cinema: A Second Life? Thomas Elsaesser
Section I: Audiences and the Cinema Industry
The Kaiser's Cinema: An Archeology of Attitudes and Audiences, Martin Loiperdinger
Oskar Messter, Film Pioneer: Early Cinema between Science, Spectacle, and Commerce, Martin Koerber
The French Connection: Franco-German Film Relations before World War I, Frank Kessler and Sabine Lenk
The Danish Influence: David Oliver and Nordisk in Germany, Evelyn Hampicke
Paul Davidson, the Frankfurt Film Scene and AFGRUNDEN in Germany, Peter Lähn
Munich's First Fiction Feature: DIE WAHRHEIT, Jan-Christopher Horak
Moving Images of America in Early German Cinema, Deniz Göktürk
Section II: Popular Stars and Genres
Early German Film Comdey, 1895-1917, Thomas Brandlmeier
The Spectator as Accomplice in Ernst Lubitsch's SCHUHPALAST PINKUS, Karsten Witte
Melodrama and Social Drama
Asta Nielsen and Femal Narration: The Early Films, Heide Schlüpmann
Melodrama and Narrative Space: Franz Hofer's HEIDENRÖSLEIN, Michael Wedel
Crime Drama and Detective Film
Cinema from teh Writing Desk: Detetive Films in Imperial Germany, Tilo Knops
Ernst Reicher alias Stuart Webbs: King of the German Film Detectives, Sebastian Hesse
The Early Fantasy Film
The Faces of Stellan Rye, Casper Tybjerg
HOMUNCULUS: A Project for a Modern Cinema, Leonardo Quaresima
Non-Fiction: War Films, Industrial Films, Propaganda and Advertising
Julius Pinschewer: A Trade-mark Cinema, Jeanpaul Goergen
Newsreel Images of the Militar and War, 1914-1918, Wolfgang Mühl-Benninghaus
Learning from the Enemy: German Film Propaganda in World War I, Rainer Rother
The Reason and Magic of Steel: Industrial and Urban Discourses in DIE POLDIHÜTTE, Kimberly O'Quinn
Section III: Film Style and Intertexts: Authors, Films, and Authors' Films
Max Mack: The Invisible Author, Michael Wedel
From Peripetia to Plot Point: Heinrich Lautensack and ZWEIMAL GELEBT, Jürgen Kasten
Giuseppe Becce and RICHARD WAGNER: Paradoxes of the First German Film Score, Ennio Simeon
Early German Film: The Stylistics in Comparative Context, Barry Salt
Self-Referentiality in Early German Cinema, Sabine Hake
Of Artists and Tourists: 'Locating' Holland in Two Early German Films, Ivo Blom
Stylistic Expressivity in DIE LANDSTRASSE, Kristin Thompson
Two 'Stylists' of the Teens: Franz Hofer and Yevgenii Bauer, Yuri Tsivian
The Voyeur at Wilhelm's Court: Franz Hofer, Elena Dagrada
Publication Acknoledgments
List of Contributors

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