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Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as ...

Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.

This remarkable new book is a collection of selected essays whose theses first came together in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema". The contributors include notable historians, film scholars, and German studies ...

This remarkable new book is a collection of selected essays whose theses first came together in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema". The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, psychological, and aesthetic factors that have influenced the historiography of German cinema and television. Over the past decade, media specialists have engaged in a variety of projects that address many questions concerning the historiography of film and television. Through their discussions they have reassessed conventional histories of cinema, examined the influence of cinematic and television narration in constructing history, and contemplated the role of media in historical development. Germans began to employ the medium of film to represent the past before the turn of the century, when, among other things, they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of individual, cultural, and national identity by consistently and prominently treating historical subjects. Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine what motivated those changes. Assessments of the link between German cinema, television, and history have primarily developed around three interrelated issues: the reception of Weimar cinema, the inscribing of fascism in cinema and television, and the nature of, and potential for, alternatives to mainstream cinema and television. This extraordinary collectionpresents a provocative dialogue by distinguished authors employing a diversity of methods, theoretical premises, and styles. It is a book that will appeal to scholars and students of German culture and media in the fields of hi

In 1936, Goebbels stated that 'a government that controls art will remain forever', and the German film industry became inextricably linked with National Socialist propaganda. This book is an historical evaluation of the role and image of women in the feature films of the Third Reich. The author ...

In 1936, Goebbels stated that 'a government that controls art will remain forever', and the German film industry became inextricably linked with National Socialist propaganda. This book is an historical evaluation of the role and image of women in the feature films of the Third Reich. The author challenges current perceptions of the National Socialist position with regards to women and examines the creation of a female film culture, as well as the 'blurring' of gender distinctions as a result of the war.Goebbels and his wife personally selected young movie actresses at their home to portray mothers, vamps, girls-next-door and exotic love interests. His interest in film opens up an array of important issues central to this book: Were women compliant with Nazism or were they the victims of a regime imposing policies ultimately detrimental to their condition? Is it true that the war helped to emancipate women who were not only romantic and patriotic heroines on screen but employed as drivers, technicians and even managers of government affiliated film departments? Did all films produced under the auspices of the Third Reich serve as propaganda and if so, how successful were they? And finally, what can the study of cinema contribute to the historical debate surrounding National Socialism?This book fills a considerable gap in the research of the Nazi star system and makes a crucial contribution not only to cinema history, but also to our view of the perceived role of women in the Third Reich.'This book will change the way that we look at Nazi Germany.'Richard Taylor, University of Swansea

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 ...

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.