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: on film history as intellectual history / Thomas Koebner -- The double, the decor, and the framing device: once more on Robert Wiene's The cabinet of Dr. The Role of Screen Heroines in GDR Cinema." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Just recently, in June 2003, the first 100 hours of German newsreels were put on the Internet for research purposes, which was made possible through the cooperation of selected archives, copyright owners, and the DEFA foundation; a fourth of these newsreels are before 1945.Caligari / Dietrich Scheunemann -- Film as graphic art: on Karl Heinz Martin's From morn to midnight / Jurgen Kasten -- Episodic patchwork: the bric-a-brac principle in Paul Leni's Waxworks / Jurgen Kasten -- Entrapment and escape: readings of the city in Karl Grune's The street and G. Pabst's The joyless street / Anthony Coulson -- Fragmenting the space: on E. Dupont's Variete / Thomas Brandlmeier -- On Murnau's Faust: a generic Gesamtkunstwerk? The Democratic Spirit of the Weimar Cinema / Mimi Tennyson Goss.[Cambridge, Mass.]: Research Programs, John F. Tauris, 2002."Gender, film, and German history: filmmaking by German women directors from Weimar to the present." In: Facing fascism and confronting the past: German women writers from Weimar to the present / edited by Elke P. Albany, NY: State University of New York Press, c2000. Series title: Contemporary film and television studies and readers. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992. "The Demonization of the Home Front: War Neurosis and Weimar Cinema." In: Dancing on the volcano: essays on the culture of the Weimar Republic / edited by Thomas W. In recent years, in various countries like Belgium, Norway, France, and Luxembourg, an intense study of the German newsreels for the occupied countries has been done. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992.Eisner; [translated from the French by Roger Greaves]. Der historische Spielfilm im Nationalsozialismus / Hans-Gerd Happel. The newsreels determine the image of the Third Reich that we have in our minds today, since they form the basis for nearly all the popular historical programs on television.Berkeley: University of California Press, 1973, c1969."Film history and visual pleasure: Weimar cinemar." In: Cinema histories, cinema practices / edited by Patricia Mellencamp and Philip Rosen. Fantastique et réalisme dans le cinéma allemand 1912-1933. Surprisingly, however, there is not much research in Germany about this area of film production.Contents: The gay/Super 8 connection : Berlin / Jurgen Bruning -- A cinematically divided city / Karen Rosenberg -- Self portrait with skull / Birgit Hein -- Interview with Michael Brynntrup / Steff Ulbrich -- Moderns in ruins / Madeleine Leskin -- Sucking the city pulse : interview with Penelope Buitenhuis / Torsten Alisch -- "The inter-view!" (with Michael Krause) / Niels Kruger -- A story from a Berliner courtyard / Katarina Peters -- Excerpt from an interview with Katarina Peters / Masud Rajai -- Die Alten Filme / Andreas Dohler.
Such films engage in a transnational decentering in which ethnocentrism is replaced with intersubjective openness.
These contributors add considerably to the knowledge about the structure and organizations of the Third Reich newsreel empire, newsreel production history, and, most important, a consideration of newsreel reception.
Newsreels also of themselves provide a valuable historical source for understanding the period in which they were produced and shown, in this case the war, and in particular the relationship between propaganda and public opinion. 647-54, Oct 2005 "Nazi newsreels in Europe, 1939-1945: the many faces of Ufa's foreign weekly newsreel ( Auslandstonwoche ) versus German's weekly newsreel ( Deutsche Wochenschau)." Historical Journal of Film, Radio & Television, Mar2004, Vol.
Traditional German figures become outsiders while the foreigner assumes more of a German identity. Bessel: Alternative Memories of the Great War in German War Films of the Late 1920s." History & Memory: Studies in Representations of the Past, vol. Both the Soviet and the British-American authorities recognized the German public's need for information and entertainment through film, for reasons that included showing films from their own countries to reeducate the brainwashed German Volk and documenting the war crimes of the German nation.
German postwar film is considered to have begun in October 1946 with the release of Wolfgang Staudte's Die Morder sind unter uns (The murderers are among us), the most important example of the "Trummerfilm" genre.