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A collaborator with Warner Brothers and Paramount in the early days of sound film, the German film director Ernst Lubitsch (1892-1947) is famous for his sense of ironic detachment and for the eroticism he infused into such comedies as So This Is Paris and Trouble in Paradise. In a general introduction to his silent and early sound films (1914-1932) and in close readings of his comedies, Sabine Hake focuses on the visual strategies Lubitsch used to convey irony and analyzes his contribution to the rise of classical narrative cinema. Exploring Lubitsch's depiction of femininity and the influence of his early German films on his entire career, she argues that his comedies represent an important outlet for dealing with sexual and cultural differences. The readings cover The Oyster Princess, The Doll, The Mountain Cat, Passion, Deception, So This Is Paris, Monte Carlo, and Trouble in Paradise, which are interpreted as part of an underlying process of negotiation between different modes of representation, narration, and spectatorship--a process that comprises the conditions of production in two different national cinemas and the ongoing changes in film technology. Drawing attention to Lubitsch's previously neglected German films, this book presents the years until 1922 as the formative period in his career.
Lubitsch, Ernst
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Silent films
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Films muets
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History and criticism
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Histoire et critique
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Lubitsch, Ernst,
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Criticism and interpretation
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History and criticism.
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Criticism and interpretation.
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Film.
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Motion picture producers and directors
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Films.
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Silent films.
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Histoire et critique.
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Lubitsch, Ernst.
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Critique et interpretation.
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Bibel
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Germany.
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Moving pictures, Silent
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Silent motion pictures
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Motion pictures
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Philemonbrief
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Motion pictures --- Motion picture industry --- History. --- History --- Cinéma --- Allemagne --- Histoire et critique
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"German National Cinema is the first comprehensive history of German film from its origins to the present. From The Cabinet of Dr Caligari to Run Lola Run, Sabine Hake examines a range of films in relation to the economic, political, social and technological events surrounding them. Hake assesses the work of directors such as Fritz Lang and Rainer Werner Fassbinder, and stars like Marlene Dietrich and Louise Brooks. From the Wilhelmine Empire to post reunification, she traces the artistic currents, technological innovations, and social transformations which defined each era of German film and shows how a highly politicised cinema often produced surprisingly apolitical films. Embracing popular traditions and other cultural legacies such as music, literature and prominent art movements like Expresssionism, she explores the competing definitions of German cinema as art cinema, quality entertainment, political propaganda and rival of Hollywood."
791.43 --- Motion pictures --- -Motion picture industry --- -#SBIB:033.AANKOOP --- #SBIB:309H1320 --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- History --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- History and criticism --- Motion picture industry --- #SBIB:033.AANKOOP --- 798.43 --- filmgeschiedenis --- Duitsland --- expressionisme --- film --- Tweede Wereldoorlog (WO II) --- Nouvelle Vague --- Neuer Deutscher Film --- Weimar --- DDR --- Bondsrepubliek Duitsland (BRD) --- film, geschiedenis der filmkunst, overige landen
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Approaching Weimar architectural culture from the perspective of mass discourse and class analysis, the author examines the way in which architectural projects, debates, and representations in literature, photography, and film played a role in establishing the terms under which contemporaries made sense of the rise of white-collar society.
Architecture --- Mass society. --- Social history --- Sociology --- History --- Berlin (Germany) --- Buildings, structures, etc. --- Intellectual life
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Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance.
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Motion pictures --- National socialism and motion pictures. --- History
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The series publishes monographs and edited volumes that showcase significant scholarly work at the various intersections that currently motivate interdisciplinary inquiry in German cultural studies. Topics span all periods of German and German-speaking lands and cultures from the local to the global, with a special focus on demonstrating how various disciplines - history, musicology, art history, anthropology, religious studies, media studies, political theory, literary and cultural studies, among others - and new theoretical and methodological paradigms work across disciplinary boundaries to create knowledge and add to critical understanding in German studies broadly. All works are in English. Three to four new titles will be published annually.
Labor --- Social classes --- History --- Nazi culture. --- fascist aesthetics. --- history of socialism. --- working-class culture. --- Germany --- Social conditions
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German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form. The book traces the central role of cinema in the nation's turbulent history from the Wilhelmine Empire to the Berlin Republic, with special attention paid to the competing demands of film as art, entertainment, and propaganda. Hake also explor
Motion pictures --- Motion picture industry --- History. --- History.
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