Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years.
Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.
Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Sabine Hake is Professor of German at the University of Pittsburgh.Review:
"This is an immaculately researched, sophisticatedly argued investigation into the richly varied aspects of popular cinema during the Third Reich. . . . The result is an impressive, highly informative, and insightful book." (Alice Kuzniar, Professor of German and Comparative Literature, University of North Carolina at Chapel Hill)
„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.
Buchbeschreibung Austin : University of Texas Press, 2001, 2001. , stated First Edition, xiv, 272pp., PAPERBACK, very good CONTENTS: 1. Popular Cinema, National Cinema, Nazi Cinema: A Definition of Terms -- 2. Made in 1993: German-Jewish Filmmakers and the Forced Coordination of the Industry -- 3. Cinema, Set Design, and the Domestication of Modernism -- 4. At the Movies: Film Audiences and the Problem of Spectatorship -- 5. Stars: Heinz Ruhmann and the Performance of the Ordinary -- 6. Detlef Sierck and Schlussakkord (Final Chord, 1936): A Case Study of Film Authorship -- 7. The Foreign and the Familiar: On German-American Film Relations, 1993-1940 -- 8. The Annexation of an Imaginary City: The Topos "Vienna" and the Wien-Film AG -- 9. The Power of Thought: Redefining Popular Cinema between Realism and Illusionism. ISBN 0292734581. Artikel-Nr. 41747