By Stephen Brockmann
A background of German movie facing person motion pictures as artworks has lengthy been wanted. current histories are inclined to deal with cinema as an monetary instead of a classy phenomenon; prior surveys that do interact with person motion pictures don't contain movies of modern many years. This booklet treats consultant motion pictures from the beginnings of German movie to the current. delivering old context via an creation and interchapters previous the remedies of every era's motion pictures, the amount is acceptable for semester- or year-long survey classes and for somebody with an curiosity in German cinema.BR> the movies: the scholar of Prague - the cupboard of Dr. Caligari - The final snicker - city - The Blue Angel - M - Triumph of the desire - the good Love - The Murderers are between Us - sunlight Seekers - hint of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - younger T?¶rless - Aguirre, The Wrath of God - Germany in Autumn - the wedding of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of wish - might be, perhaps now not - Rossini - Run Lola Run - sturdy Bye Lenin! - Head On - The Lives of Others
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Additional info for A Critical History of German Film (Studies in German Literature Linguistics and Culture)
Moreover, the very weakness of the German currency gave German filmmakers an advantage when competing abroad: a movie like Robert Wiene’s Das Cabinet des Dr. Caligari (1920), made at a time of tremendous economic and political turmoil in Germany, was an economic and artistic success in the United States and elsewhere. With the stabilization of the German economy in 1924, the German market became an attractive target for foreign — particularly American — producers, and the German film industry went through years of financial crisis in which even prestige projects like Fritz Lang’s Metropolis (1927) turned into financial flops.
The writer Karl Hans Strobl wrote in 1911 that film “is very much a democratic institution and, as such, a valuable counterweight against all cultural efforts and artistic activities that demand a dinner jacket as their first precondition. ”15 Der Student von Prag is somewhere in between the extremes of high art and proletarian culture: it features a middle-class protagonist — the student Balduin, who aspires to climb socially by marrying a countess and acquiring lots of money. Just as cinema itself was trying to climb socially from the lower classes to the middle classes at the time this movie was made, so too the film’s protagonist is trying to rise above his station in life.
This aspect of film is particularly important for early film, since in the first decades of film’s existence cinematographers still had to educate audiences — and themselves — about the difference between reality and the illusion they were seeing on the screen. It is striking how predominant the problem of vision is in Der Student von Prag: after all, the entire film revolves around a mirror image and its presence or absence. The protagonist Balduin becomes obsessed with the actions of his Doppelgänger, 29 Kracauer, From Caligari to Hitler, 30.