Beschreibung / Abstract

Beschreibung / Abstract

Beschreibung

Inhaltsverzeichnis

• Front Cover
• Halftitle
• Titlepage
• Contents
• Foreword
• 1895–1909
• Introduction
• The Path to the Modern Cinema Projector
• The Lumière Brothers in Germany
• The Skladanowsky Brothers
• The Inventor and Entrepreneur Oskar Messter
• Guido Seeber and the “Giant Living Photographs”
• From Traveling to Stationary Cinemas
• Footage Filmed by Guido Seeber at the Farewell Ceremony for Soldiers by Kaiser Wilhelm II
• Gerhard Lamprecht (I/II): Collector in the Early Days of Cinema
• Gerhard Lamprecht (II/II): From Private Collector to the Kinemathek
• Kaiser Wilhelm II in Film
• DER HAUPTMANN VON KÖPENICK and Later Versions
• 1910–1919
• Introduction
• Guido Seeber and Animation Techniques
• Friedrichstrasse, Berlin: An Early Center of the Film Industry
• The Weekly Programs: Cinema of Attractions
• Adventure Films from Hagenbeck's Zoo
• Early Film Posters
• Color in Early Film
• The Birth of the Babelsberg Studio Lot
• Women in the Film Industry in the 1910s
• Foundation of the Geyer-Werke
• The First International Star of German Cinema: Asta Nielsen
• The First German Film Star: Henny Porten
• The Emergence of Film Journalism
• From Crank Box to Professional Film Camera
• The Film Pioneer Luise del Zopp
• Star Postcards from the 1910s
• Early Cinema Culture
• A Highly Successful Genre: Detective Films
• A Touch of Hollywood: Fern Andra
• Early Auteur Films
• Field Cinemas in the First World War
• Ernst Lubitsch and the 1918–19 Revolution in Berlin
• Sittenfilme: Between Sex Education and Exploitation
• Marlene Dietrich's Early Love of the Cinema
• The Director Rudolf Meinert
• Sensations in Series: Joe May’s Multipart Prunkfilme
• The Opening of the Ufa-Palast am Zoo
• 1920–1929
• Introduction
• DAS CABINET DES DR. CALIGARI (I/II): On the Advertising Campaign and Film Architecture
• DAS CABINET DES DR. CALIGARI (II/II):On the History of Its Impact
• The Reich Cinema Act
• Censorship of Posters: Ernst Lubitsch’s SUMURUN
• German Silent Westerns
• Corporate Consolidation in the Film Industry
• Reich President Ebert on the Set of ANNA BOLEYN
• Asta Nielsen Plays Hamlet
• Star Postcards from the 1920s
• The First Vampire Film: Friedrich Wilhelm Murnau’s NOSFERATU
• The Geiselgasteig Studio Lot
• Film Publications from the 1920s
• The First Blockbuster: DR. MABUSE, DER SPIELER
• Animation and the Avant-Garde: Lotte Reiniger and the Silhouette Film
• Jewish Life in Film: Two Examples
• Buddenbrooks as a Silent Film
• Film Restoration (I/IV): SYLVESTER – TRAGÖDIE EINER NACHT
• National Socialism and DIE NIBELUNGEN
• Innovation in Film Editing: The Lyta Universal Editing Table
• METROPOLIS: Inspired by New York?
• The Unleashed Camera
• The Cinema and Photo Exhibition (Kipho)
• The “Babelsberg Bauhütte”: Film Architecture and Production Conditions
• Advertising for Parufamet Distribution Films
• Kulturfilme
• The Film Composer Giuseppe Becce
• Still Photography in the 1920s
• Guido Seeber’s Early History of the Camera
• Psychoanalysis in Film
• Expedition Films of the 1920s
• Friedrich Wilhelm Murnau’s FAUST
• Gerhard Lamprecht’s Zille Films
• METROPOLIS (I/III): Art Direction
• METROPOLIS (II/III): Music and Restoration
• METROPOLIS (III/III): Reception and Impact
• The Costume Designer Aenne Willkomm
• Walther Ruttmann’s BERLIN. DIE SINFONIE DER GROẞSTADT
• Cross-Dressing Films in the Weimar Republic
• Prussian Films about “Old Fritz”
• Film Restoration (II/IV): DER KATZENSTEG
• The Bauhaus and Film
• Women Film Professionals of the 1920s
• Women Screenwriters in the 1920s
• World War Trauma and Returnee Films
• Fritz Lang’s FRAU IM MOND
• Big City Traffic in the Studio: Joe May’s ASPHALT
• Louise Brooks: A Girl in Babelsberg
• The Mountain Film Genre and Arnold Fanck
• Richard Eichberg’s Popular Films
• Proletarian Cinema in the 1920s
• 1930–1939
• Introduction
• The First Sound Films
• DER BLAUE ENGEL: Marlene Dietrich’s Path to Stardom
• Sports and the Cult of the Body
• Film Restoration (III/IV): Early Sound Films
• Fritz Lang’s Serial Killer Film M
• Innovations at the Babelsberg Studio
• New Objectivity in Berlin
• Images of France
• Cinema’s Struggle against Repressive Sexual Morality
• Women Film Professionals in the 1930s: The End of a Development
• Short Sound Films of the 1930s
• The Sound Film Operetta
• Brigitte Helm: A Starlet and Her Fans
• Die Dreigroschenoper by Brecht and Weill as a Film
• Collective Films
• Still Photography in the 1930s
• Ufa Sound Films up to 1933
• Embattled Memory: The First World War in Film
• Similarities between Two Stars: Hans Albers and Heinz Rühmann
• Prussian Films with a Nationalist Perspective
• Variants of the Mountain Film
• Star Postcards from the 1930s
• Cultural Breach: On the Way to Nazi Film
• Film Journalism under the Influence of National Socialism
• Traces of Weimar Cinema
• The Graphic Designer and Film Director Peter Pewas
• Designs for the Future and Zeitgeist
• DAS TESTAMENT DES DR. MABUSE by Fritz Lang and Thea von Harbou
• Film Professionals in Exile (I/IV)
• Film Professionals in Exile (II/IV)
• Film Professionals in Exile (III/IV)
• Film Professionals in Exile (IV/IV)
• Glorification of the Nazi Kampfzeit
• Anti-Semitism in Nazi Films through 1939
• The European Film Fund
• Berlin and Babelsberg as Centers of Film Archiving and Education
• The Actor Heinrich George
• Riefenstahl and the Nazi Party Rallies, 1933–1935
• The Film Composer Herbert Windt
• Places of Longing: Five Comedies
• The International Aspect of Nazi Film Policy
• Actresses under National Socialism: Careers between Adaptation and Resistance
• Nazi Versions of Prussian History
• Queens of American Cinema
• “Exotic” Stars in Nazi Cinema
• Camera Equipment: Franz Weihmayr’s Five Cases
• Frank Wysbar’s FÄHRMANN MARIA
• Film Aesthetics and Industry in the Nazi Era
• Geyer-Werke in the 1930s
• The Early Peak of Home Cinema
• Loyal to the Party Line: Veit Harlan’s DER HERRSCHER
• A Flagship Product: URLAUB AUF EHRENWORT
• Women’s and Men’s Apartment Shares
• Colonial Melodramas
• The Writer Jochen Huth
• The Accompanying Program in the Cinema
• Soldiers’ Cinemas during the Second World War
• 1940–1949
• Introduction
• Anti-Semitic Infamy: Veit Harlan’s JUD SÜẞ
• Film Posters of the 1940s
• Love on the “Home Front”
• The Major Nazi Propaganda Film OHM KRÜGER
• Three Film Composers: Michael Jary, Peter Igelhoff, Norbert Schultze
• “Great Germans” as Film Heroes in the Nazi State
• Film Europe under the Swastika
• Late Films in the “Third Reich” (I/II): MÜNCHHAUSEN
• Late Films in the “Third Reich” (II/II): DIE FEUERZANGENBOWLE
• The Anti-Nazi Film HANGMEN ALSO DIE!
• The Daily Routine of War in the Guise of a Revue: DIE FRAU MEINER TRÄUME
• JUNGE ADLER: On the Ground of Wartime Reality
• Testimonies of a Cinemagoer
• Aesthetic Opposition: DER VERZAUBERTE TAG and UNTER DEN BRÜCKEN
• International Film Professionals as Victims of National Socialism
• A Final Film Production: DAS LEBEN GEHT WEITER
• The Year 1945
• Acting Training for Film
• Building East Germany: The Founding of DEFA
• A New Beginning in the West
• Open Field: Trümmerfilme in East and West
• Marlene Dietrich in Postwar Germany
• The Past and a New Beginning: DEFA’s Anti-Fascist Stance
• Film and the Institutions of Its Administration
• Films about the Recent Past: LANG IST DER WEG and MORITURI
• The Importance of Women Film Editors (I/II)
• Film Criticism in Postwar West Germany
• Kulturfilm Themes: Atom and Nature
• Remigrated German Film Professionals
• 1950–1959
• Introduction
• The Boom of the West German Heimatfilm
• DEFA Fairy-Tale Films
• Oscar Martay’s Showcase of the West
• The German Film Award and the Bambi
• The Founding of the Berlin International Film Festival and Other Festivals
• Scandal Surrounding DIE SÜNDERIN
• Prestige Project of the Young DEFA: DER UNTERTAN
• Karena Niehoff and the Harlan Trial
• Portrayals of Women in a Political Context
• Film Stars (I/VI) (FRG and GDR)
• Automobile Complexes
• Ilse Kubaschewski’s Gloria Film-Verleih and DIE TRAPP-FAMILIE
• Continuities: Herbert Reinecker and Alfred Weidenmann
• The Second World War in West German Feature Films
• Film Adaptations of Erich Kästner’s Children’s Books
• The Newsreel in East and West Germany
• MÄDCHEN IN UNIFORM: The 1958 Remake
• Thomas Mann Film Adaptations in the Adenauer Era
• The Stauffenberg Assassination Plot in Film
• Film Posters: Entertainment and Social Critique (GDR)
• Film Posters: Entertainment and Social Critique (FRG)
• Karlheinz Böhm: From SISSI TO PEEPING TOM
• Fade into Ruins: Films Shot in Berlin’s Tiergarten District
• An Explosive Topic: The Inner-German Border
• Homosexuality in 1950s West Germany: ANDERS ALS DU UND ICH
• Films about Rebellious Teenagers in East and West Germany
• Bavaria International
• Music Films in West Germany
• Anti-Black Racism in ZWEI BAYERN IM URWALD
• The Photographer Heinz Köster and the Berlinale, 1951–1959
• Social Criticism in the Adenauer Era
• Showplace Berlin
• SERENGETI DARF NICHT STERBEN: No Place for Humans
• 1960–1969
• Introduction
• Coming to Terms with the Past in East and West
• Utopian Film: Science Fiction at DEFA
• DEFA Film Language in an International Format
• A Cold War Comedy: ONE, TWO, THREE
• Toward Self-Determination: LOTS WEIB
• Architecture and Criticism of the Nazi Era: BRUTALITÄT IN STEIN
• Divided Berlin and the Building of the Wall in 1961
• Film Stars (II/VI) (FRG and GDR)
• The Oberhausen Manifesto
• Spearheads of the New German Cinema: Hansjürgen Pohland, Herbert Vesely, and Wolf Wirth
• Westerns “Made in Germany”: The Karl May Film Adaptations of the 1960s
• The Opening of the Deutsche Kinemathek in 1963
• The Film Critic Joe Hembus
• Early Heinrich Böll Adaptations
• Film as “Optical Literature”: The Films of the Literarisches Colloquium Berlin
• The Relationship between Film and Television
• Posters from the Film Distributor Neue Filmkunst Walter Kirchner
• Posters from Atlas Filmverleih
• Versatile: The Director Frank Beyer
• James Bond Hunts German Villains
• The Protection of “Moral Sensibilities” by the FSK
• New Departure in the GDR (I/II): Banned DEFA Films
• New Departure in the GDR (II/II): Reconstructions
• The Edgar Wallace Films
• Chronicler of a Red-Light District: Jürgen Roland in St. Pauli
• Signs of the Present in the New German Cinema
• Kafka on the Big Screen
• The Awakening of Women Filmmakers in 1966
• Posters of DEFA Entertainment Films, 1960–1964
• Posters of DEFA Entertainment Films, 1965–1969
• The Documentarist and Chronicler Peter Nestler
• Films from the Police Historical Collection, Berlin
• The Collection of Film Extracts from the Estate of Gerhard Lamprecht
• The DEFA Adventure Films and Westerns
• The Kuratorium junger deutscher Film
• Experimental Film Work: Dore O.
• Experimental Films by Werner Nekes
• The Genesis of the Hamburger Filmmacher Cooperative
• In the Shadow of Bavaria: New Munich Cinema
• Film Restoration (IV/IV): NEUN LEBEN HAT DIE KATZE
• The Sex Wave in the East and West German Summer Films of 1968
• 1969: The Year of Rainer Werner Fassbinder
• Film and Television Converge
• Charles Wilp: Advertising Productions of the 1960s
• 1970–1979
• Introduction
• The Scandal at the Berlinale about o.k. by Michael Verhoeven
• The Creation of Communal Cinemas
• Everyday Working Life in DEFA Films of the 1970s
• The Battle of the Sexes in German Feature Films
• The REPORT Films in West German Cinema
• People with Disabilities in Werner Herzog’s Early Films
• Ingemo Engström: Research into Flight and Resistance
• Film Stars (III/VI) (FRG and GDR)
• Laurens Straub and the Filmverlag der Autoren
• CABARET: Dance on the Volcano
• Class Clown and Teacher Films
• Rosa von Praunheim’s Breakthrough Becomes a Social Awakening
• The New Heimatfilm: Volker Vogeler’s JAIDER – DER EINSAME JÄGER and Reinhard Hauff’s MATHIAS KNEIBL
• West German Labor Disputes in Film
• Between Individual Longing and Socialist Fulfillment of Duty: DER DRITTE and DIE SCHLÜSSEL
• Two Hitler Films: Alienation Technique versus Psychologism
• Two World Stars: Marlene Dietrich and David Bowie
• Artur Brauner’s Films against Forgetting
• The VW Beetle as a Movie Star
• The 1973 Women’s Film Seminar and the Feminist Film Movement
• “Wenn ein Mensch lebt”: DIE LEGENDE VON PAUL UND PAULA
• Migration Themes in the Films of Rainer Werner Fassbinder and Helma Sanders-Brahms
• Film Adaptations of Effi Briest
• The German Autumn in Film
• A New Regional Film from Hamburg: Hark Bohm’s NORDSEE IST MORDSEE
• JAKOB DER LÜGNER by Frank Beyer and Jurek Becker
• Posters from the 1970s: Films from the FRG Shown in the GDR
• Posters from the 1970s: Films from the GDR Shown in the FRG
• German Road Movies
• Ingmar Bergman in Munich
• Social Studies in the Provinces: PAULE PAULÄNDER and DAS BROT DES BÄCKERS
• Rebellion and Reappraisal: Theodor Kotulla and the Traces of History in the Present
• Helke Sander and Elfi Mikesch: Two Views of West Berlin in the 1970s
• Documentaries and Feature Films by Christian Rischert
• An International Success: DIE BLECHTROMMEL by Volker Schlöndorff
• Escape from Germany: Peter Lilienthal’s David
• DEFA Children’s Films
• Film Artists against All Conventions: Helmut Herbst and Vlado Kristl
• 1980–1989
• Introduction
• DEFA Films at the Berlinale
• The Wendländische Filmkooperative
• Remembrance Work: DEUTSCHLAND BLEICHE MUTTER by Helma Sanders-Brahms
• Adolf Winkelmann’s Cinematic Monuments to the Ruhr Region
• Berlin Subculture in the 1980s
• Biographies of Women: DIE BLEIERNE ZEIT and ROSA LUXEMBURG by Margarethe von Trotta
• Film Stars (IV/VI) (FRG and GDR)
• The BRD Trilogy by Rainer Werner Fassbinder
• CHRISTIANE F. – WIR KINDER VOM BAHNHOF ZOO
• Oscar Nominations for an Amphibious Film: Wolfgang Petersen’s DAS BOOT
• Women’s Roles in the Films of Ulrike Ottinger
• The White Rose in Film
• A French-German Co-Production: Romy Schneider’s Last Film
• Portraits of Women in DEFA Films
• Werner Herzog and Klaus Kinski on Location in the Amazon
• Documentaries by Helga Reidemeister
• Herbert Achternbusch’s DAS GESPENST and the “Münchner Erklärung”
• “Impossible Shots”: The Steadycam
• Alexander Kluge: The All-Rounder
• Milieu Study: Uwe Schrader’s KANAKERBRAUT
• The Postwar Period in Germany: PEPPERMINT FRIEDEN
• The Experimental Film ECHTZEIT
• The Filming of DIE UNENDLICHE GESCHICHTE
• Maximilian Schell’s Documentary on Marlene Dietrich
• The Epic Film HEIMAT by Edgar Reitz
• Cinematic Explorations of the Holocaust
• Posters for Children’s Films from the 1980s
• Doris Dörrie: Ethnologist, Filmmaker, Author
• Film Comedians: Otto Waalkes and Dieter Hallervorden
• The Figure of the Alien in ENEMY MINE
• Reinhard Hauff’s STAMMHEIM at the Berlinale
• A Major International Production: DER NAME DER ROSE
• Wim Wenders’s DER HIMMEL ÜBER BERLIN
• Between the Baghdad Café and Paris, Texas
• The Dawn of German-Turkish Cinema
• A Pioneer of Queer Cinema: Monika Treut
• Loriot and the Cinema
• Action Films by Dominik Graf
• The Films of Jeanine Meerapfel
• Coming Out on November 9, 1989
• 1990–1999
• Introduction
• Before and After Reunification: Documentaries by Volker Koepp
• Films by Christoph Schlingensief
• DEFA’s Last Youth Films
• Posters for Comedies of the 1990s
• The GDR and the Stasi: Questions to the Perpetrators
• The Emergence of Multiplexes
• Development of Film Criticism in Germany since the 1990s
• Along History: Films by Andreas Dresen
• Comedies by Helmut Dietl
• The Children of Golzow: Observations of Life in the Oderbruch Region
• Films by Pia Frankenberg
• “Ecstatic Truths” in the Work of Werner Herzog
• The Importance of Women Film Editors (II/II)
• The Comic Adaptation DER BEWEGTE MANN
• SCHINDLER’S LIST in Germany
• Science Fiction Films by Roland Emmerich
• INDEPENDENCE DAY: RESURGENCE
• Two Films about Writing: HEINRICH and MEIN HERZ – NIEMANDEM! by Helma Sanders-Brahms
• LOLA RENNT and the Founding of the Production Company X Filme
• Post-Unification Berlin: Andreas Kleinert’s WEGE IN DIE NACHT
• 2000–2009
• Introduction
• Art, Autobiography, and Fiction: DIE UNBERÜHRBARE and DER ALTE AFFE ANGST by Oskar Roehler
• The Ghost Trilogy by Christian Petzold
• Andres Veiel’s BLACK Box BRD
• Successful Comedy: DER SCHUH DES MANITU
• Posters for Children’s and Youth Films of the 2000s
• A Literary Adaptation by Caroline Link: NIRGENDWO IN AFRIKA
• GOOD BYE, LENIN! Seventy-Nine Square Meters of GDR
• Soccer Films of the 2000s
• Success at the Berlinale: Fatih Akin’s GEGEN DIE WAND
• Bernd Eichinger as Screenwriter and Producer
• State Security and an Aesthetic Parallel Universe
• Dani Levy’s Comedies ALLES AUF ZUCKER and MEIN FÜHRER – DIE WIRKLICH WAHRSTE WAHRHEIT ÜBER ADOLF HITLER
• The Film Adaptation of Patrick Süskind’s Novel Das Parfum
• Posters of the Berlin Film Distributor Salzgeber
• Berlin Milieu Studies
• Neo-Mountain Films
• Film Stars (V/VI)
• DAS WEIBE BAND – EINE DEUTSCHE KINDERGESCHICHTE by Michael Haneke
• 2010–2024
• Introduction
• “Honor Crimes” and the Struggle for Self-Determination
• The Filmmaker Tatjana Turanskyj
• Genre and Auteur Films
• Biopics as Musicals
• Right-Wing Terror in the Twenty-First Century
• Ulrike Ottinger’s Ethnological Travels
• Costume Design in Period Films
• Cinematic Dystopia: Tim Fehlbaum’s HELL
• The Present in Christian Petzold’s Historical Narration
• Margarethe von Trotta Portrays Hannah Arendt
• Culture Clash Comedies: The Film Series FACK JU GÖHTE
• Developments in Gay Cinema
• Social Criticism: The Director Johannes Naber
• Lesbian-Queer Self-Searching
• Fritz Bauer in Films
• TONI ERDMANN by Maren Ade
• Hape Kerkeling: ICH BIN DANN MAL WEG
• Film Stars (VI/VI)
• Uli Hanisch Transforms the Filming Location Berlin
• ICH WAR ZUHAUSE, ABER by Angela Schanelec
• Identity and Power Relations: Films by Maria Schrader
• Social Criticism in Nora Fingscheidt’s SYSTEMSPRENGER
• Films by Andreas Dresen: History and the Individual
• The Film Architect Silke Buhr
• Fatih Akin’s Physical Cinema
• Schools of Seeing: Artists’ Biographies
• Films by Edward Berger
• Commitment to Audiovisual Heritage
• Appendix
• Index of Films
• Index of Persons
• Image Credits: Sources and Copyrights
• Authors
• Acknowledgments
• Imprint
• Back Cover