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Weimar Cinema and After: Germany's Historical Imaginary
Stock Photo: Cover May Be Different

Weimar Cinema and After: Germany's Historical Imaginary Paperback - 2000

by Elsaesser, Thomas

  • Used
  • Paperback

Description

Routledge, 2000. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1000grams, ISBN:9780415012355
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Details

  • Title Weimar Cinema and After: Germany's Historical Imaginary
  • Author Elsaesser, Thomas
  • Binding Paperback
  • Edition 1st Edition
  • Pages 480
  • Volumes 1
  • Language ENG
  • Publisher Routledge, London
  • Date 2000
  • Bookseller's Inventory # 9895344
  • ISBN 9780415012355 / 041501235X
  • Weight 1.5 lbs (0.68 kg)
  • Dimensions 9.2 x 6.1 x 1 in (23.37 x 15.49 x 2.54 cm)
  • Themes
    • Cultural Region: Germany
  • Library of Congress subjects Motion pictures - Germany - History
  • Library of Congress Catalog Number 00021661
  • Dewey Decimal Code 791.430

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From the publisher

German cinema of the 1920s is still regarded as one of the 'golden ages' of world cinema. Films such as The Cabinet of Dr Caligari, Dr Mabuse the Gambler, Nosferatu, Metropolis, Pandora's Box and The Blue Angel have long been canonised as classics, but they are also among the key films defining an image of Germany as a nation uneasy with itself. The work of directors like Fritz Lang, F.W. Murnau and G.W. Pabst, which having apparently announced the horrors of fascism, while testifying to the traumas of a defeated nation, still casts a long shadow over cinema in Germany, leaving film history and political history permanently intertwined.
Weimar Cinema and After offers a fresh perspective on this most 'national' of national cinemas, re-evaluating the arguments which view genres and movements such as 'films of the fantastic', 'Nazi Cinema', 'film noir' and 'New German Cinema' as typically German contributions to twentieth century visual culture. Thomas Elsaesser questions conventional readings which link these genres to romanticism and expressionism, and offers new approaches to analysing the function of national cinema in an advanced 'culture industry' and in a Germany constantly reinventing itself both geographically and politically.
Elsaesser argues that German cinema's significance lies less in its ability to promote democracy or predict fascism than in its contribution to the creation of a community sharing a 'historical imaginary' rather than a 'national identity'. In this respect, he argues, German cinema anticipated some of the problems facing contemporary nations in reconstituting their identities by means of media images, memory, and invented traditions.

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About the author

Thomas Elsaesser is at the University of Amsterdam

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