| Acknowledgments |
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xvii | |
| An Introduction to A New History of German Cinema: 1932 |
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1 | (12) |
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11 | (2) |
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13 | (50) |
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20 | (3) |
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1 November 1895: Premiere of Wintergarten Program Highlights Transitional Nature of Early Film Technology |
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23 | (8) |
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22 September 1907: Sigmund Freud Is Attracted to the Movies but Feels Lonely in the Crowd |
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31 | (6) |
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Spring 1911: At Munich's Frankfurter Hof a Comedy Team Is Born |
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37 | (7) |
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27 May 1911: Asta Nielsen Secures Unprecedented Artistic Control |
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44 | (7) |
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18 December 1913: Atlantis Triggers Controversy about Sinking of Culture |
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51 | (6) |
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21 January 1914: Premiere of Die Firma heiratet Inaugurates Fashion Farce |
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57 | (6) |
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63 | (170) |
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70 | (3) |
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6 March 1920: Chinese Students Raise Charges of Racism against Die Herrin der Welt |
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73 | (7) |
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23 May 1920: Das Cabinet des Dr. Caligari Brings Aesthetic Modernism to the Fairground |
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80 | (6) |
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15 October 1920: Ernst Lubitsch Fuels Debate over Tears in the Cinema |
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86 | (7) |
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4 March 1921: With Das Floss der Toten, the Dead Come .Back to Town |
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93 | (5) |
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1 April 1921: Walther Ruttmann's Lichtspiel: Opus 1 Shapes Culture of Abstract Filmmaking |
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98 | (7) |
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27 May 1921: Scherben Seeks Cinematic Equivalent of Theatrical Intimacy |
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105 | (6) |
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14 September 1922: Schufftan Process Reconciles Artistic Craftsmanship with Demands of Entertainment Industry |
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111 | (6) |
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13 October 1922: Alexander Kolowrat-Krakowsky Sets Course of Austrian (Inter)National Film |
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117 | (7) |
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29 November 1923: Karl Grune's Die Straβe Inaugurates "Street Film," Foreshadows Film Noir |
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124 | (5) |
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31 January 1924: Premiere of Orlacs Hande Marks Beginning of the End of Expressionism |
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129 | (7) |
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14 February 1924: Die Nibelungen Premieres, Foregrounds "Germanness" |
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136 | (6) |
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10 May 1924: Der Berg des Schicksals Inaugurates the Genre of the "Mountain Film" |
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142 | (6) |
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23 December 1924: Der letzte Mann Explores Limits of Modern Community |
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148 | (5) |
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16 March 1925: Wege zu Kraft und Schonheit Educates Audiences in the Art of Nudity |
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153 | (7) |
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3 May 1925: French and German Avant-Garde Converge at Der absolute Film |
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160 | (7) |
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10 January 1927: Brigitte Helm Embodies Ambivalence of the New Woman |
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167 | (6) |
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17 June 1927: Amateur Film League Aids Invention of Film Culture |
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173 | (5) |
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16 December 1927: Debut of Familientag im Hause Prellstein Provokes Debate about Jewish Identity in Popular Cinema |
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178 | (7) |
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31 January 1929: Limits on Racial Border-Crossing Exposed in Piccadilly |
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185 | (6) |
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29 May 1929: Oscar for Emil Jannings Highlights Exchange between German and American Film Industries |
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191 | (6) |
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3 June 1929: Lloyd Bacon's The Singing Fool Triggers Debate about Sound Film |
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197 | (5) |
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4 February 1930: Menschen am Sonntag Provides New Model of Cinematic Realism |
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202 | (6) |
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13 June 1930: Weekend Broadcast Tests Centrality of Image in Cinema |
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208 | (5) |
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17 October 1930: Bertolt Brecht's Threepenny Opera Lawsuit Identifies Contradiction between Individual Creativity and Collective Production in Cinema |
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213 | (6) |
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11 December 1930: Ban of All Quiet on the Western Front Highlights Tensions over Sound Technology |
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219 | (8) |
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11 May 1931: With Premiere of M, a Gala Hit Becomes a Cultural Controversy |
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227 | (6) |
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233 | (72) |
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240 | (3) |
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28 March 1933: Goebbels's Kaiserhof Speech Reveals Tension between National and International Aims of Nazi Cinema |
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243 | (6) |
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29 February 1935: Der alte und der junge Konig Instrumentalizes Myth of Prussian Nationalism |
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249 | (6) |
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28 March 1935: Premiere of Triumph des Willens Presents Fascism as Unifier of Communal Will |
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255 | (7) |
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19 June 1935: Celebration of Lilian Harvey's Return Belies Ideological Incongruence in Nazi Entertainment Films |
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262 | (6) |
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30 August 1936: Luis Trenker Tries but Fails to Sidestep Nazi Filmpolitik |
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268 | (7) |
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30 December 1940: Von Borsody's Wunschkonzert Mobilizes Melodrama for Total War |
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275 | (7) |
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18 February 1941: The Devil and Daniel Webster Puts American Politics on Trial |
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282 | (6) |
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28 May 1942: Bertolt Brecht and Fritz Lang Write a Hollywood Screenplay |
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288 | (6) |
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3 September 1942: With Venice Premiere of Die goldene Stadt, Veit Harlan Enters Debate on Color Cinema |
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294 | (6) |
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18 January 1943: Bateson Analysis of Hitlerjunge Quex Stressses Value of Film as Key to National Culture |
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300 | (5) |
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305 | (80) |
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311 | (3) |
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18 May 1945: Welt im Film Newsreels, Rubble Films Model "Cool Conduct" |
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314 | (7) |
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22 March 1946: Screenings of Die Todesmuhlen Spark Controversy over German Readiness to Confront Nazi Crimes |
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321 | (7) |
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16 August 1949: Use Kubaschewski Founds Gloria-Filmverleih, Sets the Course of Popular West German Film |
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328 | (7) |
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16 February 1952: Peter Lorre Leaves Germany Again |
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335 | (6) |
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13 January 1954: Preminger's Dual-Language The Moon Is Blue (1953) and Die Jungfrau auf dem Dach (1954) Seek Glocal Success |
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341 | (6) |
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9 March 1954: Ernst Thalmann --- Sohn seiner Klasse Marks High Point of Socialist Realism |
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347 | (6) |
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22 December 1955: Sissi Trilogy Bridges Hapsburg to Hollywood through Hybrid Blend of Film Genres |
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353 | (6) |
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2 February 1956: In Letter to Enno Patalas, Siegfried Kracauer Advocates a Socio-Aesthetic Approach to Film |
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359 | (6) |
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21 June and 30 August 1957: Jonas and Berlin --- Ecke Schonhauser Link Urban Reconstruction to National Cinema in Both West and East |
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365 | (7) |
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19 September 1958: Douglas Sirk's A Time to Love and a Time to Die Tests Limits of Postwar Feeling |
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372 | (6) |
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4 September 1959: Der Frosch mit der Maske Moves Popular Cinema from Idyllic Pastures to Crime-Infested City Streets |
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378 | (7) |
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385 | (64) |
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392 | (2) |
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28 February 1962: Oberhausen Manifesto Creates Founding Myth for New German Cinema |
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394 | (6) |
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1 February 1968: Herstellung eines Molotow-Cocktails Promotes Film as a Tool for Political Violence |
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400 | (5) |
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1 February 1968: Konrad Wolf's Ich war neunzehn Evokes an East German Nation in Transition |
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405 | (6) |
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7 April 1968: Straub, Huillet, and Fassbinder Share the Stage at Munich's Action-Theater |
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411 | (6) |
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23 June 1968: Alexander Kluge Egged in Berlin, Months Later Awarded Gold Lion in Venice |
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417 | (6) |
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Fall 1968: Expulsion of Thomas Brasch from GDR Film School Signals Fate of East German '68ers |
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423 | (7) |
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30 June 1970: A Faltering Berlinale Founders on o.k. Controversy |
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430 | (6) |
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29 February 1972: With Die Angst des Tormanns beim Elfmeter New German Cinema Learns to Read |
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436 | (7) |
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24 June 1974: Launching of Frauen und Film Creates Lasting Forum for Feminist Film Writing and Practice |
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443 | (6) |
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449 | (54) |
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455 | (3) |
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20 June 1977: DEFA's Biggest Star, Manfred Krug, Leaves the GDR |
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458 | (6) |
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27 October 1977: Deutschland im Herbst Equivocates on RAF and Marks End Stage of Radical Filmmaking |
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464 | (6) |
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22 January 1979: West German Broadcast of Holocaust Draws Critical Fire and Record Audiences |
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470 | (6) |
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20 August 1981: R. W. Fassbinder's Lola Revisits Kracauer to Critique Adenauer Period |
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476 | (7) |
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6 August 1984: Heimat Celebrated as "European Requiem for the Little People" |
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483 | (7) |
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8 June 1986: Farocki's Wie man sieht Urges New Ways of Seeing |
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490 | (7) |
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2 February 1988: Last Generation of DEFA Directors Calls in Vain for Reform |
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497 | (6) |
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503 | (134) |
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509 | (3) |
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23 July 1991: ZDF Broadcast of Ostkreuz Initiates Darker Reckoning with the Wende |
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512 | (6) |
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16 May 1992: Marlene Dietrich's Berlin Burial Link Postunification Germany with Weimar Republic's Internationalism |
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518 | (6) |
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25 August 1992: Ostalgie Provides Pushback against Western Views on the East German Collapse |
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524 | (6) |
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10 August 1994: One Month after Founding of X-Filme, Filmboard Berlin-Brandenburg Paves Way for New Productions in the Capital |
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530 | (7) |
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2 November 1995: Neurosia Embodies Seventy-Five Years of Queer Film History |
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537 | (6) |
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31 December 1995: Der bewegte Mann Sells 6.5 Million Tickets to Mark Peak of New German Comedy |
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543 | (5) |
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10 February 1999: Berlinale Premiere of Four Turkish-German Films Signals New
Chapter in Cinematic Diversity |
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548 | (5) |
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30 April 1999: Werner Herzog's "Minnesota Declaration Performs Critique of Documentary Cinema |
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553 | (6) |
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13 May 1999: Germany's Best Fiend, Klaus Kinski, Remembered at Cannes |
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559 | (6) |
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19 May 2000: With Code Inconnu Haneke Asserts Cinema's Centrality to Public Sphere |
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565 | (7) |
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21 October 2001: Television Provides Platform for Record Box-Office Success of Der Schuh des Manitu |
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572 | (6) |
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16 October 2003: Chancellor Gerhard Schroder Sheds Tears --- Again --- at Premiere of Das Wunder von Bern |
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578 | (5) |
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14 February 2004: Golden Bear for Gegen the Wand Affirms Fatih Akin as Germany's Preeminent Transnational Director |
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583 | (6) |
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8 September 2004: Der Untergang Offers Palatable Authenticity |
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589 | (7) |
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22 October 2005: Winner of Hessian Film Award Fremde Haut Queers Dual Binaries of Sexual and National Identity |
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596 | (6) |
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22 January 2007: Film Establishment Attacks "Berlin School" as Wrong Kind of National Cinema |
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602 | (7) |
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25 February 2007: Das Leben der Anderen Follows Blueprint for Foreign-Language Oscar Success |
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609 | (6) |
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6 December 2007: Indie Film Fur den unbekannten Hund Seeks Space for Marginalized Male Heroism |
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615 | (7) |
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11 February 2008: Ulrike Ottinger's Prater Wins German Critics' Award for Best Documentary Yet Highlights the Director's Ties to Both Fiction and Nonfiction Film |
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622 | (7) |
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Epilogue: The Many Lives of Contemporary German Cinema |
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629 | (8) |
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| Notes on the Contributors |
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637 | (8) |
| Index of Subjects |
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645 | (6) |
| Index of Names |
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651 | (13) |
| Index of Film Titles |
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664 | |
