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Rubble, Ruins and Romanticism : Visual Style, Narration and Identity in German Post-War Cinema.

Author: Martina Moeller
Publisher: Bielefeld : Transcript, 2014.
Series: Film.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
Traditional criticism on German post-war cinema tends to define rubble films as simplistic texts of low artistic quality which serve to reaffirm the spectator's image of him or herself as <U+00bb>a good German± during <U+00bb>bad times±. Yet this study asserts that some rubble films are actually informed by a type of visual and narrative Romantic discourse which aims at provoking a <U+00bb>critical  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Moeller, Martina.
Rubble, Ruins and Romanticism : Visual Style, Narration and Identity in German Post-War Cinema.
Bielefeld : transcript, ©2014
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Martina Moeller
ISBN: 9783839421833 3839421837
OCLC Number: 1042086282
Description: 1 online resource (321 pages).
Contents: Cover Rubble, Ruins and Romanticism ; Table of Contents; Acknowledgements ; Table of Figures ; Introduction ; 1. The Neoformalist Approach: Questions of Form and Style ; Film as an Aesthetic System ; The Result of Construction: Meaning ; 2. German Romanticism: The Stylistic Origin of Rubble Films. Leading Stylistic and Narrative Romantic Devices Ruins and Fragment: A Romantic Discourse on Crisis ; 3. The Romantic Discourse in a Selection of Rubble Films ; Rubble Films: Common Features and Main Differences ; The Romantic Discourse. The Murderers Are Among Us (1946): A Break with Nazi Cinema? Film Without a Name (1947/48): Irony Shall Help Us! ; The Blum Affair (1948): Engel's Critical View on the Past ; The 'Last' Illusion (1948/49): Double Views and Mistaken Perception. Second Hand Destiny (1949): The Demonic Bourgeois The Lost (1950/51): No Escape? ; Conclusion ; Literature.
Series Title: Film.

Abstract:

Traditional criticism on German post-war cinema tends to define rubble films as simplistic texts of low artistic quality which serve to reaffirm the spectator's image of him or herself as "a good  Read more...

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Moeller liefert einen wichtigen und produktiven Beitrag zur weiteren Ausdifferenzierung einer spezifisch filmischen Krisen sthetik. Ihre Studie macht deutlich, dass sowohl die neoformalistische Read more...

 
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