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by Margaret McCarthy,Randall Halle,Alasdair King,Alison Guenther-Pal,Antje Ascheid,Brad Prager,Christian Rogowski,Christine Haase,Elizabeth Mittman,Gerd Gemünden,Hester Baer,Janet McCabe,John E. Davidson,Lutz Koepnick,Nancy P. Nenno,Richard W. McCormick,Robert C. Reimer,Stefan Soldovieri,Tim Bergfelder

  • ISBN: 0814330444
  • Category: Fiction
  • Author: Margaret McCarthy,Randall Halle,Alasdair King,Alison Guenther-Pal,Antje Ascheid,Brad Prager,Christian Rogowski,Christine Haase,Elizabeth Mittman,Gerd Gemünden,Hester Baer,Janet McCabe,John E. Davidson,Lutz Koepnick,Nancy P. Nenno,Richard W. McCormick,Robert C. Reimer,Stefan Soldovieri,Tim Bergfelder
  • Subcategory: History & Criticism
  • Other formats: lrf lrf txt mobi
  • Language: English
  • Publisher: Wayne State University Press; 1st Edition. edition (May 1, 2003)
  • Pages: 472 pages
  • FB2 size: 1650 kb
  • EPUB size: 1760 kb
  • Rating: 4.5
  • Votes: 688
Download Light Motives: German Popular Film in Perspective (Contemporary Approaches to Film and Media Series) fb2

Critics rarely associate popular film with German cinema, despite the . Randall Norman Halle is an assistant professor of German Studies and Film Studies.

Critics rarely associate popular film with German cinema, despite the international success of such films as Das Boot (1981), The Never-Ending Story (1984), Run, Lola, Run (1998), and recent German comedies, all representing a rich body of work outside the parameters of high culture.

German Popular Film in Perspective . Randall Norman Halle is an assistant professor of German Studies and Film Studies at the University of Rochester. Margaret R. McCarthy is an assistant professor at Davidson College. Contributors Include: Antje Ascheid, Hester Baer, Tim Bergfelder, John E. Davidson, Gerd Gemünden, Alison Guenther-Pal, Christine Haase, Randall Halle, Alasdair King, Lutz Koepnick, Janet McCabe, Margaret McCarthy, Richard W. McCormick, Elizabeth Mittman, Nancy P. Nenno, Brad Prager, Robert C. Reimer, Christian Rogowski, Stefan Soldovieri.

Brad Prager is associate professor of German and film studies at the University of Missouri. He is the author of Aesthetic Vision and German Romanticism: Writing Images and The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth. Series: Contemporary Approaches to Film and Media Series.

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The Films of Jess Franco does not avoid the methodologies most commonly used in the past to analyze Franco's work-auteur criticism, genre criticism, and cult film criticism-yet it does show how Franco's films complicate these critical approaches.

She is a professor of philosophy at the University of California at San Diego and the University of Durham

She is a professor of philosophy at the University of California at San Diego and the University of Durham. Currently, she is the President of the Division for Logic, Methodology and Philosophy of Science and Technology of the International Union of History and Philosophy of Science and Technology.

Film and Media Studies. The Bachelor of Arts in Film & Media Studies provides an introduction to film aesthetics, national cinematic traditions, modes of production in narrative, documentary, and experimental films, the incorporation of moving image media by contemporary artists, and the proliferation of new forms of digital media. The program is designed to develop the critical vocabulary and intellectual framework for understanding the role of cinema and related media within broad cultural and historical concepts.

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Critics rarely associate popular film with German cinema, despite the international success of such films as Das Boot (1981), The Never-Ending Story (1984), Run, Lola, Run (1998), and recent German comedies, all representing a rich body of work outside the parameters of high culture. This very success compels the authors of Light Motives to take an unprecedented look at German popular film across the historical spectrum and to challenge the tendency among critics to divvy up German film, like Germans themselves, into the Good and the Bad. Together the essays reexamine popular film production along with larger cultural, historical, and political meanings suggested by the term "popular."

Most critical accounts have focused on the golden era of Weimar film and the New German Cinema of the 1960s and 70s leaving much of popular film by the wayside. This volume attributes the division to such sources as Frankfurt School dictates, Goethe Haus film offerings, and state-funded film production during the 1970s, which promoted high-culture art films to broadcast the success of West German democratization.

The essays challenge the traditional shape of German film history, while offering in-depth analyses of films that have until now been beyond the pale of critical attention. What emerges is a "Never-Ending Story" of oft-repeated obsessions, overlapping generic forms, omnipresent or subtle nods to Hollywood, and myriad political concerns irreducible to a unified message or aesthetic form-all bearing witness to the vibrancy of German culture.



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