Acknowledgments
Introduction: Critical Film History and German Studies
Early German Film History 1895-1918: Historical Overview
Der Student von Prag (1913) and Learning to Look
Weimar Cinema 1919-1933: Historical Overview
Das Cabinet des Dr. Caligari (1920) or Film as Hypnosis
Der letzte Mann (1924) or Learning to Move
Metropolis (1927) or Technology and Sex
Der blaue Engel (1927) and Learning to Talk
M (1931) or Sound and Terror
Nazi Cinema 1933-1945: Historical Overview
Triumph des Willens: (1935): Documentary and Propaganda
Die große Liebe (1942) or Love and War
German Cinema at the Zero Hour 1945-1949: Historical Overview
Die Mörder sind unter uns: (1946): The Rubble Film
Postwar East German Cinema 1949-1989: Historical Overview
Sonnensucher (1958) or Searching for the Socialist Sun
Spur der Steine (1966) or Traces of Repression
Die Legende von Paul und Paula (1966) or East Germany in the
'70s
Solo Sunny (1980) or Even Socialism Can't Stave Off Loneliness
Postwar West German Cinema 1949-1989: Historical Overview
Die Brücke (1959): Film and War
Der junge Törless (1966) or Recapturing Tradition
Aguirre, der Zorn Gottes (1972): Film and the Sublime
Deutschland im Herbst (1978) or Film and Politics
Die Ehe der Maria Braun (1979) or West Germany Rebuilds
Die Blechtrommel (1979) or Coming to Terms with the Nazi Past
Die bleierne Zeit (1981): Film and Terrorism
Der Himmel über Berlin (1987): Berlin, City of Angels
German Film after Reunification 1990-2010: Historical Overview
Der bewegte Mann (1994) or West German Self-Absorption
Rossini (1994) or West German Self-Absorption Criticized
Lola rennt (1998) or Cool Germania
Good Bye Lenin! (2003) or Farewell to the Socialist Motherland
Gegen die Wand (2004) or Germany Goes Multicultural
Das Leben der anderen (2006) or the Power of Art
Index
STEPHEN BROCKMANN is Professor of German with courtesy appointments in English and History at Carnegie Mellon University.
Expands and revises the 2010 edition, offering a revised
interpretation of Nazi-era cinema and revisions on feminist film
critique.
*THE YEAR'S WORK IN MODERN LANGUAGE STUDIES*
[T]ypical of Brockmann's work in its ambition, its eye for key
details, and its nuanced appreciation of cultural texts. However,
most impressive of all, given the amount of material he covers, is
its readability. The volume has a wonderfully accessible style that
explains while never patronizing the reader. Its tone will no doubt
ensure its success with its intended audience, as well as any other
reader who wishes to obtain a clear sense of German film's unique
contribution to world cinema.
*JOURNAL OF CONTEMPORARY EUROPEAN STUDIES*
[O]ccupies a unique position in contemporary film scholarship. . .
. [W]ritten with remarkable clarity in a refreshingly jargon-free
idiom . . . . [A]n indispensable volume for both students and
teachers of film. . . . [T]here is no comparable study that offers
such a comprehensive and even-handed overview of the landmarks of
German cinema in their socio-political context, and Brockmann's
volume will surely become a core text on both undergraduate and
graduate film courses for many years to come.
*MODERN LANGUAGE REVIEW*
[T]he first encompassing study [of German film] to construct its
account largely through extended discussion of key film works. . .
. [S]ubstantially successful in illustrating broad arguments about
historical development through detailed attention to the narrative
texture of canonical films. . . . [T]his is a volume that can
certainly be recommended as a textbook for the study of German
film.
*JOURNAL OF EUROPEAN STUDIES*
Brockmann's approach is new and original. Students will find an
excellent starting point in their understanding of German film
history with this book. University libraries should offer [it] to
their students, along with DVD copies of the classic movies
discussed.
*GERMAN STUDIES REVIEW*
Currently the only available history of German cinema written in
English that both charts German film history from its beginnings
during the Kaiserreich to its state in the third millennium and
provides a series of sustained readings of individual films. . . .
Brockmann's critical intervention . . . is without doubt an
achievement that will become canonical in courses surveying German
film history.
*GERMAN QUARTERLY*
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