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November 16, 2006

Open Studies in European Cinema. Weimar and Nazi Cinema: Bibliography

Bibliography

Introduction

This will take the form of a conventional bibliography dealing with not just the cinema of the Weimar and Nazi periods but providing some titles for general history and cultural history of the Weimar and Nazi Period. Where relevant good quality articles are discovered on the web they will be hyperlinked for your convenience. These hyperlinked articles are categorised in a separate section with standard bibliography being place d below this. Please suggest any hyperlinks or additions in the comments box.Thanks.

Web-linked bibliography

Baackmann Susanne: Review of Carter et al. German Cinema Book. In Seminar journal of Germanic Studies July 2006

Baranowsky, Shelley.2004. Strength Through Joy Cambridge: CUP

Bruns, Jana. Review of Anja Aschied Hitler’s Heroines: Stardom and Womanhood in Nazi Cinema H-German October 2003.

Conboy, Martin. The Discourse of Location: Realigning the Popular in German Cinema. European Journal of Communications. Sage. 1999 vol 14.3

Dassanowsky, Robert von. Review of: Hake, Sabina German National Cinema. London and New York: Routledge, 2002. 232pp. ISBN 0-41508-902-6

Horak Jan-Christopher. Review of Guerin, Francis. A Culture of Light. Cinema and technology in 1920s Germany. Minneapolis, University of Minnesota Press, 2005. ISBN: 0 8166 4286 9. In Screening the Past March 2006

Horak Jan-Christopher Film history and film preservation: reconstructing the text of The Joyless Street (1925)

Lee, Jennifer.Selling the Nazi Dream: Advertisement of the Musical Comedy Film in the Third Reich MA Candidate University of Victoria. Supervisor, Dr. Thomas Saunders

Malone Paul M. Negotiating Modernity in Weimar Film Theory. Film Philosophy, Volume 3 Number 37, September 1999ISSN 1466-4615

Author: Mennel, Barbara. Publication Date: 22-MAR-04 The New Paradigms of German Film Studies Review)

“Nowell-Smith, Geoffrey. “Re-imagining German Film History. Film-Philosophy Journal | Salon | Portal (ISSN 1466-4615) Vol. 5 No. 43, December 2001

Reading, Anna. “Scarlet Lips in Belsen:culture gender an ethnicity in the policies of the Holocaust”. Media Culture and Society 21.4. Sage.

Rosenthal, Alan. Review of Reeves Nicholas. 1999 The Power of Film Propaganda: Myth or Reality. London: Cassell. ‘Film Quarterly’, Vol. 55, No. 2 (Winter, 2001-2002), pp. 67-69

Seçil Deren: “Cinema and Film Industry in Weimar Republic, 1918-1933” from The Cradle of Modernity: Politics and Art in Weimar Republic (1918-1933), unpublished MSc thesis submitted to the Graduate School of Social Sciences of the Middle East Technical University, Ankara, 1997, pp. 129-163.

Spector, Scott. “Was the Third Reich Movie-Made?
Interdisciplinarity and the Reframing of “Ideology” ” American Historical Review. Vol 106 No 2. April 2001.

Tegel, Susan.The politics of censorship: Britain’s ‘Jew Suss’ in London, New York and Vienna -1934. Historical Journal of Film Radio and Television 1995

von Papen, Manuela. Opportunities and Limitations: New Woman in Third Reich Cinema. Women’s History Review Vol 8 No 4 1999.

Paris, Michael. Review of Carter Erica.2004. Dietrich’s Ghosts:The Sublime and the Beautiful in Third Reich Film London: BFI. Scope No 6, October 2006.

When Biology Became Destiny. This is a PDF download of a discussion with authors of this groundbreaking book 25 years on.

This is a useful internet ‘Gateway’ link to the search term European Cinema. It includes several useful sites on German cinema.

Another useful gateway into German cinema is the Wilhelm-Murnau-Stiftung

Standard Bibliography

A fine recent list of resources and bibliography including websites is contained in Bergfelder Tim, Carter Erica and Goturk Deniz. Eds. 2002. The German Cinema Book. London. British Film Institute. This is a first port of call for those interested in a serious follow up to the course.

Bergfelder Tim, Carter Erica and Goturk Deniz. 2002. ‘Introduction’. Bergfelder Tim, Carter Erica and Goturk Deniz. 2002. The German Cinema Book. London. British Film Institute

Bergfelder Tim, Carter Erica and Goturk Deniz. Eds. 2002. The German Cinema Book. London. British Film Institute

Burleigh, Michael. 2000. The Third Reich a New History. London: Macmillan

Cook Pam Ed. 1985. The Cinema Book. British Film Institute : London : ISBN 0-85170-144-2

Downing, Taylor.Olympia. London: BFI

Eisner, Lotte H. 1969. The Haunted Screen. London: Thames and Hudson

Elsaesser Thomas: 1996.Germany : The Weimar Years : Nowell-Smith Geoffrey Ed : Oxford History of World Cinema : OUP : Oxford. ISBN 0-19-874242-8

Elsaesser, Thomas. _ Metropolis_. London: BFI

Elsaesser, Thomas. 2000. Weimar Cinema and After. London: Routledge

Evans, Richard. 2003.The Coming of the Third Reich. Harmondsworth: Viking / Penguin

Faletti Heidi. 2000. “Reflections of Weimar Cinema in the Nazi Propaganda films SA-Mann Brand, Hitlerjunge Quex, and Hans Westmar” in Reimer, Robert C. 2000. Cultural History Through a National Socialist Lens. New York: Camden House

Gunning, Tom. 2000. The Films of Fritz Lang. London: BFI

Hake , Sabine. 2002. German National Cinema. London : Routledge

Hake, Sabine. 2001. Popular Cinema of the Third Reich. Austin: University of Texas Press

Hake, Sabine. 1997. ‘The melodramatic imagination of Detlef Sierck: Final Chord and its reonances’. Screen 38.2 Summer 1997 pp 129-148

Horak, Jan Christopher. 2002. ‘German Film Comedy’. Bergfelder Tim, Carter Erica and Goturk Deniz eds. The German Cinema Book. London: British Film Institute

Jung Uli and Schatzberg Walter.1999. _Beyond Caligari: The Films of Robert Wiene _ . Oxford : Berghan Books. ISBN 1-57181-196-6

Kaes. Anton. 2000. M . London : BFI

Kaes Anton: 1996 : The New German Cinema : Nowell-Smith Geoffrey Ed : Oxford History of World Cinema : OUP : Oxford : ISBN 0-19-874242-8

Kaes, Anton. 2004. Weimar Cinema: The Predicament of Modernity. In Ezra, Elizabeth. Ed . European Cinema. Oxford: Oxford University Press

Kershaw, Ian. 1993 (3rd Ed).The Nazi Dictatorship: Problems and Perspectives of Interpretation. London: Edward Arnold

Kracauer, Siegfried. 2004 re. From Caligari to Hitler. Princeton: Princeton University Press

Leiser Erwin : 1974. Nazi Cinema . Secker and Warburg : London

McGilligan Patrick: 1997 : Fritz Lang : Faber : London: ISBN 0-571-19175-4

Moltke von, Johannes. 2002 ‘Evergreens: The Heimat Genre.’ Bergfelder Tim, Carter Erica and Goturk Deniz eds. The German Cinema Book. London: British Film Institute

Murray, Bruce. Film and the German Left . Austin Texas: University of Texas Press , 1990

O’Brien, Mary-Elizabeth. Nazi Cinema as Enchantment. New York: Camden House

Petley, Julien. Capital and Culture: German Cinema 1933-45. London. BFI, 1979

Petley, Julian. ‘Film Policy in the Third Reich’. Bergfelder Tim, Carter Erica and Goturk Deniz eds. 2002. The German Cinema Book. London: British Film Institute

Prawer, S.S. 2002. The Blue Angel. London: BFI

Reimer, Robert C. 2000. Cultural History Through a National Socialist Lens. New York: Camden House

Reimer, Robert C, Zachau Reinhard. 2005. German Culture Through Film. Newburyport MA: Focus

Rentschler, Eric. 1996. ‘Germany : Nazism and After’. Nowell-Smith Geoffrey Ed. Oxford History of World Cinema. Oxford: OUP

Rentschler, Eric. 1996. The Ministry of Illusion. Cambridge Mass: Harvard

Rosenbaum, Jonathan. Greed. London, BFI

Rother, Rainer. 2002. Leni Riefenstahl: the Seduction of Genius. London: Continuum

Saunders, Thomas. J.1994. From Berlin to Hollywood: American Cinema and Weimar Germany. Berkeley: University of California Press

Saunders, Thomas. J. 1999. ‘Germany and Film Europe’. In Higson, Andrew and Maltby Richard. eds. 1999. Film Europe and Film America. Exeter: Exeter University Press

Taylor, Richard. (1998 Re). Film Propaganda. London: I. B. Tauris

Welch, David. 2002 (2nd ed). The Third Reich Politics and Propaganda .London: Routledge


November 15, 2006

Erich Pommer & Weimar Cinema

Erich Pommer & Weimar Cinema

Return to Weimar Cinema Hub Page

Introduction

Erich Pommer was one of the most important people in Weimar cinema. Pommer first founded and was head of Decla responsible for the production. when Decla later merged with Ufa Pommer was head of production.

Pommer’s original start in film was with the Berlin office of Gaumont in 1907. He later joined the French Éclair company before the war.

Once the war had started he became the co-founder of Decla-Filmgesellschaft, producing a range of serials in popular genres such as detectives and romances.

In 1920 Decla joins with Bioscop to form the second largest German film company after Ufa.

That Pommer was extremely important is evidenced by the description below found on the Deutsche film portal site:

With Die Spinnen and Das Cabinett des Dr. Caligari he made Decla the home for exceptionally gifted directors like Fritz Lang and Robert Wiene. To fulfil his aim of establishing a German film industry which could compete with Hollywood on an artistic, technical and commercial level, he continuously was on the look for new talent. His vision led to lasting creative relationships with maverick directors like Lang and Murnau, with whom Pommer shaped the face of Weimar Cinema as it is remembered and renowned today.


Lang, Pest in Florenz

From 1919 he was familiar with Fritz Lang. Pommer produced Pest in Florenz Dir. Rippert, 1919 with a screenplay by Lang. Later that year he produced Harakiri and Halbblut both directed and with screenplay by Lang. He then produced the adventure series die Spinnen directed by Lang.


Murnau, Phantom 1922

Pommer always had a twin-track approach to the films that were made. On the one hand UFA turned out the genre films of mass culture whilst on the other hand favoured directors were allowed to establish director led units making more artistic and experimental films for the more intellectual audiences of Weimar and for export. Directors with this favoured status included Fritz Lang and later F. W. Murnau.

Many classic films of the Weimar period followed including,

The Cabinet of Dr. Caligari (1919 / 20) directed by Wiene, Destiny, (1921) and the two parter Dr Mabuse directed by Lang (1921 / 22). He worked with Murnau firstly on Phantom (1922) and later on The Last Laugh (1924), and then Tartuffe (1925). Tartuffe was seemingly an attempt to create a film with an appeal to the French market as this market opened up following rapprochement between the two countries as post-war enmities subsided. The film has not been considered as one of Murnau’s better works and the various attempts to create a successful unified market failed.

He worked with Lang on Metropolis (1925 / 26) which infamously overran its budget and was an attempt to create a blockbuster to bleak into the US Market. In the same year he worked again with Murnau on Faust.

In 1926 Pommer went to work in the USA. He returned to work for UFA which had by then been taken over by Hugenberg who had put Gustav Klitzsch in charge. UFA now worked on a central producer system with the producer keeping a very tight control on budgets and shooting schedules.

In 1928 and 1928 / 29 he worked with Joe May on Heimkehr and then Asphalt. All of these were still working for Ufa.

In 1929 / 30 Pommer produced von Sternberg’s The Blue Angel, yet another film classic, still working for Ufa. In 1930 he produced Robert Siodmak’s Der Mann, der seinen Morder sucht.


Robert Siodmak, der Mann der seinen Morder sucht

Pommer continued to work for Ufa despite the ownership of Hugenberg up until 1932 when he produced his last film for them. Pommer left Germany, going firstly to France, then to Britain and then on to Hollywood. He didn’t produce another film in Germany until 1951.

In Britain Alexander Korda had attracted a number of European filmmakers including Erich Pommer. Pommer formed a production company with Charles Laughton, Mayflower Pictures.

Pommer was undoubtedly an entrepreneurial spirit who also liked good films. Historically he is the only figure who has had enough concentrated power, skill and entrepreneurial skills to challenge the rise of Hollywood in the post first world war period. Circumstances were always against him. His attempts to create ‘Cinema Europe’ to both resist and challenge Hollywood fell on infertile ground.

Webliography  

Films Associated with Erich Pommer 


May Joe: Heimkehr (1928)

May Joe: Asphalt (1928 / 29)

Murnau F.W. : Faust (1926)

Murnau F. W. :  Phantom (1922)

Murnau F. W. : Tartuffe (1925)

Murnau F. W. : The Last Laugh (1924)

Lang Fritz: Dr Mabuse both parts  (1921 / 22)

Lang Fritz:  Metropolis (1925 / 26)

Rippert (Screenpalay Fritz Lang): Pest in Florenz 1919

Siodmak Robert : Der Mann, der seinen Morder sucht. (1930)

von Sternberg Josef: The Blue Angel (1930)

Wiene: The Cabinet of Dr. Caligari (1919 / 20)

A Useful Link To "German Department Resource at Dartmouth ":http://www.dartmouth.edu/~germ43/resources/biographies/pommer-e.html


November 14, 2006

Open Studies in European Cinema. Weimar and Nazi Film Links

Here are some interesting links on the Internet dealing with films not covered in this term’s program.

Elsaesser on Fritz Lang

Academic Anton Kaes and a useful bibliography of a leading German film scholar

Article from leading German studies academic Miriam Hansen on modernism and vernacular cinema

The 100 most significant German films

Forthcoming New Books on German cinema from Berghan Press

Review Article by Erica Carter

Thomas Elsaesser on Problems of Modernity and Nazi cinema


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