Cantitate/Preț
Produs

Dietrich's Ghosts: The Sublime and the Beautiful in Third Reich Film

Autor Erica Carter
en Limba Engleză Paperback – 7 iul 2007
This text looks at the star system under the Third Reich. Following the experiments of Weimar, much of cinema after 1933 became part of a wider Nazi backlash against modernism in all its forms. This study contributes to contemporary debates concerning the historical study of film spectatorship.
Citește tot Restrânge

Preț: 23326 lei

Nou

Puncte Express: 350

Preț estimativ în valută:
4463 4672$ 3715£

Carte disponibilă

Livrare economică 10-24 martie

Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9780851708836
ISBN-10: 0851708838
Pagini: 246
Dimensiuni: 155 x 235 x 18 mm
Greutate: 0.47 kg
Ediția:2007
Editura: British Film Institute
Colecția British Film Institute
Locul publicării:London, United Kingdom

Cuprins

Stars as objects of ambivalence.- Film as art a cinema of Personlichkeit.- The new film art reception.- Film stars and the volkisch sublime Emil Jannings' "Little Dreamer".- Marlene Dietrich German beauty or Hollywood spectacle?.- Femininity and the sublime Zarah Leander.- "race" and star image Ferdinand Marian.

Notă biografică

Erica Carter is Senior Lecturer in German Studies at the University of Warwick and author of How German is She?: Postwar West German Reconstruction and the Consuming Woman (1997).

Textul de pe ultima copertă

Dietrich's Ghosts is the first major English-language study to look at the star system under the Third Reich. Erica Carter argues that after the Weimar period, the German star system was reorganized to foster an antimodernist mode of spectatorship geared to an appreciation of the beautiful and the sublime. Carter discusses the reconfiguring of film production and exhibition around idealist aesthetic principles and offers case studies of three stars. Emil Jannings figures as an exemplar of what Carter terms the volkisch sublime, while Marlene Dietrich emerges as a figure at the crossroads of modernist and idealist conceptions of beauty. A provocative chapter on Zarah Leander in the feature films of the early war years portrays this star as a post-Dietrich emblem of the supposed sublimity of a fascist war. This unprecedented new study reassesses existing paradigms in German film history debates and throws suggestive new light on the icons and popular culture of the Third Reich.