Umfang:
1 online resource (701 pages)
Ausgabe:
1st ed.
ISBN:
9780520962439
Serie:
Weimar and Now: German Cultural Criticism Series v.49
Inhalt:
Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history
Anmerkung:
Cover -- THE PROMISE OF CINEMA -- Title -- Copyright -- Contents -- Acknowledgments -- User's Guide -- Introduction -- SECTION ONE. TRANSFORMATIONS OF EXPERIENCE -- 1. A New Sensorium -- 1. Hanns Heinz Ewers, The Kientopp (1907) -- 2. Max Brod, Cinematographic Theater (1909) -- 3. Gustav Melcher, On Living Photography and the Film Drama (1909) -- 4. Kurt Weisse, A New Task for the Cinema (1909) -- 5. Anon., New Terrain for Cinematographic Theaters (1910) -- 6. Anon., The Career of the Cinematograph (1910) -- 7. Karl Hans Strobl, The Cinematograph (1911) -- 8. Ph. Sommer, On the Psychology of the Cinematograph (1911) -- 9. Hermann Kienzl, Theater and Cinematograph (1911) -- 10. Adolf Sellmann, The Secret of the Cinema (1912) -- 11. Arno Arndt, Sports on Film (1912) -- 12. Carl Forch, Thrills in Film Drama and Elsewhere (1912-13) -- 13. Lou Andreas-Salomé, Cinema (1912-13) -- 14. Walter Hasenclever, The Kintopp as Educator: An Apology (1913) -- 15. Walter Serner, Cinema and Visual Pleasure (1913) -- 16. Albert Hellwig, Illusions and Hallucinations during Cinematographic Projections (1914) -- 2. The World in Motion -- 17. H. Ste., The Cinematograph in the Service of Ethnology (1907) -- 18. O. Th. Stein, The Cinematograph as Modern Newspaper (1913-14) -- 19. Hermann Häfker, Cinema and Geography: Introduction (1914) -- 20. Yvan Goll, The Cinedram (1920) -- 21. Hans Schomburgk, Africa and Film (1922) -- 22. Franc Cornel, The Value of the Adventure Film (1923) -- 23. Béla Balázs, Reel Consciousness (1925) -- 24. Colin Ross, Exotic Journeys with a Camera (1928) -- 25. Anon., Lunar Flight in Film (1929) -- 26. Lotte H. Eisner, A New India Film: A Throw of Dice (1929) -- 27. Erich Burger, Pictures-Pictures (1929) -- 28. Alfred Polgar, The Panic of Reality (1930) -- 29. Béla Balázs, The Case of Dr. Fanck (1931)
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123. Film-Kurier, Film in the New Germany (1928) -- 124. Siegfried Kracauer, All Quiet on the Western Front (1930) -- 125. Kurt Tucholsky, Against the Ban on the Remarque Film (1931) -- 9. The Specter of Hollywood -- 126. Claire Goll, American Cinema (1920) -- 127. Erich Pommer, The Significance of Conglomerates in the Film Industry (1920) -- 128. Valentin, The Significance of Film for International Understanding (1921) -- 129. Joe May, The Style of the Export Film (1922) -- 130. Hans Siemsen, German Cinema (1922) -- 131. Georg Jacoby, Film-America and Us (1922) -- 132. Ernst Lubitsch, Film Internationality (1924) -- 133. Georg Otto Stindt, Is Film National or International? (1924) -- 134. Axel Eggebrecht, The Twilight of Film? (1926) -- 135. Anon., The Restructuring of Ufa (1927) -- 136. Carl Laemmle, Film Germany and Film America (1928) -- 137. Billie Wilder, The First One Back from Hollywood (1929) -- 138. Alexander Jason, Film Statistics (1930) -- 139. A. K., Done with Hollywood (1931) -- 140. Anon., Film-Europe, a Fact! (1931) -- 141. Anon., Internationality through the Version System (1931) -- 142. Erich Pommer, The International Talking Film (1932) -- 10. Cinephilia and the Cult of Stars -- 143. Henny Porten, The Diva (1919) -- 144. Kurt Pinthus, Henny Porten for President (1921) -- 145. Robert Musil, Impressions of a Naïf (1923) -- 146. Béla Balázs, Only Stars! (1926) -- 147. Vicki Baum, The Automobile in Film (1926) -- 148. Anon., Vienna Is Filming! (1926) -- 149. Willy Haas, Why We Love Film (1926) -- 150. Hugo, Film Education (1928) -- 151. K. W., What Is Film Illusion? (1928) -- 152. Hans Feld, Anita Berber: The Representative of a Generation (1928) -- 153. Marlene Dietrich, To an Unknown Woman (1930) -- 154. Max Brod and Rudolf Thomas, Love on Film (1930) -- 155. Siegfried Kracauer, All about Film Stars (1931)
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156. Siegfried Kracauer, Destitution and Distraction (1931)
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30. Siegfried Kracauer, The Weekly Newsreel (1931) -- 3. The Time Machine -- 31. Ludwig Brauner, Cinematographic Archives (1908) -- 32. Berthold Viertel, In the Cinematographic Theater (1910) -- 33. Eduard Bäumer, Cinematograph and Epistemology (1911) -- 34. Franz Goerke, Proposal for the Establishment of an Archive for Cinema-Films (1912) -- 35. J. Landau, Mechanized Immortality (1912) -- 36. Heinrich Lautensack, Why?-This Is Why! (1913) -- 37. E. W., The Film Archive of the Great General Staff (1915) -- 38. Hans Lehmann, Slow Motion (1917) -- 39. Friedrich Sieburg, The Transcendence of the Film Image (1920) -- 40. August Wolf, Film as Historian (1921) -- 41. Fritz Lang, Will to Style in Film (1924) -- 42. Siegfried Kracauer, Mountains, Clouds, People (1925) -- 43. Joseph Roth, The Uncovered Grave (1925) -- 44. Fritz Schimmer, On the Question of a National Film Archive (1926) -- 45. Albrecht Viktor Blum, Documentary and Artistic Film (1929) -- 46. Béla Balázs, Where Is the German Sound Film Archive? (1931) -- 4. The Magic of the Body -- 47. Walter Turszinsky, Film Dramas and Film Mimes (1910) -- 48. Friedrich Freksa, Theater, Pantomime, and Cinema (1916) -- 49. Carl Hauptmann, Film and Theater (1919) -- 50. Oskar Diehl, Mimic Expression in Film (1922) -- 51. Béla Balázs, The Eroticism of Asta Nielsen (1923) -- 52. Friedrich Sieburg, The Magic of the Body (1923) -- 53. Max Osborn, The Nude Body on Film (1925) -- 54. Béla Balázs, The Educational Values of Film Art (1925) -- 55. Leni Riefenstahl, How I Came to Film . . . (1926) -- 56. H. Sp., The Charleston in One Thousand Steps (1927) -- 57. Leo Witlin, On the Psychomechanics of the Spectator (1927) -- 58. Lotte H. Eisner and Rudolf von Laban, Film and Dance Belong Together (1928) -- 59. Fritz Lang, The Art of Mimic Expression in Film (1929) -- 60. Emil Jannings, Miming and Speaking (1930)
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61. Siegfried Kracauer, Greta Garbo: A Study (1933) -- 5. Spectatorship and Sites of Exhibition -- 62. Fred Hood, Illusion in the Cinematographic Theater (1907) -- 63. Alfred Döblin, Theater of the Little People (1909) -- 64. Arthur Mellini, The Education of Moviegoers into a Theater Public (1910) -- 65. Anon., The Movie Girl (1911) -- 66. Anon., Various Thoughts on the Movie Theater Interior (1912) -- 67. Victor Noack, The Cinema (1913) -- 68. Emilie Altenloh, On the Sociology of Cinema (1914) -- 69. Resi Langer, From Berlin North and Thereabouts / In the Movie Houses of Berlin West (1919) -- 70. Milena Jesenská, Cinema (1920) -- 71. Kurt Tucholsky, Erotic Films (1920) -- 72. Herbert Tannenbaum, Film Advertising and the Advertising Film (1920) -- 73. August Wolf, The Spectator in Cinema (1921) -- 74. Kurt Pinthus, Ufa Palace (1925) -- 75. Karl Demeter, The Sociological Foundations of the Cinema Industry (1926) -- 76. Rudolf Harms, The Movie Theater as Gathering Place (1926) -- 77. Siegfried Kracauer, The Cinema on Münzstraße (1932) -- 6. An Art for the Times -- 78. Egon Friedell, Prologue before the Film (1912-13) -- 79. Anon., The Autorenfilm and Its Assessment (1913) -- 80. Ulrich Rauscher, The Cinema Ballad (1913) -- 81. Kurt Pinthus, Quo Vadis, Cinema? (1913) -- 82. Anon., The Student of Prague (1913) -- 83. Hermann Häfker, The Call for Art (1913) -- 84. Herbert Tannenbaum, Problems of the Film Drama (1913-14) -- 85. Will Scheller, The New Illusion (1913-14) -- 86. Kurt Pinthus, The Photoplay (1914) -- 87. Malwine Rennert, The Onlookers of Life in the Cinema (1914-15) -- 88. Paul Wegener, On the Artistic Possibilities of the Motion Picture (1917) -- 89. Ernst Lubitsch, We Lack Film Poetry (1920) -- 90. Fritz Lang, Kitsch-Sensation-Culture and Film (1924) -- SECTION TWO. FILM CULTURE AND POLITICS -- 7. Moral Panic and Reform
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91. Georg Kleibömer, Cinematograph and Schoolchildren (1909) -- 92. Franz Pfemfert, Cinema as Educator (1909) -- 93. Albert Hellwig, Trash Films (1911) -- 94. Robert Gaupp, The Dangers of the Cinema (1911-12) -- 95. Konrad Lange, The Cinematograph from an Ethical and Aesthetic Viewpoint (1912) -- 96. Ike Spier, The Sexual Danger in the Cinema (1912) -- 97. P. Max Grempe, Against a Cinema That Makes Women Stupid (1912) -- 98. Roland, Against a Cinema That Makes Women Stupid: A Response (1912) -- 99. Naldo Felke, Cinema's Damaging Effects on Health (1913) -- 100. Karl Brunner, Today's Cinematograph: A Public Menace (1913) -- 101. Richard Guttmann, Cinematic Mankind (1916) -- 102. Walther Friedmann, Homosexuality and Jewishness (1919) -- 103. Wilhelm Stapel, Homo Cinematicus (1919) -- 104. Kurt Tucholsky, Cinema Censorship (1920) -- 105. Albert Hellwig, The Motion Picture and the State (1924) -- 106. Aurel Wolfram, Cinema (1931) -- 107. Fritz Olimsky, Film Bolshevism (1932) -- 8. Image Wars -- 108. Paul Klebinder, The German Kaiser in Film (1912) -- 109. Hermann Duenschmann, Cinematograph and Crowd Psychology (1912) -- 110. Der Kinematograph, War and Cinema (1914) -- 111. Anon., The Cinematograph as Shooting Gallery (1914) -- 112. Hermann Häfker, Cinema and the Educated Class: A Foreword (1914) -- 113. Hermann Häfker, The Tasks of Cinematography in This War (1914) -- 114. Edgar Költsch, The Benefits of War for the Cinema (1914) -- 115. Karl Kraus, Made in Germany (1916) -- 116. Anon., State and Cinema (1916) -- 117. Johannes Gaulke, Art and Cinema in War (1916) -- 118. Gustav Stresemann, Film Propaganda for German Affairs Abroad (1917) -- 119. Erich Ludendorff, The Ludendorff Letter (1917) -- 120. Joseph Max Jacobi, The Triumph of Film (1917) -- 121. Rudolf Genenncher, Film as a Means of Agitation (1919) -- 122. Kurt Tucholsky, War Films (1927)
Weitere Ausg.:
Print version Kaes, Anton The Promise of Cinema Berkeley : University of California Press,c2016 ISBN 9780520219076
Sprache:
Englisch
Schlagwort(e):
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