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The products of transformed national film industries contain models for a reconceptualization of community.

Such films engage in a transnational decentering in which ethnocentrism is replaced with intersubjective openness.

Contents: The gay/Super 8 connection : Berlin / Jurgen Bruning -- A cinematically divided city / Karen Rosenberg -- Self portrait with skull / Birgit Hein -- Interview with Michael Brynntrup / Steff Ulbrich -- Moderns in ruins / Madeleine Leskin -- Sucking the city pulse : interview with Penelope Buitenhuis / Torsten Alisch -- "The inter-view!

" (with Michael Krause) / Niels Kruger -- A story from a Berliner courtyard / Katarina Peters -- Excerpt from an interview with Katarina Peters / Masud Rajai -- Die Alten Filme / Andreas Dohler.

Caligari / Dietrich Scheunemann -- Film as graphic art: on Karl Heinz Martin's From morn to midnight / Jurgen Kasten -- Episodic patchwork: the bric-a-brac principle in Paul Leni's Waxworks / Jurgen Kasten -- Entrapment and escape: readings of the city in Karl Grune's The street and G. Pabst's The joyless street / Anthony Coulson -- Fragmenting the space: on E. Dupont's Variete / Thomas Brandlmeier -- On Murnau's Faust: a generic Gesamtkunstwerk? The Democratic Spirit of the Weimar Cinema / Mimi Tennyson Goss.[Cambridge, Mass.]: Research Programs, John F. Tauris, 2002."Gender, film, and German history: filmmaking by German women directors from Weimar to the present." In: Facing fascism and confronting the past: German women writers from Weimar to the present / edited by Elke P. Albany, NY: State University of New York Press, c2000. Series title: Contemporary film and television studies and readers. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992. "The Demonization of the Home Front: War Neurosis and Weimar Cinema." In: Dancing on the volcano: essays on the culture of the Weimar Republic / edited by Thomas W. In recent years, in various countries like Belgium, Norway, France, and Luxembourg, an intense study of the German newsreels for the occupied countries has been done. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992.Another contributory to the German cinema's success was its sound technology which replaced most of the silent films." [Expanded Academic Index] "The recent expansion of the German film industry is not merely a market effect of globalization, but also involves a process of conscious transnationalism.The fundamental premise of the national film industry has altered in a subtle yet important way: Industry experts no longer speak of German directors creating German films, but rather of a film as " made in Germany" or from "location Germany." The shift from "made for Germans" to "made in Germany" leads to products that sidestep apprehension by national-oriented approaches.The picture that emerges is a complex one, and the variations from context to context are significant." [Communication Abstracts] "Hitler's history films: David Welch looks at the dramatisation of Fuhrerprinzip in the Nazi cinema, and how history films were used to propagate themes of anti-parliamentarianism and the concept of an individual leader of genius." History Today 52.12 (Dec 2002): 20(6). 'New' and 'Traditional' Interpretations of Third Reich Film Representations of Women." Historical Journal of Film, Radio and Television, vol. 24 Issue 1, p5-34, 30p UC users only Depictions of the German and foreigner in films and authors appearing in West Germany in the 1980s and 1990s are discussed.The films are "Yasemin" and "Keiner liebt mich," while the literature is by Irene Dische and Aras Oren. 121-152, Spring 2008 "The writer discusses film in Germany in the period between 19.

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