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Author: William Grange Publisher: Praeger ISBN: Category : Drama Languages : en Pages : 192
Book Description
Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre. Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre. Industrial comedy describes the most important and most predominant form of comedy on German stages from 1919 to 1933. Discoveries, reversals, mistaken identities, and abrupt plot twists were its stock-in-trade. Scholars and students of theatre as well as modern German history will find this a fascinating look at why Germans were laughing, and what they were laughing at, as their society crumbled around them.
Author: William Grange Publisher: Praeger ISBN: Category : Drama Languages : en Pages : 192
Book Description
Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre. Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre. Industrial comedy describes the most important and most predominant form of comedy on German stages from 1919 to 1933. Discoveries, reversals, mistaken identities, and abrupt plot twists were its stock-in-trade. Scholars and students of theatre as well as modern German history will find this a fascinating look at why Germans were laughing, and what they were laughing at, as their society crumbled around them.
Author: Bruce Murray Publisher: University of Texas Press ISBN: 0292788037 Category : Performing Arts Languages : en Pages : 303
Book Description
The Weimar Republic of Germany, covering the post-World War I period of civil and governmental strife, witnessed a great struggle among a variety of ideologies, a struggle for which the arts provided one important arena. Leftist individuals and organizations critiqued mainstream art production and attempted to counter what they perceived as its conservative-to-reactionary influence on public opinion. In this groundbreaking study, Bruce Murray focuses on the leftist counter-current in Weimar cinema, offering an alternative critical approach to the traditional one of close readings of the classical films. Beginning with a brief review of pre-Weimar cinema (1896-1918), he analyzes the film activity of the Social Democratic Party, the German Communists, and independent leftists in the Weimar era. Leftist filmmakers, journalists, and commentators, who in many cases contributed significantly to marginal leftist as well as mainstream cinema, have, until now, received little scholarly attention. Drawing on exhaustive archival research and personal interviews, Murray shows how the plurality of aesthetic models represented in the work of individuals who participated in leftist experiments with cinema in the 1920S collapsed as Germany underwent the transition from parliamentary democracy to fascist dictatorship. He suggests that leftists shared responsibility for that collapse and asserts the value of such insights for those who contemplate alternatives to institutional forms of cinematic discourse today.
Author: William Grange Publisher: ISBN: Category : Comedy Languages : en Pages : 194
Book Description
When the National Socialist German Workers' party (Nazis) assumed power they vowed to cleanse the German theater of all things "un-German," which ostensibly included comedy. During the Third Reich nearly all German theaters, supported by enormous state funding, presented thousands of comedy productions. Perhaps it was a propaganda tool, however only a tiny fraction of these productions were outright propagandist efforts. French playwright and filmmaker, Marcel Pagnol described laughter as a "song of triumph... that] expresses the laugher's sudden discovery of his own momentary superiority over the person at whom he is laughing. That explains burst of laughter in all times in all countries." Hitler and his followers gladly embraced this triumphal expression. Yet, what did this laughter mean to the Nazi agenda and in what ways did it undermine its goals? Hitler Laughing offers insight into the world of comedy during the Third Reich and its role in the Nazi cultural agenda.
Author: William Grange Publisher: Scarecrow Press ISBN: 9780810859678 Category : History Languages : en Pages : 428
Book Description
The Weimar Republic began at 2:00 PM on November 9, 1918 when Philip Scheidemann declared from a second-story window in the Reich Chancellery to his hearers below that the German Reich was now a republic. It ended at 11:00 AM on January 30, 1933 when President Paul von Hindenburg named Adolf Hitler Chancellor. The Cultural Chronicle of the Weimar Republic is an account of significant cultural events in Germany during the time of the Weimar Republic. Weimar, already a German cultural mecca because Goethe and Schiller had lived and worked there 120 years earlier, emerged as a unique and experimental culture. Weimar culture was responsible for producing such icons as actress Marlene Dietrich, novels like All Quiet on the Western Front, musicals like The Threepenny Opera, the political cabaret, the Bauhaus School, and films like The Cabinet of Dr. Caligari and Metropolis. There were hundreds of premieres, performance debuts, exhibitions, works of fiction, and other cultural events that marked the Republic as Western Civilization's first modernist society. Modernism took many forms: the Einstein Tower in Berlin, the symphonies of Paul Hindemith, the paintings of Max Beckmann, the drawings of K the Kollwitz, the novels of Alfred D blin, the industrial designs of Ferdinand Porsche, the choreography of Mary Wigman, the acting of Ernst Deutsch, the plays of Expressionism. The Cultural Chronicle of the Weimar Republic presents these and scores of other modernist inscriptions worthy of note, while providing notations that inform readers of connections among individuals, art works, related cultural activities, and significant political and economic developments.
Author: Paul Matthew St. Pierre Publisher: Rowman & Littlefield ISBN: 1611479452 Category : Performing Arts Languages : en Pages : 286
Book Description
Cinematography in the Weimar Republic argues that the new medium of film was preeminent among the avant-garde art forms that distinguished the cultural renaissance of the Weimar Republic and that within this progressive medium cinematographers were the leading purveyors of the new kinetic visual imaginary.
Author: Christian Rogowski Publisher: Camden House ISBN: 1571134298 Category : Performing Arts Languages : en Pages : 370
Book Description
Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles on film spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available and augmented by the increased availability of films from the period on DVD. This wealth of new source material calls for a re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume. Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P. Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale. Christian Rogowski is Professor and Chair of German at Amherst College.
Author: Barbara Hales Publisher: Berghahn Books ISBN: 1789208734 Category : Performing Arts Languages : en Pages : 366
Book Description
The burgeoning film industry in the Weimar Republic was, among other things, a major site of German-Jewish experience, one that provided a sphere for Jewish “outsiders” to shape mainstream culture. The chapters collected in this volume deploy new historical, theoretical, and methodological approaches to understanding the significant involvement of German Jews in Weimar cinema. Reflecting upon different conceptions of Jewishness – as religion, ethnicity, social role, cultural code, or text – these studies offer a wide-ranging exploration of an often overlooked aspect of German film history.
Author: Jill Twark Publisher: Cambridge Scholars Publishing ISBN: 1443827819 Category : Humor Languages : en Pages : 380
Book Description
The fourteen chapters in this anthology feature original analyses of contemporary German-language literary texts, films, political cartoons, cabaret, and other types of performance. The artworks display a wide spectrum of humor modes, such as irony, satire, the grotesque, Jewish humor, and slapstick, as responses to unification with the accompanying euphoria, but also alienation and dislocation. Kerstin Hensel’s Lärchenau, Christoph Hein’s Landnahme, and vignette collections by Jakob Hein (Antrag auf ständige Ausreise und andere Mythen der DDR) and Wladimir Kaminer (Es gab keinen Sex im Sozialismus) are interpreted as examples of the grotesque. The popular films Lola rennt, Sonnenallee, Herr Lehmann, NVA, Alles auf Zucker!, and Mein Führer—Die wirklich wahrste Wahrheit über Adolf Hitler are reexamined through the lens of traditional and more recent humor or comic book theories. The contributors focus on how each artwork enriches four prominent postwall German cultural trends: post-unification identity reconstruction, Vergangenheitsbewältigung (including Hitler humor), New German Popular Literature (Christian Kracht’s ironic subtexts), and immigrant perspectives (a “third voice” in the East-West binary reflected here pointedly in Eulenspiegel cartoons). To date, no other scholarly work provides as comprehensive an overview of the diverse strategies of humor used in the past two decades in German-speaking countries.
Author: Valerie Weinstein Publisher: Indiana University Press ISBN: 0253040744 Category : Political Science Languages : en Pages : 278
Book Description
How party propagandists worked behind the scenes to create unspoken racist messages in the German culture—even in the most lighthearted of movies. Today many Germans look back fondly on 1930s film comedies, viewing them as a part of the Nazi era that was not tainted with antisemitism. Here, Valerie Weinstein scrutinizes these comic productions and demonstrates that film comedy, despite its innocent appearance, was a critical component in the effort to separate “Jews” from “Germans” physically, economically, and artistically. Weinstein highlights how the German propaganda ministry used directives, pre- and post-production censorship, financial incentives, and influence over film critics and their judgments to replace Jewish “wit” with a slower, simpler, and more direct German “humor” that affirmed values that the Nazis associated with the Aryan race. Through contextualized analyses of historical documents and individual films, Weinstein reveals how humor, coded hints and traces, absences, and substitutes in Third Reich film comedy helped spectators imagine an abstract “Jewishness” and a “German” identity and community free from the former. As resurgent populist nationalism and overt racism continue to grow around the world today, Weinstein’s study helps us rethink racism and prejudice in popular culture and reconceptualize the relationships between film, humor, national identity, and race.
Author: Ian Wilkie Publisher: Routledge ISBN: 0429614373 Category : Performing Arts Languages : en Pages : 479
Book Description
The Routledge Comedy Studies Reader is a selection of the most outstanding critical analysis featured in the journal Comedy Studies in the decade since its inception in 2010. The Reader illustrates the multiple perspectives that are available when analysing comedy. Wilkie’s selections present an array of critical approaches from interdisciplinary scholars, all of whom evaluate comedy from different angles and adopt a range of writing styles to explore the phenomenon. Divided into eight unique parts, the Reader offers both breadth and depth with its wide range of interdisciplinary articles and international perspectives. Of interest to students, scholars, and lovers of comedy alike, The Routledge Comedy Studies Reader offers a contemporary sample of general analyses of comedy as a mode, form, and genre.
Author: William Grange
Author: William Grange
Author: Bruce Murray
Author: William Grange
Author: William Grange
Author: Paul Matthew St. Pierre
Author: Christian Rogowski
Author: Barbara Hales
Author: Jill Twark
Author: Valerie Weinstein
Author: Ian Wilkie