By Jennifer M. Kapczynski, Michael D. Richardson
This dynamic, event-centered anthology bargains a brand new realizing of the hundred-year background of German-language movie, from the earliest days of the "Kintopp" to modern productions like "The Lives of Others". all the greater than 80 essays takes a key date as its start line and explores its value for German movie historical past, pursuing its dating with its social, political, and aesthetic second. whereas the essays supply considerable temporal and topical unfold, this e-book emphasizes the juxtaposition of recognized and unknown tales, granting awareness to a variety of cinematic occasions. short part introductions supply a bigger old and film-historical framework that illuminates the essays inside it, supplying either students and the overall reader a surroundings for the person texts and figures lower than research. Cross-references to different essays within the publication are integrated on the shut of every access, encouraging readers not just to pursue generic trajectories within the improvement of German movie, but in addition to track specific figures and motifs throughout genres and historic sessions. jointly, the contributions supply a brand new view of the a number of, intersecting narratives that make up German-language cinema. The constellation that's therefore proven demanding situations unidirectional narratives of German movie background and charts new methods of pondering movie historiography extra greatly. Jennifer Kapczynski is affiliate Professor of German at Washington collage, St. Louis, and Michael Richardson is affiliate Professor of German at Ithaca collage.
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Extra resources for A New History of German Cinema
56 The experiment was focused on the lesson type rather than on the film shown to illustrate it. There were four types of lesson: B, R, Q and L. Group B students never saw the film and theirs was designated the control group. Group R saw the film (on the regional geography of the British Isles) and was then asked questions about it. The Q lesson started with the teacher posing a question that could be answered from careful observation of the subsequently shown film. Those who had the L type of lesson had to experience the film’s screening being extended throughout the lesson.
That the author draws on a wide range of quotations on both sides of the argument is indicative of the importance the issue had in society at the time. It is equally clear everyone had a view and that while teachers had remained largely silent, others had rushed to judgment. Particularly evident in making the case for the defence are the contributions Ford cites from psychologists and psychiatrists. Ford’s concluding chapter is ‘Teaching through Entertainment’ and its final section is ‘Film Appreciation as a Classroom Subject’.
The Unknown 1930s An Alternative History of the British Cinema 1929–1939 London: I B Tauris 1998; Nicholas Pronay and D W Spring Propaganda, Politics and Film London: Macmillan 1982; Stephen G Jones The British Labour Movement and Film London: Routledge & Kegan Paul 1987. 8. BFI Report of the Conference on Films for Children 20–21 November 1936 London: British Film Institute 1936 9. This organization is not to be confused with the National Council for Public Morals which had, subsequent to its report on the cinema in 1917, become the National Council for Race Renewal.