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.
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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Barbara Hales is an Associate Professor of History and Humanities at the University of Houston-Clear Lake. Her publications focus on film history of the Weimar Republic and the Third Reich. She is the author of Black Magic Woman: Gender and the Occult in Weimar Germany (Peter Lang, Oxford, forthcoming). She has also co-edited a volume entitled Continuity and Crisis in German Cinema 1928-1936 for Camden House in 2016 (with Mihaela Petrescu and Valerie Weinstein). Dr. Hales is President of the Houston based organization, Center for Medicine After the Holocaust.
Inhaltsangabe
List of Illustrations Acknowledgements List of Contributors Introduction: The Jewishness of Weimar Cinema Barbara Hales and Valerie Weinstein Part I: Jewish Visibility On and Off Screen Chapter 1. Humanizing Shylock: The "Jewish Type" in Weimar Film Maya Barzilai Chapter 2. Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach's Performances in Weimar Cinema Margrit Frölich Chapter 3. The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women Kerry Wallach Chapter 4. Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret Mila Ganeva Chapter 5. Alfred Rosenthal's Rhetoric of Collaboration, the Politics of Jewish Visibility, and Jewish Weimar Film Print Culture Ervin Malakaj Part II: Coding and Decoding Jewish Difference Chapter 6. Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany Philipp Stiasny Chapter 7. Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders als die Andern (1919) Valerie Weinstein Chapter 8. Der Film ohne Juden: G.W. Pabst's Die freudlose Gasse (1925) Lisa Silverman Chapter 9. "The World is Funny, Like a Dream:" Franziska Gaal's Verwechslungskomödien and Exile's Crisis of Identity Anjeana K. Hans Part III: Jewishness as Antisemitic Construct Chapter 10. Cinematically Transmitted Disease: Weimar's Perpetuation of the Jewish Syphilis Conspiracy Barbara Hales Chapter 11. The Einstein Film: Animation, Relativity, and the Charge of "Jewish Science" Brook Henkel Chapter 12. "A Clarion Call to Strike Back": Antisemitism and Ludwig Berger's Der Meister von Nürnberg (1927) Christian Rogowski Chapter 13. Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis Andréas-Benjamin Seyfert Chapter 14. Detoxification: Nazi Remakes of E. A. Dupont's Blockbusters Ofer Ashkenazi Coda Chapter 15. "Filmrettung: Save the Past for the Future!": Film Restoration and Jewishness in German and Austrian Silent Cinema Cynthia Walk Afterword Barbara Hales and Valerie Weinstein
List of Illustrations Acknowledgements List of Contributors Introduction: The Jewishness of Weimar Cinema Barbara Hales and Valerie Weinstein Part I: Jewish Visibility On and Off Screen Chapter 1. Humanizing Shylock: The "Jewish Type" in Weimar Film Maya Barzilai Chapter 2. Energizing the Dramaturgy: How Jewishness Shaped Alexander Granach's Performances in Weimar Cinema Margrit Frölich Chapter 3. The Jewish Vamp of Berlin: Actress Maria Orska, Typecasting, and Jewish Women Kerry Wallach Chapter 4. Jewish Comedians beyond Lubitsch: Siegfried Arno in Film and Cabaret Mila Ganeva Chapter 5. Alfred Rosenthal's Rhetoric of Collaboration, the Politics of Jewish Visibility, and Jewish Weimar Film Print Culture Ervin Malakaj Part II: Coding and Decoding Jewish Difference Chapter 6. Two Worlds, Three Friends, and the Mysterious Seven-Branched Candelabrum: Jewish Filmmaking in Weimar Germany Philipp Stiasny Chapter 7. Homosexual Emancipation, Queer Masculinity, and Jewish Difference in Anders als die Andern (1919) Valerie Weinstein Chapter 8. Der Film ohne Juden: G.W. Pabst's Die freudlose Gasse (1925) Lisa Silverman Chapter 9. "The World is Funny, Like a Dream:" Franziska Gaal's Verwechslungskomödien and Exile's Crisis of Identity Anjeana K. Hans Part III: Jewishness as Antisemitic Construct Chapter 10. Cinematically Transmitted Disease: Weimar's Perpetuation of the Jewish Syphilis Conspiracy Barbara Hales Chapter 11. The Einstein Film: Animation, Relativity, and the Charge of "Jewish Science" Brook Henkel Chapter 12. "A Clarion Call to Strike Back": Antisemitism and Ludwig Berger's Der Meister von Nürnberg (1927) Christian Rogowski Chapter 13. Banning Jewishness: Stefan Zweig, Robert Siodmak, and the Nazis Andréas-Benjamin Seyfert Chapter 14. Detoxification: Nazi Remakes of E. A. Dupont's Blockbusters Ofer Ashkenazi Coda Chapter 15. "Filmrettung: Save the Past for the Future!": Film Restoration and Jewishness in German and Austrian Silent Cinema Cynthia Walk Afterword Barbara Hales and Valerie Weinstein
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