Continental Strangers
(Sprache: Englisch)
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst...
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Klappentext zu „Continental Strangers “
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer¿s The Black Cat (1934), William Dieterle¿s The Life of Emile Zola (1937), Ernst Lubitsch¿s To Be or Not to Be (1942), Bertold Brecht and Fritz Lang¿s Hangmen Also Die (1943), Fred Zinneman¿s Act of Violence (1948), and Peter Lorre¿s Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.
Inhaltsverzeichnis zu „Continental Strangers “
AcknowledgmentsIntroductionPart I: Parallel Modernities1. A History of Horror2. Tales of Urgency and AuthenticityPart II: Hitler in Hollywood3. Performing Resistance, Resisting Performance4. History as Propaganda and ParablePart III: You Can't Go Home Again5. Out of the Past6. The Failure of AtonementEpilogueNotesSelected BibliographyIndex
Autoren-Porträt von Gerd Gemunden
Gerd Gemünden is the Sherman Fairchild Professor in the Humanities at Dartmouth College.
Bibliographische Angaben
- Autor: Gerd Gemunden
- Maße: 16 x 22,9 cm, Kartoniert (TB), Englisch
- Verlag: University Press Group Ltd
- ISBN-10: 0231166796
- ISBN-13: 9780231166799
- Erscheinungsdatum: 21.01.2014
Sprache:
Englisch
Rezension zu „Continental Strangers “
Deftly, Gerd Gemunden combines perceptive close readings of select films with sharp archival investigation to show how some key movies of classical Hollywood came -- in often fraught manner -- to engage with the evils of fascism. By understanding cinema as a complex negotiation over political meanings, from production to final results onscreen, this volume represents a very major contribution indeed to the literature on the Hollywood emigres and their cultural work. -- Dana Polan, New York University
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