Kirjahaku

West German filmmakers have tried to repeatedly over the past half-century to come to terms with Germany’s stigmatized history. How can Hitler and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s—a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for national identity.To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jürgen Syberberg's Hitler, a Film from Germany, a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun, the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother, relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot, a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat, a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the provinces.Despite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film.

Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation's defeat. In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted. Kaes uses the term "shell shock"--coined during World War I to describe soldiers suffering from nervous breakdowns--as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today. A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar's sleek facade.

Fritz Lang's 'M' (1931) is an undisputed classic of world cinema. Lang considered it his most lasting work. Peter Lorre's extraordinary performance as the childlike misfit Hans Beckert was one of the most striking of film debuts, and it made him an international star. Lang's vision of a city gripped with fear, haunted by surveillance and total mobillization, is still remarkably powerful today. And 'M' resonates too in the serial-killer genre which is so prominent in contemporary cinema. 'M' speaks to us as a timeless classic, but also as a Weimar film that has too often been isolated from its political and cultural context. In this groundbreaking book, Anton Kaes reconnects 'M''s much-studied formal brilliance to its significance as an event in 1931 Germany, recapturing the film's extraordinary social and symbolic energy. Interweaving close reading with cultural history, Kaes reconstitutes 'M' as a crucial modernist artwork. In addition he analyzes Joseph Losey's 1951 film noir remake and, in an appendix, publishes for the first time 'M''s missing scene.