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The resolutions of the resulting film narratives occur not within the filiative national community, but rather through the affiliative potential of the world community." [Art Index] "Part of a special issue on marginality and alterity in new European cinemas.

: on film history as intellectual history / Thomas Koebner -- The double, the decor, and the framing device: once more on Robert Wiene's The cabinet of Dr. The Role of Screen Heroines in GDR Cinema." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Just recently, in June 2003, the first 100 hours of German newsreels were put on the Internet for research purposes, which was made possible through the cooperation of selected archives, copyright owners, and the DEFA foundation; a fourth of these newsreels are before 1945.

Caligari / Dietrich Scheunemann -- Film as graphic art: on Karl Heinz Martin's From morn to midnight / Jurgen Kasten -- Episodic patchwork: the bric-a-brac principle in Paul Leni's Waxworks / Jurgen Kasten -- Entrapment and escape: readings of the city in Karl Grune's The street and G. Pabst's The joyless street / Anthony Coulson -- Fragmenting the space: on E. Dupont's Variete / Thomas Brandlmeier -- On Murnau's Faust: a generic Gesamtkunstwerk? The Democratic Spirit of the Weimar Cinema / Mimi Tennyson Goss.[Cambridge, Mass.]: Research Programs, John F. Tauris, 2002."Gender, film, and German history: filmmaking by German women directors from Weimar to the present." In: Facing fascism and confronting the past: German women writers from Weimar to the present / edited by Elke P. Albany, NY: State University of New York Press, c2000. Series title: Contemporary film and television studies and readers. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992. "The Demonization of the Home Front: War Neurosis and Weimar Cinema." In: Dancing on the volcano: essays on the culture of the Weimar Republic / edited by Thomas W. In recent years, in various countries like Belgium, Norway, France, and Luxembourg, an intense study of the German newsreels for the occupied countries has been done. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992.

/ Helmut Schanze -- "Painting in time" and "visual music": on German avant-garde films of the 1920s / Walter Schobert -- Ruttmann, rhythm, and "reality": a response to Siegfried Kracauer's interpretation of Berlin, the symphony of a great city / David Macrae. Kennedy School of Government, Harvard University, 1994. Studies in German literature, linguistics, and culture (Unnumbered) "Negotiating Identities: Media Representations of Different Generations of Turkish Migrants in Germany." In: Fragments of culture: the everyday of modern Turkey / edited by Deniz Kandiyoti and Ayse Saktanber. Contents: Introduction -- The "place" of television in film studies -- Feminism and film history -- German film theory and Anglo-American film studies -- After shock, between boredom and history -- Historical ennui, feminist boredom -- World weariness, Weimar women, and visual culture -- Nazi cinema at the intersection of the classical and the popular -- The Hottentot and the Blonde Venus -- Film feminism and nostalgia for the seventies. Weimar and now ; 11Germany on Film: Theme and Content in the Cinema of the Federal Republic of Germany / Hans Gunther Pflaum; edited by Robert Picht; translated by Richard C. Nazi-retro Film: How German Narrative Cinema Remembers the Past / Robert C. In this article, the author gives a short overview of the German newsreel production in World War II, noting some aspects of the newsreels that tend to put the idea of them as perfect propaganda into question." [Communication Abstracts] "Film Music in the Third Reich." In: Composing for the screen in Germany and the USSR : cultural politics and propaganda / edited by Robynn Stilwell and Phil Powrie. Nazi-retro Film: How German Narrative Cinema Remembers the Past / Robert C. Series title: Twayne's Filmmakers Series."With a few important exceptions, Third Reich newsreels have attracted little scholarly attention.

"On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film." In: Italian neorealism and global cinema / edited by Laura E. Series title: Faculty research Working Paper Series; R94-12."Blonde Satan: Weimar Constructions of the Criminal Femme Fatale." In: Commodities of desire: the prostitute in modern German literature / Eited by Christiane Schonfeld. "Perceptions of Difference: Woman as Spectator and Spectacle." In: Women in the metropolis: gender and modernity in Weimar culture / edited by Katharina von Ankum. That feature film and documentary have attracted more is understandable, especially as many non-historians have been drawn to the subject.

The products of transformed national film industries contain models for a reconceptualization of community.

Such films engage in a transnational decentering in which ethnocentrism is replaced with intersubjective openness.

If the message was not overt in feature film, it was in newsreels, which from late 1938 formed a compulsory part of the cinema program, as was also later the case in occupied Europe.

During the war, it reached large numbers as cinema attendance was very high.

Eisner; [translated from the French by Roger Greaves]. Der historische Spielfilm im Nationalsozialismus / Hans-Gerd Happel. The newsreels determine the image of the Third Reich that we have in our minds today, since they form the basis for nearly all the popular historical programs on television.

Berkeley: University of California Press, 1973, c1969."Film history and visual pleasure: Weimar cinemar." In: Cinema histories, cinema practices / edited by Patricia Mellencamp and Philip Rosen. Fantastique et réalisme dans le cinéma allemand 1912-1933. Surprisingly, however, there is not much research in Germany about this area of film production.

The Weimar cinema was considered as an avant-garde involving figures such as Hans Richter, Walter Ruttmann and Lotte Reiniger.

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