By Terri Ginsberg, Andrea Mensch
A spouse to German Cinema bargains a wide-ranging selection of essays demonstrating state-of-play scholarship on German cinema at a time in which cinema reports in addition to German cinema have once more started to flourish.
Offers a cautious mix of theoretical rigor, conceptual accessibility, and highbrow inclusiveness
Includes essays through recognized writers in addition to up-and-coming students who take cutting edge serious techniques to either regularly occurring and emergent components within the box, in particular concerning race, gender, sexuality, and (trans)nationalism
Distinctive for its modern relevance, reorienting the sphere to the worldwide twenty-first century
Fills serious gaps within the extant scholarship, establishing the sector onto new terrains of serious engagement
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Extra info for A Companion to German Cinema
Musicals were popular throughout most of what we now refer to as the “Golden Age” of Hollywood (1927–1941) and well into the 1960s. Even today, parodies and pastiches of classic musicals such as Oklahoma (Zinnemann 1955) or South Pacific (Logan 1958) appear in popular culture. The opening credits of the television series Family Guy is a combination of a homage to the opening credits of the 1970s’ American television show All in the Family with a Busby Berkeley-esque musical. e. Bollywood), in films like the 2004 Bride and Prejudice (Chadha).
1996a) The Oxford History of World Cinema: The Definitive History of Cinema Worldwide, New York: Oxford University Press. Parkinson, D. (1995) The History of Film, New York: Thames and Hudson. India Rajadhyaksha, A. and Willemen, P. (eds) (2002) Encyclopedia of Indian Cinema, revised edition, London: British Film Institute Publishing. Vasudevan, R. (2000) Making Meaning in Indian Cinema, Oxford: Oxford University Press. Japan Richie, D. (2005) A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos, New York: Kodansha International.
American demographic changes, such as the growth of suburbs, led to a decline in audiences. In 1948, the government put in place laws to break up studio ownership of theatre chains and bring an end to unfair trade practices such as “block booking” (forcing independent theatres to accept “blocks” of films in order to get premier movies). Government action on issues such as block booking will be discussed in more detail in Chapter 3. Further, the increasing disquiet of the very stars and big-name directors the studios depended upon began to come to a head.
A Companion to German Cinema by Terri Ginsberg, Andrea Mensch