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    Popular Cinema of the Third Reich

    Beschreibung Popular Cinema of the Third Reich. Too often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years.Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.



    Buch Popular Cinema of the Third Reich PDF ePub

    (PDF) Popular Cinema of the Third Reich. Austin ~ Popular Cinema of the Third Reich. Austin: University of Texas Press, 2001. Introduction.

    Project MUSE - Popular Cinema of the Third Reich ~ Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the .

    Popular Cinema of the Third Reich By Sabine Hake ~ By exposing Third Reich cinema to these categories, the following eleven chapters try to shed light on the cinema's precarious position between political, social, and economic interests; regional, national, and international influences; high and low culture, as well as modern and antimodern definitions of art and design; petit bourgeois, popular, populist, and vĂślkisch traditions; and the .

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    Entertaining the Third Reich: Illusions of Wholeness in ~ ""Entertaining the Third Reich" offers a trenchant approach to Nazi cinema and, in reading the complexities of this specific cinema, it puts a number of important theoretical concepts to the test. Providing new and exciting insights, Schulte-Sasse goes beyond the known cliches about many of these films and offers new takes on the theory."--Dana Polan

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    Nazism and cinema - Wikipedia ~ Cinemas. Apart from the Ufa-owned cinema chain, the cinemas were not nationalized. The majority of the 5,506 cinemas that existed in 1939 within the so-called Altreich (the "Old Reich", i.e., Germany without Austria and the Sudetenland) were small companies run by private owners.

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    Flag of Nazi Germany - Wikipedia ~ The flag of Nazi Germany, officially the flag of the German Reich, featured a red flag with the swastika on a white disc. This flag came into use initially as the banner of the National Socialist German Workers' Party (NSDAP) after its foundation. Following the appointment of Adolf Hitler as Chancellor in 1933, the flag was adopted as the one of the nation's dual national flags, the other .

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    Nationalsozialistische Propaganda – Wikipedia ~ Die nationalsozialistische Propaganda (auch NS-oder Nazi-Propaganda) war eine der zentralen Aktivitäten der Nationalsozialistischen Deutschen Arbeiterpartei (NSDAP). Sie diente während der Weimarer Republik dem Ziel der Machtübernahme, in der Zeit des Nationalsozialismus im Deutschen Reich der „Verwirklichung des kulturellen Willens des Führers“ und der „Durchdringung des gesamten .

    Heinkel He 277 – Wikipedia ~ William Green: Warplanes of the Third Reich. Macdonald and Jane’s Publishers Ltd., London 1970. ISBN 0-356-02382-6. J. R. Smith, Anthony L. Kay: German Aircraft of the Second World War. Putnam and Company Ltd., 1972 (überarbeitete Ausgabe, London 2002) Weblinks. Liste der Flugzeugtypen des Herstellers Heinkel. Frühe Typen: HE 1 • HE 2 • HE 3 • HE 4 • HE 5 • HE 6 • HE 7 • HE 8

    The Third Eye: Race, Cinema, and Ethnographic Spectacle ~ Turning the gaze of the ethnographic camera back onto itself, bringing the perspective of a third eye to bear on the invention of the primitive other, Rony reveals the collaboration of anthropology and popular culture in Western constructions of race, gender, nation, and empire. Her work demonstrates the significance of these constructions—and, more generally, of ethnographic cinema—for .

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    Valerian – Die Stadt der tausend Planeten – Wikipedia ~ Valerian – Die Stadt der tausend Planeten (Originaltitel: Valerian and the City of a Thousand Planets) ist ein Science-Fiction-Film des französischen Regisseurs Luc Besson, der auch als Drehbuchautor und Produzent des Films fungierte, mit Dane DeHaan und Cara Delevingne in den Hauptrollen. Der Film basiert auf Valerian und Veronique (Originaltitel: Valérian et Laureline), einer .

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