Titlebook: German Postwar Films; Life and Love in the Wilfried Wilms,William Rasch Book 2008 Wilfried Wilms and William Rasch 2008 Alfred Schütz.film.

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Rubble without a Cause: The Air War in Postwar Film, of conversation in local pubs, for example, or discussion in the privacy of their “Behelfsheime” (makeshift homes) or “Kellerwohnungen” (generally a euphemism for a cave-like space in the ruins), on a market place, or anywhere else.. Rubble films contribute little to the public memory of these harr

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,Rubble Film as Archive of Trauma and Grief: Wolfgang Lamprecht’s ,,esent, the Mitscherlichs’ focus on the suppression of guilt relied on an all too unitary notion of collective behavior and memory production. Moreover, their investment in a normative perspective of how the Germans should have dealt with the past prevented a further probing of the presumably absent

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,What’s New? Allegorical Representations of Renewal in DEFA’s Youth Films, 1946–1949,garded both as documentary evidence of Germany’s postwar misery as well as allegories where the ruins are the external sign of internal desolation, a metaphor of Germany’s spiritual devastation.. In the DEFA features under consideration here the notion of youth as a transitional time of self-realiza

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Rubble Noir,r acquaintances, Michael Rott (Viktor de Kowa), has returned to the Regina from his exile in Switzerland. He comes in search of another woman he loved only to find himself accused of having stolen Nelly’s jewels before he himself fled the Nazis. To clear his name, these jewels must be recovered from

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,“Kampf dem Kampf”: Aesthetic Experimentation and Social Satire in ,,age, both in terms of film and intellectual history,”. . has scored particularly badly. Seldom discussed at any length, the film tends to be summarily criticized as politically reactionary, alternatively as an example for emerging anticommunism under Allied censorship,. as exemplifying contemporary

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The Sound of Ruins,he world below. The plane’s metal bars enclosing front and side windows are painted in such a way that they bleed into the architectural structures of the city, indicative of a blurring of all distinctions between interior and exterior spaces, between a pilot’s stillness in relation to his machinery

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Book 2008This volume offers a cultural, aesthetic, and critical reappraisal of German ‘rubble films‘ produced in the immediate aftermath of the Second World War and constructs their meaning in a historical context.

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