Anjeana K. Hans – författare
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2 produkter
2 produkter
Häftad, Engelska, 2014
352 kr
Skickas inom 10-15 vardagar
The Weimar period in Germany was a time of radical change, when the traditions and social hierarchies of Imperial Germany crumbled, and a young, deeply conflicted republic emerged. Modernity brought changes that reached deep into the most personal aspects of life, including a loosening of gender roles that opened up new freedoms and opportunities to women. The screen vamps, garçonnes, and New Women in this movie-hungry society came to embody the new image of womanhood: sexually liberated, independent, and - at least to some - deeply threatening. In Gender and the Uncanny in Films of the Weimar Republic, author Anjeana K. Hans examines largely forgotten films of Weimar cinema through the lens of their historical moment, contemporary concerns and critiques, and modern film theory to give a nuanced understanding of their significance and their complex interplay between gender, subjectivity, and cinema.Hans focuses on so-called uncanny films in which terror lies just under the surface and the emancipated female body becomes the embodiment of a threat repressed. In six chapters she provides a detailed analysis of each film and traces how filmmakers simultaneously celebrate and punish the transgressive women that populate them. Films discussed include The Eyes of the Mummy (Die Augen der Mumie Mâ, Ernst Lubitsch, 1918), Uncanny Tales (Unheimliche Geschichten, Richard Oswald, 1919), Warning Shadows (Schatten: Eine nächtliche Halluzination, Artur Robison, 1923), The Hands of Orlac (Orlacs Hände, Robert Wiene, 1924), A Daughter of Destiny (Alraune, Henrik Galeen,1928), and Daughter of Evil (Alraune, Richard Oswald, 1930). An introduction contextualizes Weimar cinema within its unique and volatile social setting.Hans demonstrates that Weimar Germany’s conflicting emotions, hopes, and fears played out in that most modern of media, the cinema. Scholars of film and German history will appreciate the intriguing study of Gender and the Uncanny in Films of the Weimar Republic.
Del 8 - Camden House German Film Classics
Warning Shadows
Häftad, Engelska, 2021
311 kr
Skickas inom 5-8 vardagar
A view of a long-neglected classic of Weimar cinema - now restored and widely available - as both a gripping narrative of infidelity and jealousy and a film inherently about film.Artur Robison's Warning Shadows - in German simply Schatten, shadows - premiered in 1923 to critical acclaim. This story of a fateful dinner party at which a flirtatious wife, her jealous husband, and their guests are entertained by a traveling illusionist who deals in shadow play and hypnosis was extolled by one critic as superior to Wegener's Golem, Lubitsch's Passion, even Murnau's Nosferatu and Wiene's The Cabinet of Dr. Caligari. Yet where those films became mainstays of film history, Warning Shadows was long unknown: only recently, with the release of a restored version on DVD, has it begun to get its due. One of the few silent movies to eschew intertitles, it was an attempt to create a "pure film," drawing on the qualities of cinema that made it not an heir to literature or theater but a unique and autonomous art form. Staging a story of desire, adultery, and violence, Robison's film also engaged with discourses at the heart of Weimar culture, from changing gender norms to hysteria and hypnosis to the construction of spectatorship. Seen this way, Warning Shadows is both a gripping narrative of infidelity and jealousy and a film inherently about film.