Michael Cowan – författare

Cult of the Will is the first comprehensive study of modernity’s preoccupation with willpower. From Nietzsche’s “will to power” to the fantasy of a “triumph of the will” under Nazism, the will—its pathologies and potential cures—was a topic of urgent debates in European modernity. In this study, Michael Cowan examines the emergence of “will therapy” and its impact on arts and culture in Germany after 1900. The book’s five chapters lead readers through cross sections of modern German cultural history, including not only literature and aesthetics but also medicine, economics, body culture, and pedagogy. Modernity’s fixation on willpower helped prepare the way for fascism, but this trajectory is not Cowan’s main concern. His focus falls rather on more widespread “technologies of the self” and their role in the effort to reimagine agency for a modern subject caught up in increasingly complex systemic networks.

Rich in implications for our present era of media change, the Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Bela Balazs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, the Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.

Rich in implications for our present era of media change, the Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Bela Balazs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.

Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of “theory” not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity’s most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.

A key figure in early avant-garde cinema, Walter Ruttmann was a pioneer of experimental animation and the creative force behind one of the silent era's most celebrated montage films, Berlin: Symphony of a Great City. Yet even as he was making experimental films, Ruttmann had a day job. He worked regularly in advertising -and he would go on to make industrial films, medical films, and even Nazi propaganda films. Michael Cowan offers here the first study of Ruttmann in English, not only shedding light on his commercial, industrial, and propaganda work, but also rethinking his significance in light of recent transformations in film studies. Cowan brilliantly teases out the linkages between the avant-garde and industrial society in the early twentieth century, showing how Ruttmann's films incorporated and enacted strategies for managing the multiplicities of mass society. This book has won the Willy Haas Award 2014 for its outstanding contribution to the study of German cinema.

A key figure in early avant-garde cinema, Walter Ruttmann was a pioneer of experimental animation and the creative force behind one of the silent era's most celebrated montage films, Berlin: Symphony of a Great City. Yet even as he was making experimental films, Ruttmann had a day job. He worked regularly in advertising -and he would go on to make industrial films, medical films, and even Nazi propaganda films. Michael Cowan offers here the first study of Ruttmann in English, not only shedding light on his commercial, industrial, and propaganda work, but also rethinking his significance in light of recent transformations in film studies. Cowan brilliantly teases out the linkages between the avant-garde and industrial society in the early twentieth century, showing how Ruttmann's films incorporated and enacted strategies for managing the multiplicities of mass society. This book has won the Willy Haas Award 2014 for its outstanding contribution to the study of German cinema.

This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach—in dialogue with social history, print history and media archaeology—it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book’s central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape.

A leading figure of the interwar avant-garde, director Walter Ruttmann enriched the language of the cinema through numerous innovations in film form.

A leading figure of the interwar avant-garde, director Walter Ruttmann enriched the language of the cinema through numerous innovations in film form.

This study traces the evolution of early film societies in Germany and Austria, from the emergence of mass movie theaters in the 1910s to the turbulent years of the late Weimar Republic. Examining a diverse array of groups, it approaches film societies as formations designed to assimilate and influence a new medium: a project emerging from the world of amateur science before taking new directions into industry, art and politics. Through an interdisciplinary approach—in dialogue with social history, print history and media archaeology—it also transforms our theoretical understanding of what a film society was and how it operated. Far from representing a mere collection of pre-formed cinephiles, film societies were, according to the book’s central argument, productive social formations, which taught people how to nurture their passion for the movies, how to engage with cinema, and how to interact with each other. Ultimately, the study argues that examining film societies can help to reveal the diffuse agency by which generative ideas of cinema take shape.