Roy Grundmann - Böcker

This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and video-maker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.

From the American underground film to the blockbuster superhero, this authoritative collection of introductory and specialized readings explores the core issues and developments in American cinematic history during the second half of the twentieth-century through the present day. Considers essential subjects that have shaped the American film industry—from the impact of television and CGI to the rise of independent and underground film; from the impact of the civil rights, feminist and LGBT movements to that of 9/11.Features a student-friendly structure dividing coverage into the periods 1960-1975, 1976-1990, and 1991 to the present day, each of which opens with an historical overviewBrings together a rich and varied selection of contributions by established film scholars, combining broad historical, social, and political contexts with detailed analysis of individual films, including Midnight Cowboy, Nashville, Cat Ballou, Chicago, Back to the Future, Killer of Sheep, Daughters of the Dust, Nothing But a Man, Ali, Easy Rider, The Conversation, The Texas Chain Saw Massacre, Longtime Companion, The Matrix, The War Tapes, the Batman films, and selected avant-garde and documentary films, among many others.Additional online resources, such as sample syllabi, which include suggested readings and filmographies, for both general and specialized courses, will be available online.May be used alongside American Film History: Selected Readings, Origins to 1960 to provide an authoritative study of American cinema from its earliest days through the new millennium

This authoritative collection of introductory and specialized readings explores the rich and innovative history of this period in American cinema. Spanning an essential range of subjects from the early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines a broad historical context with careful readings of individual films. Charts the rise of film in early twentieth-century America from its origins to 1960, exploring mainstream trends and developments, along with topics often relegated to the margins of standard film historiesCovers diverse issues ranging from silent film and its iconic figures such as Charlie Chaplin, to the coming of sound and the rise of film genres, studio moguls, and, later, the Production Code and Cold War BlacklistDesigned with both students and scholars in mind: each section opens with an historical overview and includes chapters that provide close, careful readings of individual films clustered around specific topicsAccessibly structured by historical period, offering valuable cultural, social, and political contextsContains careful, close analysis of key filmmakers and films from the era including D.W. Griffith, Charles Chaplin, Buster Keaton, Erich von Stroheim, Cecil B. DeMille, Don Juan, The Jazz Singer, I Am a Fugitive from a Chain Gang, Scarface, Red Dust, Glorifying the American Girl, Meet Me in St. Louis, Citizen Kane, Bambi, Frank Capra's Why We Fightseries, The Strange Love of Martha Ivers, Rebel Without a Cause, Force of Evil, and selected American avant-garde and underground films, among many others.Additional online resources such as sample syllabi, which include suggested readings and filmographies for both general specialized courses, will be available online.May be used alongside American Film History: Selected Readings, 1960 to the Present, to provide an authoritative study of American cinema through the new millennium

A Companion to Michael Haneke With a new preface addressing the Academy award-winning film, Amour, this new-in-paper edition has established itself as the definitive collection on Michael Haneke—from his early work in television and theater, through his prodigious cinematic output, to his 2009 triumph at Cannes. A Companion to Michael Haneke brings together essays by leading film scholars, as well as interviews with the director himself, to probe the provocative and controversial themes that have formed the nucleus of Haneke’s work—intergenerational dysfunction and social alienation, colonialism and citizenship, surveillance and pornography, mass culture and media violence. The volume also offers a critical examination of the auteur’s oeuvre, including Three Paths to the Lake, Lemmings, Benny’s Video, The Piano Teacher, Caché, Funny Games, and the 2009 Palme d’Or winner, The White Ribbon.

Comprising over 90 essays and richly illustrated with over 200 images, the Wiley-Blackwell History of American Film provides a chronological portrait of American film history from its origins to the present day.Taken as a whole, the essays in this collection represent a comprehensive and nuanced overview of American film history from the intersecting perspectives of industry, audiences, aesthetics, culture, politics, issues, and ideology.Unabashedly ambitious, deeply historical, and unprecedented in its multi-faceted examination of film history, this collection offers you: Over 90 original essays written by an international cast of film scholars  Discussions of the industrial and institutional components of film history, including multiple modes of production, distribution, and marketingInvestigations into the political, social, and economic factors that informed industry change and framed the reception of filmsEngaging close readings and in-depth analysis of canonical and non-canonical filmsProfiles of essential industry figures - major directors, stars, and producers - along with important figures outside the industrial mainstreamAn exploration of the history of film criticism and culture, and central issues in American film historiographyThe most authoritative collection of fresh investigations available in one state-of-the-art resourceSelected by Choice as a 2013 Outstanding Academic Title

A Companion to Michael Haneke With a new preface addressing the Academy award-winning film, Amour, this new-in-paper edition has established itself as the definitive collection on Michael Haneke—from his early work in television and theater, through his prodigious cinematic output, to his 2009 triumph at Cannes. A Companion to Michael Haneke brings together essays by leading film scholars, as well as interviews with the director himself, to probe the provocative and controversial themes that have formed the nucleus of Haneke’s work—intergenerational dysfunction and social alienation, colonialism and citizenship, surveillance and pornography, mass culture and media violence. The volume also offers a critical examination of the auteur’s oeuvre, including Three Paths to the Lake, Lemmings, Benny’s Video, The Piano Teacher, Caché, Funny Games, and the 2009 Palme d’Or winner, The White Ribbon.

Spanning five decades and twenty-four films, director Michael Haneke's career is one of the most significant in the history of European art cinema. However, critical reception has long lagged behind his output. By the time Haneke (b. 1942) emerged into the international spotlight as a cinematic visionary with the 1989 Cannes premiere of The Seventh Continent, he had worked in filmmaking for two decades, producing seven feature-length films.As many of his films aired solely on Austrian and German television, they remained unknown to audiences outside the German-speaking world until 2007, when the first comprehensive Haneke retrospective took place in the United States.Michael Haneke: Interviews presents some of Haneke's most profound interviews to English speakers. The volume features seventeen articles, fourteen of which have been translated into English for the first time, and all of which provide a detailed, eloquent commentary on his films and worldview. This book represents the most extensive collection to date of interviews with the filmmaker, spanning his entire oeuvre - from his earliest television films to his so-called "Glaciation Trilogy" of the 1990s, from the notorious dark satire Funny Games to its similarly notorious 2007 Hollywood remake, and from his French films of the 2000s to his Oscar-winning drama, Amour, and his most recent feature, Happy End.

Spanning five decades and twenty-four films, director Michael Haneke's career is one of the most significant in the history of European art cinema. However, critical reception has long lagged behind his output. By the time Haneke (b. 1942) emerged into the international spotlight as a cinematic visionary with the 1989 Cannes premiere of The Seventh Continent, he had worked in filmmaking for two decades, producing seven feature-length films. As many of his films aired solely on Austrian and German television, they remained unknown to audiences outside the German-speaking world until 2007, when the first comprehensive Haneke retrospective took place in the United States.Michael Haneke: Interviews presents some of Haneke's most profound interviews to English speakers. The volume features seventeen articles, fourteen of which have been translated into English for the first time, and all of which provide a detailed, eloquent commentary on his films and worldview. This book represents the most extensive collection to date of interviews with the filmmaker, spanning his entire oeuvre - from his earliest television films to his so-called "Glaciation Trilogy" of the 1990s, from the notorious dark satire Funny Games to its similarly notorious 2007 Hollywood remake, and from his French films of the 2000s to his Oscar-winning drama, Amour, and his most recent feature, Happy End.

In a four-decade-long career that generated more than forty films and numerous stage productions, Werner Schroeter became one of the most important directors in Germany and Europe since the late 1960s. After making a flurry of short films in a climate of feverish artistic experimentation and political upheaval, Schroeter soon gained recognition for Eika Katappa (1969) and The Death of Maria Malibran (1971), early mature works showcasing avant-garde performance as iconoclastic expression of rebellion and pathos. Following a decade of uncompromising experimental work, his deeply humanist features Il Regno di Napoli (1979) and Palermo or Wolfsburg (1980) brought him broader success. Yet Schroeter maintained his reputation as an enfant terrible of the German cultural scene with controversial stagings of operas and plays and with smartly observed documentaries on art, film, and politics.This volume traces Schroeter’s career as a filmmaker from early and rarely discussed works such as Salome (1971) and Willow Springs (1973) to his late 1970s breakout hits and later complex and mature art-house productions such as The Rose King (1986), Malina (1991), and Nuit de Chien (2008). The volume is supplemented by Schroeter’s own writings and conversations and includes an interview with his long-time collaborator Elfi Mikesch as well as an authoritative and completely updated filmography.

This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop.

Combines new archival research with innovative theory to reassess the ship's dramatic voyage and analyze its representation in a broad range of texts, films, and artifacts of popular memory.Finalist for the 2025 Foreword INDIES Book of the Year Award in the History categoryIn 1939, the ocean liner MS St. Louis undertook a dramatic voyage with over nine hundred Jewish refugees that caught the world's attention and has been remembered in numerous printed texts, films, and artifacts. Denied permission to dock in Cuba, the United States, and Canada, the ship was finally forced to return to Europe, where many of teh refugees ultimately perished in the Holocaust. On Shoreless Sea is the first work to comprehensively analyze the journey's unfolding, its historical context, and its key representations in various media. Based on new archival research and featuring a translation of Captain Gustav Schröder's account of the voyage, the book corrects long-standing misassumptions about its subject. Author Roy Grundmann illuminates the voyage's historical significance and demonstrates its relevance to our present, in which prosperous nations once again stem mass migration. Arguing that the Jewish refugee crisis was caused not only by anti-Semitism but also by colonialism and neocolonialism, Grundmann calls for Holocaust studies to expand its field of inquiry and methodology. Working at the intersection of Holocaust studies, postcolonial theory, film and media studies, and cultural studies, On Shoreless Sea reads St. Louis memory culture as a reservoir of contradictory attitudes toward migration whose texts both intentionally and inadvertently testify to the need to discuss the Holocaust in relation to other genocides without denying its uniqueness.