By Heide Fehrenbach
Heide Fehrenbach analyzes the $64000 position cinema performed within the reconstruction of German cultural and political id among 1945 and 1962. focusing on the previous West Germany, she explores the complicated political makes use of of film—and the meanings attributed to movie illustration and spectatorship—during a interval of abrupt transition to democracy.According to Fehrenbach, the method of nationwide redefinition made cinema and cinematic regulate a spotlight of heated ideological debate. relocating past a slender political exam of Allied-German negotiations, she investigates the wider social nexus of well known moviegoing, public demonstrations, movie golf equipment, and municipal gala's. She additionally attracts on paintings in gender and movie stories to probe the methods filmmakers, scholars, church leaders, neighborhood politicians, and most people articulated nationwide identification in terms of the demanding situations posed via army career, American advertisement tradition, and redefined gender roles. hence highlighting the hyperlinks among nationwide identification and cultural perform, this e-book presents a richer photo of what German reconstruction entailed for either men and women.
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Additional info for Cinema in Democratizing Germany: Reconstructing National Identity After Hitler
By the 1920s, they theorized a process by which authentic (popular) urban entertainments were expropriated by profit-oriented businesspeople and transformed into leisure-time "distractions" offering vicariousrather than materialcompensations and masking the ''real" power relations of capitalist society. Like critics to the right of the political spectrum, these commentators assumed the psychological susceptibility of the working classes. They feared that love of leisure lured them away from radical politics and revolution and made them willing participants in their own oppression.
In the prewar years, the film Page 7 industry was the fourth largest industry in Germany. Commanding a substantial economic and cultural presence on the world market, the German film industry represented Hollywood's only serious competitor. After 1945, German film industry members, recently purged of their Nazi pasts, suspected that American film interests would monopolize the domestic and international markets, given official American insistence on decartelization, unrestricted markets, and free competition.
Cultural renewal, when it finally came, issued from the cultural politics of the left and the efforts of young independent filmmakers outside of the dominant industry structure. These independents studied the creative impulses of both Eastern and Western European films and transformed the nationalist Kulturfilm into short documentaries informed by political or social consciousness. The result was an avant-garde alternative, "Young German Cinema," which occupied the narrow sector of the film market devoted to art cinema.
Cinema in Democratizing Germany: Reconstructing National Identity After Hitler by Heide Fehrenbach