Lutz Koepnick analyzes the complicated relationship between two cinemas--Hollywood's and Nazi Germany's--in this theoretically and politically incisive study. The Dark Mirror examines the split course of German popular film from the early 1930s until the mid 1950s, showing how Nazi filmmakers appropriated Hollywood conventions and how German film exiles reworked German cultural material in their efforts to find a working base in the Hollywood studio system. Through detailed readings of specific films, Koepnick provides a vivid sense of the give and take between German and American cinema.
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Editorial Reviews
Review
"Lutz Koepnick's The Dark Mirror provides one of the finest, most compelling and suggestive accounts to date of the multiple locations of German cinema between Hitler and Hollywood. Charting the shifting relationships between institutional contexts and individual acts of reception, Koepnick persuasively shows how the German cinema and its filmmakers-both in exile and in Nazi Germany-contributed to a fragile, stratified, indeed, "nonsynchronous" public sphere."-Patrice Petro, author of Aftershocks of the New: Feminism and Film History "Lutz Koepnick's brilliant study debunks the received wisdom concerning Nazi German and Hollywood film of the 1930s and 40s. Using detailed analyses of 8 films, with special focus on sound and music, he insists upon the disjointed contexts and uneven relationships of American and German filmmaking. Historically nuanced and theoretically savvy, this remarkable book offers something for everyone: Americanists, Germanists, historians, students of cinema sound and music, those interested in debates between art and popular forms, and European and Hollywood production."-Caryl Flinn, author of Strains of Utopia
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"Lutz Koepnick's The Dark Mirror provides one of the finest, most compelling and suggestive accounts to date of the multiple locations of German cinema between Hitler and Hollywood. Charting the shifting relationships between institutional contexts and individual acts of reception, Koepnick persuasively shows how the German cinema and its filmmakers--both in exile and in Nazi Germany--contributed to a fragile, stratified, indeed, "nonsynchronous" public sphere."--Patrice Petro, author of Aftershocks of the New: Feminism and Film History
"Lutz Koepnick's brilliant study debunks the received wisdom concerning Nazi German and Hollywood film of the 1930s and 40s. Using detailed analyses of 8 films, with special focus on sound and music, he insists upon the disjointed contexts and uneven relationships of American and German filmmaking. Historically nuanced and theoretically savvy, this remarkable book offers something for everyone: Americanists, Germanists, historians, students of cinema sound and music, those interested in debates between art and popular forms, and European and Hollywood production."--Caryl Flinn, author of Strains of Utopia
"Lutz Koepnick's brilliant study debunks the received wisdom concerning Nazi German and Hollywood film of the 1930s and 40s. Using detailed analyses of 8 films, with special focus on sound and music, he insists upon the disjointed contexts and uneven relationships of American and German filmmaking. Historically nuanced and theoretically savvy, this remarkable book offers something for everyone: Americanists, Germanists, historians, students of cinema sound and music, those interested in debates between art and popular forms, and European and Hollywood production."--Caryl Flinn, author of Strains of Utopia
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First Sentence:
The examination of Nazi film culture remains challenging not only because of the German film industry's remarkable familiarity with classical American cinema but also because Hollywood elements were often not seen as opposed to the creation of a self-consciously national mass culture. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Interrupted Melody, The First Legion, Mac Allan, Nazi Germany, Rancho Notorious, New York, Third Reich, West German, World War, Courtesy of Filmmuseum Berlin-Deutsche Kinemathek, Curtis Bernhardt, Fritz Lang, Robert Siodmak, Douglas Sirk, Richard Wagner, Zarah Leander, Detlef Sierck, Far West, Professor Warren, National Socialist, The Great Dictator, United States, Luis Trenker, Engendering Mass Culture, Siegfried Rides Again New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The examination of Nazi film culture remains challenging not only because of the German film industry's remarkable familiarity with classical American cinema but also because Hollywood elements were often not seen as opposed to the creation of a self-consciously national mass culture. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Interrupted Melody, The First Legion, Mac Allan, Nazi Germany, Rancho Notorious, New York, Third Reich, West German, World War, Courtesy of Filmmuseum Berlin-Deutsche Kinemathek, Curtis Bernhardt, Fritz Lang, Robert Siodmak, Douglas Sirk, Richard Wagner, Zarah Leander, Detlef Sierck, Far West, Professor Warren, National Socialist, The Great Dictator, United States, Luis Trenker, Engendering Mass Culture, Siegfried Rides Again New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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8
books
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- Dialectic of Enlightenment (Cultural Memory in the Present) by Max Horkheimer on 11 pages
- Interrupted Melody by M. Lawrence on 10 pages
- Tristan and Isolde: English National Opera Guide 6 (English National Opera Guides) by Richard Wagner on 7 pages
- Composing for the Films (Athlone Contemporary European Thinkers) by Hanns Eisler on 6 pages
- Weimar Cinema and After: Germany's Historical Imaginary by Thomas Elsaesser in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 100 books this book cites
- Fascism and Neofascism: Critical Writings on the Radical Right in Europe (Studies in European Culture and History) by Eric Weitz in Front Matter, and page 64
- Berlin Electropolis: Shock, Nerves, and German Modernity (Weimar and Now: German Cultural Criticism) by Andreas Killen in Back Matter
- German National Cinema (National Cinemas) by Sabine Hake in Back Matter
- Visual Culture in Twentieth-Century Germany: Text as Spectacle by Gail Finney in Back Matter
- German National Cinema (National Cinemas) by Sabine Hake in Back Matter
See all 8 books citing this book
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