- Series: National Cinemas
- Paperback: 288 pages
- Publisher: Routledge; 2 edition (December 27, 2007)
- Language: English
- ISBN-10: 0415420989
- ISBN-13: 978-0415420983
- Product Dimensions: 6.1 x 0.6 x 9.2 inches
- Shipping Weight: 14.9 ounces (View shipping rates and policies)
- Average Customer Review: 7 customer reviews
- Amazon Best Sellers Rank: #946,819 in Books (See Top 100 in Books)
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German National Cinema (National Cinemas) 2nd Edition
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German National Cinema provides colleagues and students with a stimulating and comprehensive historical summary of German cinema from Skladanowsky to Tykwer. The author's arguments are cogent, persuasive, and incorporate numerous current theoretical approaches without the use of technical jargon. It will serve as a valuable resource tool for colleagues teaching German cinema and should be in every college library.
Franz A. Birgel, Muhlenberg College
Hake (German studies, Univ. of Pittsburgh) offers an impressively comprehensive account that bristles with intriguing questions and opens new perspectives on many of the seven phases she persuasively identifies in German film history. She provides a more balanced presentation of the 1950s than has heretofore been available in English and also does a good job sketching East German cinema and the new initiatives since national reunification in 1991.
S. Liebman, CHOICE
...an excellent introduction to the history of German cinema.
Jaimey Fisher, Tulane University German Studies Review, 2003 --This text refers to an alternate Paperback edition.
About the Author
Sabine Hake is the Texas Chair of German Literature and Culture in the Department of Germanic Studies at the University of Texas at Austin. She is the author of several books on German cinema and Weimar culture, including The Cinema's Third Machine: German Writings on Film 1907-1933 (1993) and Popular Cinema of the Third Reich (2001).
Top customer reviews
There are a few mistakes that need addressing starting with typos or mistranslations. Director Erik Charell of the Weimar classic DER KONGRESS TANTZ is referred to as Eric Charell. The Hollywood disaster film THE TOWERING INFERNO appears as THE FLAMING INFERNO, a funny redundancy that still gives me a good laugh. The American silent THE LAST COMMAND starring Emil Jannings is referred to as HIS LAST COMMAND.
One error Hake makes about Max Ophuls' LIEBELEI is that its English title is LA RONDE; LIEBELEI was made in 1932 and LA RONDE was made in 1950 and in France, two different stories by the same director. She is wrong stating "Murnau completed only two projects in Hollywood - SUNRISE (1927) and TABU (1931) - before his premature death." He also completed FOUR DEVILS (1928), a circus story starring Janet Gaynor and now lost, and CITY GIRL (1930), originally called OUR DAILY BREAD but it was reworked by others and included sound sequences shot after he left Fox Films. A rough cut of his version was discovered in 1970.
Forgetting these small mistakes, Hake's book should find a place in anyone's collection of German cinema books. I bought a good used copy from one of Amazon's sub sellers as I do with most of my film books. Make sure it's the second edition from wherever you purchase it. It's unfortunate these errors from the first edition are still present, but don't let those stop you from ordering it.
This is quite a task given the limited space allocated by the series, and the very tight font and typeset further giving it the look of a straightjacket. Counter, for example, to Eric Rentschler's Ministry of Illusion on Nazi cinema. This is actually a plea for a longer, more spread out text and a looser format.
Professor Hake's certainly got both enough material for such a version and a solid analytical base. The way, for example, she analyses the (new) Frauenfilm in the context of the Oberhausner Manifest and follow-ups may not make feminists very happy, but it is undoubtedly an objective assessment.
So plenty of information and explicit opinions - Peter Bondanella's Italian Cinema comes to mind, and the hope that this text, unnecessarily constrained and partly misnomered, may lead to and end up in a similar format. There is enough material and sufficient clarity on facts to warrant such a venture. And new generations wanting to know!
fbus48 - Sabine Hake, German National Cinema, 2008 (2002) - 17/7/2012