Bøger i Weimar and Now: German Cultural Criticism serien

Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German emigre directors-Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer's personal life and a thorough analysis of his wide-ranging, eclectic films-features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer's unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer's fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.

This an interpretation of attitudes and mentalities that informed the Weimar Republic. It is intended by the author to be a cultivated antidote to the heated atmosphere of post-World War Germany, as a way of burying shame and animosity that might otherwise make social contact impossible.

From the Werkbund to the Bauhaus to Braun, from furniture to automobiles to consumer appliances, twentieth-century industrial design is closely associated with Germany. This study looks at the crucial role that design played in building a progressive West German industrial culture atop the charred remains of the past.

This provocative study asks why we have held on to vivid images of the Nazis' total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other ';enemies of the state' was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.

No documentation of National Socialism can be undertaken without the explicit recognition that the "e;German Renaissance"e; promised by the Nazis culminated in unprecedented horror-World War II and the genocide of European Jewry. With The Third Reich Sourcebook, editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the editors, the documents presented here include official government and party pronouncements, texts produced within Nazi structures, such as the official Jewish Cultural League, as well as documents detailing the impact of the horrors of National Socialism on those who fell prey to the regime, especially Jews and the handicapped. With thirty chapters on ideology, politics, law, society, cultural policy, the fine arts, high and popular culture, science and medicine, sexuality, education, and other topics, The Third Reich Sourcebook is the ultimate collection of primary sources on Nazi Germany.

Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno-affiliated through friendship, professional ties, and argument-developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin's artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.

The 1972 Munich Olympics-remembered almost exclusively for the devastating terrorist attack on the Israeli team-were intended to showcase the New Germany and replace lingering memories of the Third Reich. That hope was all but obliterated in the early hours of September 5, when gun-wielding Palestinians murdered 11 members of the Israeli team. In the first cultural and political history of the Munich Olympics, Kay Schiller and Christopher Young set these Games into both the context of 1972 and the history of the modern Olympiad. Delving into newly available documents, Schiller and Young chronicle the impact of the Munich Games on West German society.

Siegfried Kracauer (1889-1966), friend and colleague of Walter Benjamin and Theodor Adorno, was one of the most influential film critics of the mid-twentieth century. In this book, Johannes von Moltke and Kristy Rawson have, for the first time assembled essays in cultural criticism, film, literature, and media theory that Kracauer wrote during the quarter century he spent in America after fleeing Nazi-occupied Europe. In the decades following his arrival in the United States, Kracauer commented on developments in American and European cinema, wrote on film noir and neorealism, examined unsettling political trends in mainstream cinema, and reviewed the contemporary experiments of avant-garde filmmakers. As a cultural critic, he also ranged far beyond cinema, intervening in debates regarding Jewish culture, unraveling national and racial stereotypes, and reflecting on the state of arts and humanities in the 1950s. These essays, together with the editors' introductions and an afterward by Martin Jay offer illuminating insights into the films and culture of the postwar years and provide a unique perspective on this eminent emigre intellectual.

One hundred years after the Berlin Psychoanalytic Institute was established, this book recovers the cultural and intellectual history connected to this vibrant organization and places it alongside the London Bloomsbury group, the Paris Surrealist circle, and the Viennese fin-de-siecle as a crucial chapter in the history of modernism. Taking us from World War I Berlin to the Third Reich and beyond to 1940s Palestine and 1950s New York-and to the influential work of the Frankfurt School-Veronika Fuechtner traces the network of artists and psychoanalysts that began in Germany and continued in exile. Connecting movements, forms, and themes such as Dada, multi-perspectivity, and the urban experience with the theory and practice of psychoanalysis, she illuminates themes distinctive to the Berlin psychoanalytic context such as war trauma, masculinity and femininity, race and anti-Semitism, and the cultural avant-garde. In particular, she explores the lives and works of Alfred Doblin, Max Eitingon, Georg Groddeck, Karen Horney, Richard Huelsenbeck, Count Hermann von Keyserling, Ernst Simmel, and Arnold Zweig.

In the 1930s and 40s, Los Angeles became an unlikely cultural sanctuary for a distinguished group of German artists and intellectuals-including Thomas Mann, Theodore W. Adorno, Bertolt Brecht, Fritz Lang, and Arnold Schoenberg-who had fled Nazi Germany. During their years in exile, they would produce a substantial body of major works to address the crisis of modernism that resulted from the rise of National Socialism. Weimar Germany and its culture, with its meld of eighteenth-century German classicism and twentieth-century modernism, served as a touchstone for this group of diverse talents and opinions.Weimar on the Pacific is the first book to examine these artists and intellectuals as a group. Ehrhard Bahr studies selected works of Adorno, Horkheimer, Brecht, Lang, Neutra, Schindler, Doblin, Mann, and Schoenberg, weighing Los Angeles's influence on them and their impact on German modernism. Touching on such examples as film noir and Thomas Mann's Doctor Faustus, Bahr shows how this community of exiles reconstituted modernism in the face of the traumatic political and historical changes they were living through.

Berlin Electropolis ties the German discourse on nervousness in the late nineteenth and early twentieth centuries to Berlin's transformation into a capital of the second industrial revolution. Focusing on three key groups-railway personnel, soldiers, and telephone operators-Andreas Killen traces the emergence in the 1880s and then later decline of the belief that modernity caused nervous illness. During this period, Killen explains, Berlin became arguably the most advanced metropolis in Europe. A host of changes, many associated with breakthroughs in technologies of transportation, communication, and leisure, combined to radically alter the shape and tempo of everyday life in Berlin. The resulting consciousness of accelerated social change and the shocks and afflictions that accompanied it found their consummate expression in the discourse about nervousness. Wonderfully researched and clearly written, this book offers a wealth of new insights into the nature of the modern metropolis, the psychological aftermath of World War I, and the operations of the German welfare state. Killen also explores cultural attitudes toward electricity, the evolution of psychiatric thought and practice, and the status of women workers in Germany's rapidly industrializing economy. Ultimately, he argues that the backlash against the welfare state that occurred during the late Weimar Republic brought about the final decoupling of modernity and nervous illness.

Germany of the 1920s offers a stunning moment in modernity, a time when surface values first became determinants of taste, activity, and occupation: modernity was still modern, spectacle was still spectacular. Janet Ward's luminous study revisits Weimar Germany via the lens of metropolitan visual culture, analyzing the power that 1920s Germany holds for today's visual codes of consumerism.

Herbert Marcuse, Erich Fromm, Max Horkheimer, Franz Neumann, Theodor Adorno, Leo Lowenthal-the impact of the Frankfurt School on the sociological, political, and cultural thought of the twentieth century has been profound. The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.