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  2. Dismantling the dream factory: gender, German cinema, and the postwar quest for a new film language

Dismantling the dream factory: gender, German cinema, and the postwar quest for a new film language

Hester Baer 2009 © Berghahn Books
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ISBN(s)
  • 9781845456054 (hardcover)
  • 9781845459451 (ebook)
  • 9781845459451 (paper)
Subject
  • Film & Media Studies
Citable Link

  • Table of Contents

  • Reviews

  • Stats

  • Frontmatter
  • List of Illustrations (page ix)
  • Acknowledgments (page xi)
  • Introduction
    • Dismantling the Dream Factory: Gender and Spectatorship in Postwar German Cinema (page 1)
  • Part I. Relegitimating Cinema: Female Spectators and the Problem of Representation
    • 1 How Do You Solve a Problem Like Susanne?: The Female Gaze in Wolfgang Staudte's The Murderers Are Among Us (1946) (page 21)
    • 2 When Fantasy Meets Reality: Authorship and Stardom in Rudolf Jugert's Film Without a Title (1948) (page 49)
    • 3 Gendered Visions of the German Past: Wolfgang Liebeneiner's Love '47 (1949) as Woman's Film (page 73)
    • 4 Unsolved Mysteries: Race, Ethnicity, and Gender in Helmut Käutner's Epilogue (1950) (page 101)
  • Part II. Art on Film: Representing Gender and Sexuality in Popular Cinema
    • 5 "Through Her Eyes": Regendering Representation in Willi Forst's The Sinner (1951) (page 127)
    • 6 Looking at Heimat: Visual Pleasure and Cinematic Realism in Alfons Stummer's The Forester of the Silver Wood (1955) (page 161)
    • 7 Degenerate Art?: Problems of Gender and Sexuality in Veit Harlan's Different From You and Me (§175) (1957) (page 183)
  • Part III. Towards the New Wave: Gender and the Critique of Popular Cinema
    • 8 Pleasurable Negotiations: Spectatorship and Genre in Helmut Käutner's "Anti-Tearjerker" Engagement in Zurich (1957) (page 209)
    • 9 Sound and Spectacle in the Wirtschaftswunder: The Critical Strategies of Rolf Thiele's The Girl Rosemarie (1958) (page 235)
    • 10 Gender and the New Wave: Herbert Vesely's The Bread of Those Early Years (1962) as Transitional Film (page 257)
  • Epilogue
    • Adapting the 1950s: The Afterlife of Postwar Cinema in Post-Unification Popular Culture (page 279)
  • Bibliography (page 283)
  • Index (page 291)
Reviews
Journal AbbreviationLabelURL
CG 42.3 (2009): 277-278 http://www.jstor.org/stable/23982153
GQ 84.2 (Spring 2011): 248-249 http://www.jstor.org/stable/41237080
GSR 35.1 (2012): 214-215 https://muse.jhu.edu/article/465705
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