By Terri Ginsberg, Andrea Mensch
A better half to German Cinema bargains a wide-ranging selection of essays demonstrating state-of-play scholarship on German cinema at a time in which cinema experiences in addition to German cinema have once more started to flourish.
Offers a cautious blend of theoretical rigor, conceptual accessibility, and highbrow inclusiveness
Includes essays by way of recognized writers in addition to up-and-coming students who take cutting edge severe ways to either wide-spread and emergent components within the box, in particular relating to race, gender, sexuality, and (trans)nationalism
Distinctive for its modern relevance, reorienting the sphere to the worldwide twenty-first century
Fills serious gaps within the extant scholarship, beginning the sphere onto new terrains of severe engagement
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Additional info for A Companion to German Cinema
The latter too is peppered with icons and objects that mix religion and family, showing the persistence of old-world cultures of superstition and ritual (saints, but also a horseshoe hanging on the back of the front door) even in this modern setting, even in this (we surmise) Communist family. And the wide social spectrum of La Santona's clients - young and old, poorer and richer; the police marshal, and so on - tells us that certain rituals and beliefs, and social needs, cut across class divisions.
Indeed, his arrival and anxious requests for help disrupt the communal activities carrying on in both places. The Party official or intellectual giving a speech under the arches of the PCI cellar shushes Antonio and, nearer to the entrance, the rehearsal of the music-hall CLAssrcs song on stage ('If She Really Loved Me " . ,,') is interrupted when Baiocco moves to talk to Antonio, leading to farcical exchanges between the players. In church, Antonio (and Bruno) meddle with the uptight rules and harmonies of the Mass at every stage of their pursuit of the old man" Antonio pesters him as he is shaved, threatens and talks away at him in the pews, despite calls for silence, and chases him round the aisles and courtyards, bursting in on the soup kitchen before it is ready, infuriating the charity volunteers, This disruptive rhythm is all the more striking if we consider that the communal activities going on in the background gloss Antonio's predicament, flagging up underlying causes and possible consequences.
Research into audience-response data f10m a DI( Mass-Observation survey in 1950 confinns this. Respondents were asked if they ever cried at the cinema and the two films 'which commanded by far the st10ngest responses' (particularly among middle-c1ass viewers) were Brief Encounter (David Lean, 1945) and Bicycle Thieves. 60 F10m its first re1ease, then, Bicycle Thieves cut ac10ss boundaries of nationality and of genre, not for its experimental, documentarist purity, but because it was a 'weepie' (although not, as was conventionally the case with such films, about love nor primarily about or aimed at women) .