By Johannes von Moltke

ISBN-10: 0520244109

ISBN-13: 9780520244108

ISBN-10: 1423714903

ISBN-13: 9781423714903

This can be the 1st finished account of Germany's so much enduring movie style, the Heimatfilm, which has provided idyllic diversifications at the concept that "there is not any position like domestic" considering cinema's early days. Charting the improvement of this well known style over the process a century in a piece trained by means of movie experiences, cultural heritage, and social conception, Johannes von Moltke focuses particularly on its heyday within the Nineteen Fifties, a interval that has been little studied. Questions of what it may suggest to name the German country "home" after the catastrophes of worldwide struggle II are anxiously found in those movies, and von Moltke makes use of them as a lens wherein to view modern discourses on German nationwide identification.

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Extra info for No Place Like Home: Locations of Heimat in German Cinema (Weimar and Now: German Cultural Criticism)

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50 The history of Heimat reveals an interlocking set of concerns with German nationhood, with the role of space and place for experiencing the nation and historical change, and with the “consequences of modernity”—from the founding of the nation-state through the “disembedding” of local relations to the advent of modern tourism and the Wirtschaftswunder (economic miracle) of the Adenauer era. ”51 The present study engages with that discourse as it has impacted the history of German cinema, which is unthinkable without the Heimatfilm.

46 But it also serves as a reminder of the historical links between Heimat and modernity. To illustrate that connection, Confino cites a striking passage from a 1914 book on the Heidenheim district in Württemberg. Entitled Unsere Heimat aus alter und neuer Zeit (Our Heimat in the Past and Present), the book describes the small town of Giengen an der Brenz. The author explicitly welcomes the fact that progress and increased prosperity are not confined to the cities but have begun to reach the provinces as well, pointing to advances in communication, transportation, and even an “airship hangar and aviation center” about to be built in Heidenheim.

As a period which saw cinema attendance soar one last time before bowing to television as the leading popular medium, and as a decade defined by a steady output of generic fare, the 1950s require a theoretical conception of the role and function of popular genre in the German context. ” Accordingly, genre studies are plagued by a gap between increasingly refined—but often ahistorical—theories of genre on the one hand, and ostensibly untheorized histories on the other. In his most recent publications, Altman has significantly contributed to bridging the gap between theoretical and historical approaches.

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No Place Like Home: Locations of Heimat in German Cinema (Weimar and Now: German Cultural Criticism) by Johannes von Moltke


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