The Promise of Cinema

German Film Theory, 1907-1933
 
 
University of California Press
  • 1. Auflage
  • |
  • erschienen am 1. März 2016
  • |
  • 704 Seiten
 
E-Book | ePUB mit Adobe DRM | Systemvoraussetzungen
978-0-520-96243-9 (ISBN)
 
Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.
1. Auflage
  • Englisch
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978-0-520-96243-9 (9780520962439)
0520962435 (0520962435)
weitere Ausgaben werden ermittelt
  • Cover
  • THE PROMISE OF CINEMA
  • Title
  • Copyright
  • Contents
  • Acknowledgments
  • User's Guide
  • Introduction
  • SECTION ONE. TRANSFORMATIONS OF EXPERIENCE
  • 1. A New Sensorium
  • 1. Hanns Heinz Ewers, The Kientopp (1907)
  • 2. Max Brod, Cinematographic Theater (1909)
  • 3. Gustav Melcher, On Living Photography and the Film Drama (1909)
  • 4. Kurt Weisse, A New Task for the Cinema (1909)
  • 5. Anon., New Terrain for Cinematographic Theaters (1910)
  • 6. Anon., The Career of the Cinematograph (1910)
  • 7. Karl Hans Strobl, The Cinematograph (1911)
  • 8. Ph. Sommer, On the Psychology of the Cinematograph (1911)
  • 9. Hermann Kienzl, Theater and Cinematograph (1911)
  • 10. Adolf Sellmann, The Secret of the Cinema (1912)
  • 11. Arno Arndt, Sports on Film (1912)
  • 12. Carl Forch, Thrills in Film Drama and Elsewhere (1912-13)
  • 13. Lou Andreas-Salomé, Cinema (1912-13)
  • 14. Walter Hasenclever, The Kintopp as Educator: An Apology (1913)
  • 15. Walter Serner, Cinema and Visual Pleasure (1913)
  • 16. Albert Hellwig, Illusions and Hallucinations during Cinematographic Projections (1914)
  • 2. The World in Motion
  • 17. H. Ste., The Cinematograph in the Service of Ethnology (1907)
  • 18. O. Th. Stein, The Cinematograph as Modern Newspaper (1913-14)
  • 19. Hermann Häfker, Cinema and Geography: Introduction (1914)
  • 20. Yvan Goll, The Cinedram (1920)
  • 21. Hans Schomburgk, Africa and Film (1922)
  • 22. Franc Cornel, The Value of the Adventure Film (1923)
  • 23. Béla Balázs, Reel Consciousness (1925)
  • 24. Colin Ross, Exotic Journeys with a Camera (1928)
  • 25. Anon., Lunar Flight in Film (1929)
  • 26. Lotte H. Eisner, A New India Film: A Throw of Dice (1929)
  • 27. Erich Burger, Pictures-Pictures (1929)
  • 28. Alfred Polgar, The Panic of Reality (1930)
  • 29. Béla Balázs, The Case of Dr. Fanck (1931)
  • 30. Siegfried Kracauer, The Weekly Newsreel (1931)
  • 3. The Time Machine
  • 31. Ludwig Brauner, Cinematographic Archives (1908)
  • 32. Berthold Viertel, In the Cinematographic Theater (1910)
  • 33. Eduard Bäumer, Cinematograph and Epistemology (1911)
  • 34. Franz Goerke, Proposal for the Establishment of an Archive for Cinema-Films (1912)
  • 35. J. Landau, Mechanized Immortality (1912)
  • 36. Heinrich Lautensack, Why?-This Is Why! (1913)
  • 37. E. W., The Film Archive of the Great General Staff (1915)
  • 38. Hans Lehmann, Slow Motion (1917)
  • 39. Friedrich Sieburg, The Transcendence of the Film Image (1920)
  • 40. August Wolf, Film as Historian (1921)
  • 41. Fritz Lang, Will to Style in Film (1924)
  • 42. Siegfried Kracauer, Mountains, Clouds, People (1925)
  • 43. Joseph Roth, The Uncovered Grave (1925)
  • 44. Fritz Schimmer, On the Question of a National Film Archive (1926)
  • 45. Albrecht Viktor Blum, Documentary and Artistic Film (1929)
  • 46. Béla Balázs, Where Is the German Sound Film Archive? (1931)
  • 4. The Magic of the Body
  • 47. Walter Turszinsky, Film Dramas and Film Mimes (1910)
  • 48. Friedrich Freksa, Theater, Pantomime, and Cinema (1916)
  • 49. Carl Hauptmann, Film and Theater (1919)
  • 50. Oskar Diehl, Mimic Expression in Film (1922)
  • 51. Béla Balázs, The Eroticism of Asta Nielsen (1923)
  • 52. Friedrich Sieburg, The Magic of the Body (1923)
  • 53. Max Osborn, The Nude Body on Film (1925)
  • 54. Béla Balázs, The Educational Values of Film Art (1925)
  • 55. Leni Riefenstahl, How I Came to Film . . . (1926)
  • 56. H. Sp., The Charleston in One Thousand Steps (1927)
  • 57. Leo Witlin, On the Psychomechanics of the Spectator (1927)
  • 58. Lotte H. Eisner and Rudolf von Laban, Film and Dance Belong Together (1928)
  • 59. Fritz Lang, The Art of Mimic Expression in Film (1929)
  • 60. Emil Jannings, Miming and Speaking (1930)
  • 61. Siegfried Kracauer, Greta Garbo: A Study (1933)
  • 5. Spectatorship and Sites of Exhibition
  • 62. Fred Hood, Illusion in the Cinematographic Theater (1907)
  • 63. Alfred Döblin, Theater of the Little People (1909)
  • 64. Arthur Mellini, The Education of Moviegoers into a Theater Public (1910)
  • 65. Anon., The Movie Girl (1911)
  • 66. Anon., Various Thoughts on the Movie Theater Interior (1912)
  • 67. Victor Noack, The Cinema (1913)
  • 68. Emilie Altenloh, On the Sociology of Cinema (1914)
  • 69. Resi Langer, From Berlin North and Thereabouts / In the Movie Houses of Berlin West (1919)
  • 70. Milena Jesenská, Cinema (1920)
  • 71. Kurt Tucholsky, Erotic Films (1920)
  • 72. Herbert Tannenbaum, Film Advertising and the Advertising Film (1920)
  • 73. August Wolf, The Spectator in Cinema (1921)
  • 74. Kurt Pinthus, Ufa Palace (1925)
  • 75. Karl Demeter, The Sociological Foundations of the Cinema Industry (1926)
  • 76. Rudolf Harms, The Movie Theater as Gathering Place (1926)
  • 77. Siegfried Kracauer, The Cinema on Münzstraße (1932)
  • 6. An Art for the Times
  • 78. Egon Friedell, Prologue before the Film (1912-13)
  • 79. Anon., The Autorenfilm and Its Assessment (1913)
  • 80. Ulrich Rauscher, The Cinema Ballad (1913)
  • 81. Kurt Pinthus, Quo Vadis, Cinema? (1913)
  • 82. Anon., The Student of Prague (1913)
  • 83. Hermann Häfker, The Call for Art (1913)
  • 84. Herbert Tannenbaum, Problems of the Film Drama (1913-14)
  • 85. Will Scheller, The New Illusion (1913-14)
  • 86. Kurt Pinthus, The Photoplay (1914)
  • 87. Malwine Rennert, The Onlookers of Life in the Cinema (1914-15)
  • 88. Paul Wegener, On the Artistic Possibilities of the Motion Picture (1917)
  • 89. Ernst Lubitsch, We Lack Film Poetry (1920)
  • 90. Fritz Lang, Kitsch-Sensation-Culture and Film (1924)
  • SECTION TWO. FILM CULTURE AND POLITICS
  • 7. Moral Panic and Reform
  • 91. Georg Kleibömer, Cinematograph and Schoolchildren (1909)
  • 92. Franz Pfemfert, Cinema as Educator (1909)
  • 93. Albert Hellwig, Trash Films (1911)
  • 94. Robert Gaupp, The Dangers of the Cinema (1911-12)
  • 95. Konrad Lange, The Cinematograph from an Ethical and Aesthetic Viewpoint (1912)
  • 96. Ike Spier, The Sexual Danger in the Cinema (1912)
  • 97. P. Max Grempe, Against a Cinema That Makes Women Stupid (1912)
  • 98. Roland, Against a Cinema That Makes Women Stupid: A Response (1912)
  • 99. Naldo Felke, Cinema's Damaging Effects on Health (1913)
  • 100. Karl Brunner, Today's Cinematograph: A Public Menace (1913)
  • 101. Richard Guttmann, Cinematic Mankind (1916)
  • 102. Walther Friedmann, Homosexuality and Jewishness (1919)
  • 103. Wilhelm Stapel, Homo Cinematicus (1919)
  • 104. Kurt Tucholsky, Cinema Censorship (1920)
  • 105. Albert Hellwig, The Motion Picture and the State (1924)
  • 106. Aurel Wolfram, Cinema (1931)
  • 107. Fritz Olimsky, Film Bolshevism (1932)
  • 8. Image Wars
  • 108. Paul Klebinder, The German Kaiser in Film (1912)
  • 109. Hermann Duenschmann, Cinematograph and Crowd Psychology (1912)
  • 110. Der Kinematograph, War and Cinema (1914)
  • 111. Anon., The Cinematograph as Shooting Gallery (1914)
  • 112. Hermann Häfker, Cinema and the Educated Class: A Foreword (1914)
  • 113. Hermann Häfker, The Tasks of Cinematography in This War (1914)
  • 114. Edgar Költsch, The Benefits of War for the Cinema (1914)
  • 115. Karl Kraus, Made in Germany (1916)
  • 116. Anon., State and Cinema (1916)
  • 117. Johannes Gaulke, Art and Cinema in War (1916)
  • 118. Gustav Stresemann, Film Propaganda for German Affairs Abroad (1917)
  • 119. Erich Ludendorff, The Ludendorff Letter (1917)
  • 120. Joseph Max Jacobi, The Triumph of Film (1917)
  • 121. Rudolf Genenncher, Film as a Means of Agitation (1919)
  • 122. Kurt Tucholsky, War Films (1927)
  • 123. Film-Kurier, Film in the New Germany (1928)
  • 124. Siegfried Kracauer, All Quiet on the Western Front (1930)
  • 125. Kurt Tucholsky, Against the Ban on the Remarque Film (1931)
  • 9. The Specter of Hollywood
  • 126. Claire Goll, American Cinema (1920)
  • 127. Erich Pommer, The Significance of Conglomerates in the Film Industry (1920)
  • 128. Valentin, The Significance of Film for International Understanding (1921)
  • 129. Joe May, The Style of the Export Film (1922)
  • 130. Hans Siemsen, German Cinema (1922)
  • 131. Georg Jacoby, Film-America and Us (1922)
  • 132. Ernst Lubitsch, Film Internationality (1924)
  • 133. Georg Otto Stindt, Is Film National or International? (1924)
  • 134. Axel Eggebrecht, The Twilight of Film? (1926)
  • 135. Anon., The Restructuring of Ufa (1927)
  • 136. Carl Laemmle, Film Germany and Film America (1928)
  • 137. Billie Wilder, The First One Back from Hollywood (1929)
  • 138. Alexander Jason, Film Statistics (1930)
  • 139. A. K., Done with Hollywood (1931)
  • 140. Anon., Film-Europe, a Fact! (1931)
  • 141. Anon., Internationality through the Version System (1931)
  • 142. Erich Pommer, The International Talking Film (1932)
  • 10. Cinephilia and the Cult of Stars
  • 143. Henny Porten, The Diva (1919)
  • 144. Kurt Pinthus, Henny Porten for President (1921)
  • 145. Robert Musil, Impressions of a Naïf (1923)
  • 146. Béla Balázs, Only Stars! (1926)
  • 147. Vicki Baum, The Automobile in Film (1926)
  • 148. Anon., Vienna Is Filming! (1926)
  • 149. Willy Haas, Why We Love Film (1926)
  • 150. Hugo, Film Education (1928)
  • 151. K. W., What Is Film Illusion? (1928)
  • 152. Hans Feld, Anita Berber: The Representative of a Generation (1928)
  • 153. Marlene Dietrich, To an Unknown Woman (1930)
  • 154. Max Brod and Rudolf Thomas, Love on Film (1930)
  • 155. Siegfried Kracauer, All about Film Stars (1931)
  • 156. Siegfried Kracauer, Destitution and Distraction (1931)
  • 157. Anon., In the Empire of Film (1931)
  • 11. The Mobilization of the Masses
  • 158. Béla Balázs, The Revolutionary Film (1922)
  • 159. Siegfried Kracauer, The Klieg Lights Stay On (1926)
  • 160. Oscar A. H. Schmitz, Potemkin and Tendentious Art (1927)
  • 161. Walter Benjamin, Reply to Oscar A. H. Schmitz (1927)
  • 162. Lotte H. Eisner, The New Youth and Film (1928)
  • 163. Franz Höllering, Film und Volk: Foreword (1928)
  • 164. Béla Balázs, Film Works for Us! (1928)
  • 165. Heinrich Mann, Film and the People (1928)
  • 166. Ernst Toller, Who Will Create the German Revolutionary Film? (1928)
  • 167. Karl Ritter, Mass-Man in the Cinema (1929)
  • 168. Willi Münzenberg, Film and Propaganda (1929)
  • 169. A. A., World Film Report (1930)
  • 170. Lupu Pick, Individual and Montage (1930)
  • 171. Bertolt Brecht, The Threepenny Lawsuit (1931)
  • 172. Herbert Jhering, The Banned Kuhle Wampe (1932)
  • 173. Georg Wilhelm Pabst, Film and Conviction (1933)
  • 12. Chiffres of Modernity
  • 174. Georg Lukács, Thoughts toward an Aesthetic of the Cinema (1911)
  • 175. Alfred A. Baeumler, The Effects of the Film Theater (1912)
  • 176. Hugo von Hofmannsthal, The Substitute for Dreams (1921)
  • 177. Kurt Pinthus, The Ethical Potential of Film (1923)
  • 178. Siegfried Kracauer, A Film (1924)
  • 179. Siegfried Kracauer, Film Image and Prophetic Speech (1925)
  • 180. Adolf Behne, The Public's Attitude toward Modern German Literature (1926)
  • 181. Fritz Giese, Revue and Film (1928)
  • 182. Walter Benjamin, Chaplin in Retrospect (1929)
  • 183. Siegfried Kracauer, Chaplin in Old Films (1930)
  • 184. Theodor W. Adorno, Kierkegaard Prophesies Chaplin (1930)
  • 185. Walter Benjamin, Mickey Mouse (1931)
  • 186. Ernst Kállai, Painting and Film (1931)
  • 187. René Fülöp-Miller, Fantasy by the Meter (1931)
  • 188. Ernst Jünger, The Worker (1932)
  • SECTION THREE. CONFIGURATIONS OF A MEDIUM
  • 13. The Expressionist Turn
  • 189. Bernhard Diebold, Expressionism and Cinema (1916)
  • 190. Gertrud David, The Expressionist Film (1919)
  • 191. J. B., Expressionism in Film (1920)
  • 192. Ernst Angel, An "Expressionist" Film (1920)
  • 193. Carlo Mierendorff, If I Only Had the Cinema! (1920)
  • 194. Robert Müller, The Future of Film (1921)
  • 195. Robert Wiene, Expressionism in Film (1922)
  • 196. Walter Reimann, An Afterword to Caligari (1925)
  • 197. Rudolf Kurtz, Limits of the Expressionist Film (1926)
  • 198. Hanns Sachs, The Interpretation of Dreams in Film (1926)
  • 199. Robert Breuer, The Film of Factuality (1927)
  • 200. Henrik Galeen, Fantastic Film (1929)
  • 14. Avant-Garde and Industry
  • 201. Walter Ruttmann, Painting with Time (ca. 1919)
  • 202. Bernhard Diebold, A New Art: Film's Music for the Eyes (1921)
  • 203. Hans Richter, Basic Principles of the Art of Movement (1921)
  • 204. Adolf Behne, Film as a Work of Art (1921)
  • 205. Rudolf Arnheim, The Absolute Film (1925)
  • 206. László Moholy-Nagy, film at the bauhaus: a rejoinder (1926)
  • 207. Walter Ruttmann, How I Made My Berlin Film (1927)
  • 208. Walter Ruttmann, The "Absolute" Fashion (1928)
  • 209. Siegfried Kracauer, Abstract Film (1928)
  • 210. László Moholy-Nagy, The Artist Belongs to the Industry! (1928)
  • 211. Lotte Reiniger, Living Shadows (1929)
  • 212. Hans Richter, New Means of Filmmaking (1929)
  • 213. Walter Ruttmann, The Isolated Artist (1929)
  • 214. Hans Richter, Avant-Garde in the Realm of the Possible (1929)
  • 215. Anon., "Candid" Cinematography (1929)
  • 216. Lotte H. Eisner, Avant-Garde for the Masses (1929)
  • 217. Alex Strasser, The End of the Avant-Garde? (1930)
  • 15. The Aesthetics of Silent Film
  • 218. Ernst Bloch, Melody in the Cinema, or Immanent and Transcendental Music (1914)
  • 219. Oskar Kalbus, The Muteness of the Film Image (1920)
  • 220. Albin Grau, Lighting Design in Film (1922)
  • 221. Hans Pander, Intertitles (1923)
  • 222. Béla Balázs, The Close-Up (1924)
  • 223. Fritz Lang and F. W. Murnau, My Ideal Screenplay (1924)
  • 224. Paul Leni, Architecture in Film (1924)
  • 225. Julie Elias, Film and Fashion (1924)
  • 226. Guido Seeber, The Delirious Camera (1925)
  • 227. Béla Balázs, Productive and Reproductive Film Art (1926)
  • 228. Fritz Lang, Looking toward the Future (1926)
  • 229. Karl Freund, Behind My Camera (1927)
  • 230. Lotar Holland, Subjective Movement (1927)
  • 231. Giuseppe Becce, Film and Music (1928)
  • 232. Béla Balázs, Farewell to Silent Film (1930)
  • 16. Film as Knowledge and Persuasion
  • 233. Hans Hennes, Cinematography in the Service of Neurology and Psychiatry (1910)
  • 234. Osvaldo Polimanti, The Cinematograph in Biological and Medical Science (1911)
  • 235. Leonhard Birnbaum, The Cultural Mission of the Cinematograph (1912)
  • 236. Anon., Cinema in the Light of Medicine (1913)
  • 237. Julius Pinschewer, Film Advertising (1913)
  • 238. Bruno Taut, Artistic Film Program (1920)
  • 239. Wilhelm von Ledebur, Cinematography in the Service of the Police (1921)
  • 240. Arthur Lassally, Film Advertising and Advertising Films (1921)
  • 241. Edgar Beyfuss, School and Film (1924)
  • 242. Ulrich Kayser, Industrial Films (1924)
  • 243. Eugen R. Schlesinger, Kulturfilm and Cinema (1924)
  • 244. Dietrich W. Dreyer, The Trick Film (1927)
  • 245. Hans Cürlis, Film Is Promotion (1929)
  • 246. Karl Nikolaus, Advertising Film and Its Psychological Effects (1932)
  • 17. Sound Waves
  • 247. Anon., How Singing Pictures (Sound Pictures) Are Made (1908)
  • 248. Herbert Jhering, The Acoustic Film (1922)
  • 249. Heinrich Strobel, Film and Music (1928)
  • 250. Walter Ruttmann, Principles of the Sound Film (1928)
  • 251. Siegfried Kracauer, Sound-Image Film (1928)
  • 252. Béla Balázs, A Conviction (1929)
  • 253. Ernst Hugo Correll, The Nature and Value of Sound Film (1929)
  • 254. Georg Wilhelm Pabst, Reality of Sound Film (1929)
  • 255. Carl Hoffmann, Problems of the Camera (1929)
  • 256. Walter Gronostay, Possibilities for the Use of Music in Sound Film (1929)
  • 257. Erwin Piscator, Sound Film Friend and Foe (1929-30)
  • 258. Rudolf Arnheim, A Commentary on the Crisis Facing Montage (1930)
  • 259. Edmund Meisel, Experiences in Composing Music for Sound Films (1930)
  • 260. Alfred Döblin, Only the Transformed Author Can Transform Film (1930)
  • 261. Film-Kurier, Fritz Lang: Problems in Sound Film Design (1931)
  • 18. Technology and the Future of the Past
  • 262. Max Mack, The Conquest of the Third Dimension (1914)
  • 263. Max Skladanowsky, The Prehistory of the Bioskop (1916)
  • 264. Heinz Michaelis, Art and Technology in Film (1923)
  • 265. Béla Balázs, The Color Film (1923)
  • 266. S. E. Bastian, The Telefilm (1925)
  • 267. Herbert Jhering, Film and Radio (1925)
  • 268. Kurt Weill, Possibilities for Absolute Radio Art (1925)
  • 269. Eugen Schüfftan, My Process (1926)
  • 270. Arthur Korn, Why We Still Do Not Have Television (1929)
  • 271. László Moholy-Nagy, The Elements Once Again (1929)
  • 272. Erich Grave, The Third Dimension (1929)
  • 273. Ernst Steffen, Telecinema in the Home (1929)
  • 274. Frank Warschauer, A Glance into the Future (1930)
  • 275. H. Baer, The Color Film (1930)
  • 276. Rudolf Arnheim, Radio-Film (1932)
  • 277. Bernhard Diebold, The Future of Mickey Mouse (1932)
  • 278. Siegfried Kracauer, On the Border of Yesterday (1932)
  • Bibliography
  • Credits
  • Index

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