Der Triumph des Gewöhnlichen: Darstellungen des Alltags im DDR-Kin...

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Artikelzustand
Neu: Neues, ungelesenes, ungebrauchtes Buch in makellosem Zustand ohne fehlende oder beschädigte ...
Release Year
2002
ISBN
9780807853856
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
University of North Carolina Press
ISBN-10
0807853852
ISBN-13
9780807853856
eBay Product ID (ePID)
2296353

Product Key Features

Book Title
Triumph of the Ordinary : Depictions of Daily Life in the East German Cinema, 1949-1989
Number of Pages
352 Pages
Language
English
Topic
Film / General, Europe / Germany, Film / History & Criticism
Publication Year
2002
Illustrator
Yes
Features
New Edition
Genre
Performing Arts, History
Author
Joshua Feinstein
Format
Trade Paperback

Dimensions

Item Height
0.8 in
Item Weight
16.2 Oz
Item Length
9.2 in
Item Width
8.4 in

Additional Product Features

Intended Audience
Trade
LCCN
2001-059826
Dewey Edition
21
TitleLeading
The
Reviews
An original and engaging exploration of East German cinema and the role of cultural production and consumption in the evolution of postwar socialist society. (Heide Fehrenbach, author ofCinema in Democratizing Germany), "An extremely well-researched book. . . . [This] multilayered analysis . . . is a remarkable feat of historical contextualization." —Monatshefte, "An extremely well-researched book. . . . [This] multilayered analysis . . . is a remarkable feat of historical contextualization." — Monatshefte, "An extremely well-researched book. . . . [This] multilayered analysis . . . is a remarkable feat of historical contextualization." _ Monatshefte, "An extremely well-researched book. . . . [This] multilayered analysis . . . is a remarkable feat of historical contextualization." -- Monatshefte, An original and engaging exploration of East German cinema and the role of cultural production and consumption in the evolution of postwar socialist society. (Heide Fehrenbach, author of Cinema in Democratizing Germany )
Dewey Decimal
791.43/0943/1
Edition Description
New Edition
Synopsis
Were movies in the East Bloc propaganda or carefully veiled dissent? In the first major study in English of East German film, Joshua Feinstein argues that the answer to this question is decidedly complex. Drawing on newly opened archives as well as interviews with East German directors, actors, and state officials, Feinstein traces how the cinematic depiction of East Germany changed in response to national political developments and transnational cultural trends such as the spread of television and rock 'n' roll. Celluloid images fed a larger sense of East German identity, an identity that persists today, more than a decade after German reunification. But even as they attempted to satisfy calls for "authentic" images of the German Democratic Republic that would legitimize socialist rule, filmmakers challenged the regime's self-understanding. Beginning in the late 1960s, East German films dwelled increasingly on everyday life itself, no longer seeing it merely as a stage in the development toward communism. By presenting an image of a static rather than an evolving society, filmmakers helped transform East German identity from one based on a commitment to socialist progress to one that accepted the GDR as it was., Were movies in the East Bloc propaganda or carefully veiled dissent? In the first major study in English of East German film, Joshua Feinstein argues that the answer to this question is decidedly complex. Drawing on newly opened archives as well as interviews with East German directors, actors, and state officials, Feinstein traces how the cinematic depiction of East Germany changed in response to national political developments and transnational cultural trends such as the spread of television and rock 'n' roll. Celluloid images fed a larger sense of East German identity, an identity that persists today, more than a decade after German reunification. But even as they attempted to satisfy calls for authentic images of the German Democratic Republic that would legitimize socialist rule, filmmakers challenged the regime's self-understanding. Beginning in the late 1960s, East German films dwelled increasingly on everyday life itself, no longer seeing it merely as a stage in the development toward communism. By presenting an image of a static rather than an evolving society, filmmakers helped transform East German identity from one based on a commitment to socialist progress to one that accepted the GDR as it was., This work confronts the question of whether movies in the Eastern Bloc were propaganda or secretly veiled dissent. From the late 1960s East German films focused on everyday life, it could be said that filmmakers presented a static image to show an East Germany that accepted the GDR as it was., Were movies in the East Bloc propaganda or carefully veiled dissent? In the first major study in English of East German film, Joshua Feinstein argues that the answer to this question is decidedly complex.Drawing on newly opened archives as well as interviews with East German directors, actors, and state officials, Feinstein traces how the cinematic depiction of East Germany changed in response to national political developments and transnational cultural trends such as the spread of television and rock 'n' roll. Celluloid images fed a larger sense of East German identity, an identity that persists today, more than a decade after German reunification. But even as they attempted to satisfy calls for "authentic" images of the German Democratic Republic that would legitimize socialist rule, filmmakers challenged the regime's self-understanding. Beginning in the late 1960s, East German films dwelled increasingly on everyday life itself, no longer seeing it merely as a stage in the development toward communism. By presenting an image of a static rather than an evolving society, filmmakers helped transform East German identity from one based on a commitment to socialist progress to one that accepted the GDR as it was.
LC Classification Number
2001059826 [PN]

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