German and German Exile Cinema by Erika Wottrich
Call for Paper - 36. Internationaler Filmhistorischer Kongress, 2023
Ausgehend von Bühnen-Operette und Revue sowie einigen stummen Filmoperetten entstand nach Einführ... more Ausgehend von Bühnen-Operette und Revue sowie einigen stummen Filmoperetten entstand nach Einführung des Tonfilm 1929 in Deutschland das populäre Genre der Tonfilm-Operette bzw. der musikalischen Komödie. (vgl. die CineGraph-Kongresse 1997 und 1998). Parallel dazu gab es in der ersten Tonfilm-Phase in Hollywood eher sogenannte Backstage-Musicals. Nach dem Machtantritt der Nazis 1933 wurde ein großer Teil der gerade an diesem Genre beteiligten Regisseure (z.
Filmpionier und Mogul. Das Imperium Joe May, 2019
German exile director, Joe May, is usually presented as a tragic figure who was unable to find a ... more German exile director, Joe May, is usually presented as a tragic figure who was unable to find a foothold in Hollywood, despite his extremely prominent career in the Weimar Republic. This essay looks at his Universal horror films, arguing that in two of them - THE INVISIBLE MAN RETURNS (1940) and THE HOUSE OF SEVEN GABLES (1940) were no only successful critically, but that he was able to incorporate anti-Fascist messages, in keeping with the goals of German exile literature.
Ach, sie haben ihre Sprache verloren, 2017
The German journalist and novelist, Gina Kaus, had a more successful career in Hollywood as a scr... more The German journalist and novelist, Gina Kaus, had a more successful career in Hollywood as a scriptwriter than most other German writers without film experience, who had been forced into exile by Adolf Hitler. This essay looks at her two propaganda features, THE WIFE TAKES A FLYER (1942) and THE RED DANUBE (1949), an anti-Nazi comedy and an anti-Communist melodrama, both however less interested in ideology than in human psychology and moral dilemmas.
Papers by Erika Wottrich
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German and German Exile Cinema by Erika Wottrich
Papers by Erika Wottrich