Jan-Christopher Horak and His Publications on Film Exile

German Quarterly, 2015

Book Review of Gerd Gemuenden's book, Continental Strangers. German Exile Cinema (Columbia University Press, 2014)

Monatshefte 96.4, 2004

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Journal of Cultural Analytics, 2024

How can digital humanities methods reveal the productivity and connectedness of a group of historical individuals linked by displacement from a country? German film exile during National Socialism, 1933-1945, has always been a complex subject to research because of the scattered nature of the sources in the international distribution of archives (Asper, Horak, Hilchenbach). It remains challenging to reconstruct the worldwide dispersed separate flight routes of more than 3000 individuals who worked for the German film industry before 1933. This contribution concerns a list of film exiles collected by the exile researcher and filmmaker Günter Peter Straschek (1942-2009), whose collection of files belongs to the German National Library, German Exile Archive 1933-1945, Frankfurt am Main and was inventoried according to their Normdata. To this end, a database of GND exile data containing names, birth and death dates, professions, and countries of exile was compiled and enriched with data from online resources (Wikidata and IMDb). How can a more comprehensive look at the data reveal the devastating loss for German film (2) and, on the other hand, the collaboration on the flight (3) showing exiles remaining defiant? By incorporating new data from the Straschek Estate, digital methods further enhance historical research findings.

2012

"[T]he carefully constructed essays in [this volume] contribute to elevating this reference book so much more than its component parts could have achieved - much like German cinema itself. It is a volume that contributes significantly to reference works on German cinema, European cinema, and cinematic history. Any academic library that has students that might get the merest whiff of cinema as part of their curriculum should ensure this work is available to them." -- Matt Borg, Sheffield Hallam University, REFERENCE REVIEWS “A Companion to German Cinema represents the cutting edge of German cinema studies that will force scholars to rethink their approach to the subject. Conceptually innovative and theoretically rigorous, the collection convincingly claims that the renewal of the field must occur from its margins.” -- Roy Grundmann, Boston University “This book is meant to re-envision what has been little seen, unsettle your thinking about German cinema and visual culture, and examine German cinema’s socially transformative potential.” -- Dora Apel, Wayne State University “Combining a path-breaking exploration of German cinema beyond the canon with a serious contribution to theories of nation and transnationalism, this collection is a much-needed addition to European film scholarship.” -- Rosalind Galt, University of Sussex A COMPANION TO GERMAN CINEMA offers a wide-ranging collection of essays demonstrating state-of-play scholarship on German cinema at a time during which cinema studies as well as German cinema have once again begun to flourish. * Offers a careful combination of theoretical rigor, conceptual accessibility, and intellectual inclusiveness * Includes essays by well-known writers as well as up-and-coming scholars who take innovative critical approaches to both time-honored and emergent areas in the field, especially regarding race, gender, sexuality, and (trans)nationalism * Distinctive for its contemporary relevance, reorienting the field to the global twenty-first century * Fills critical gaps in the extant scholarship, opening the field onto new terrains of critical engagement

1991

and M.. tropolis, respectis e 4 Composers of the film music for Ku/ile J3ampt. Grtat Eptctazz ns 1Q46), The Life and Death of Colontl Blimp, The African Quten (1Q51), Porth Sa, The Pi cfofBagdad and Sandtrc of the Riier, respectively. Spoliansky and Gray vere in the first generat on of film ct mpo'.ers, from cabaret and revue, and wrote incidental music, Rorsa vas n the second, composing large symphonic scores to carry the theme of the film. Others, like the Russ an tx)rn composer, Nicholas Brodsiky, who was brought over by Cochran to work for his mue home and Beauty established themselves with songs plus incidental music. A third generation, of hom Karl Rathaus was one, included sound as a component.of their scores The second and third generations took advantage of improving sound techniques and usually ent to Hollyood. Brodszky was offered a contract by Hollywood before the ar, but wanted to stay in England, see Daily rtpress, 10 Jan. 1937 and wrote music for French Hit/iou: Ttars, Freedom Radio, Tomorrow We Lire and The Dew i-Paradise. 5 Editor of films by Robert Siodmak and E. A. Dupont in Germany. Brenner came to England in 1935 and worked, mostly, on second rate films. In KW, 5 March, 1936, he descnbes the differences between British and German styles of editing. 6 Editor of Madchen in Uniform. 7 Two of the most important UFA producers. 8 Directors of Der Geiger i'on Florenz, Sandtrs of die River, and the model for Bergmann in Isherwood's Prater Violet. 1925. They were trying very hard to express their ideas in purely visual terms'o.

Screen, 2015

Advances in Social, Humanities and Administrative Sciences 1 , 2023

German Studies Review 28.2, 2005

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].