作者: coalition 時間: 2025-3-23 02:51
,When , Was Just a Five-Letter Word: Wolfgang Liebeneiner’s ,,by following his orders, eleven men detailed on a reconnaissance mission went to their deaths. But he has also suffered. He explains: “We are murdered each day, and each day we commit murder!” He plunges into the Elbe, but the river “spit
作者: outrage 時間: 2025-3-23 05:53
作者: 使乳化 時間: 2025-3-23 12:12
Introduction: Looking Again at the Rubble, literature written during the years immediately following World War II. . (rubble literature) it was called, . (war literature), . (“coming home” literature, to evoke the title of a Vietnam War era film of a similar nature), and disparagingly so; but B?ll wished to wear these labels, especially .,
作者: consolidate 時間: 2025-3-23 16:08
作者: nurture 時間: 2025-3-23 20:28
Rubble without a Cause: The Air War in Postwar Film,ckdrop, feature the ruins of destroyed cities, civilian death, and hopelessness, and zoom in for brief moments on disease and hunger as the necessary consequences of erasing urban civilian habitation on an unprecedented scale, the films mostly depict a new humanism coming from the shared experience
作者: 使無效 時間: 2025-3-24 01:17
A Time for Ruins,to report on the destruction of Cologne. Overwhelmed by the experience, he never wrote the report realizing that he did not have the language to describe the utter desolation of that “ravaged” city. Over the years, images of Cologne’s ruins retreated and he only remembered the “blackened cathedral r
作者: intimate 時間: 2025-3-24 02:52
,Rubble Film as Archive of Trauma and Grief: Wolfgang Lamprecht’s ,,econd World War. Most famously, Alexander and Margarete Mitscherlich argued in their book . (1967) that in an attempt to shake off guilt the Germans blocked out any capacity for empathy and paid little attention to the losses of the victims of Nazism or their own for that matter.. Observing an emoti
作者: Grandstand 時間: 2025-3-24 08:41
The Stones Begin to Speak: The Laboring Subject in Early DEFA Documentaries,f the very machinery that has been manufactured to serve them. In one sequence a laborer—as though he were bound like Prometheus to his rock—attempts to control a machine’s moving parts. Lang’s cinematic subject seems to transfigure himself; he becomes one with an enormous mechanized apparatus. The
作者: FLINT 時間: 2025-3-24 13:47
,What’s New? Allegorical Representations of Renewal in DEFA’s Youth Films, 1946–1949,ypical postwar dilemmas of young people: absent or war-traumatized fathers, broken families, child impoverishment, and the temptation of petty criminality to survive. . are transitional films in a temporal and thematic sense. They address topical issues of stabilizing the demoralized German survivor
作者: Moderate 時間: 2025-3-24 16:57
In the Ruins of Berlin: ,,sedan, the colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Linden, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear projection, the Colonel explains to the visitors—and the viewers—what they’re seeing, c
作者: Intruder 時間: 2025-3-24 19:43
作者: 一個攪動不安 時間: 2025-3-25 02:39
,When , Was Just a Five-Letter Word: Wolfgang Liebeneiner’s ,, completed . only a little over a year after the end of World War II. Produced as a radio play in early 1947, a stage production followed, but Borchert never saw it. He died, a victim of diseases contracted during the war. The play was a hit. Its protagonist is Beckmann, a Wehrmacht soldier whose ho
作者: 努力趕上 時間: 2025-3-25 06:26
,“Kampf dem Kampf”: Aesthetic Experimentation and Social Satire in ,,a highly successful Berlin cabaret performance by Günter Neumann, who also wrote the screenplay, the film outdid almost all other rubble films at the box office.. Despite some irritation with the cabaret-inspired form, the contemporary critical response was overall positive as well, and . was awarde
作者: Anthrp 時間: 2025-3-25 09:03
Planes, Trains, and the Occasional Car: The Rubble Film as Demobilization Film,inated film industry that preceded it.. During the Allied-imposed . of 1945–1946, there were many calls to abandon the relentlessly entertaining style of the Nazi-coordinated film industry and to instigate instead a socially critical, historically engaged, film-realist approach—and most have charact
作者: 跑過 時間: 2025-3-25 13:33
作者: addict 時間: 2025-3-25 18:11
作者: 推延 時間: 2025-3-25 21:07
Alfred A. Bartolucci,William B. Hillegass of conversation in local pubs, for example, or discussion in the privacy of their “Behelfsheime” (makeshift homes) or “Kellerwohnungen” (generally a euphemism for a cave-like space in the ruins), on a market place, or anywhere else.. Rubble films contribute little to the public memory of these harr
作者: NEG 時間: 2025-3-26 02:26
作者: STING 時間: 2025-3-26 05:28
作者: choroid 時間: 2025-3-26 10:49
https://doi.org/10.1007/978-981-33-6804-0r acquaintances, Michael Rott (Viktor de Kowa), has returned to the Regina from his exile in Switzerland. He comes in search of another woman he loved only to find himself accused of having stolen Nelly’s jewels before he himself fled the Nazis. To clear his name, these jewels must be recovered from
作者: 可耕種 時間: 2025-3-26 16:11
作者: Exaggerate 時間: 2025-3-26 17:26
https://doi.org/10.1007/978-981-99-0534-8he world below. The plane’s metal bars enclosing front and side windows are painted in such a way that they bleed into the architectural structures of the city, indicative of a blurring of all distinctions between interior and exterior spaces, between a pilot’s stillness in relation to his machinery
作者: Tractable 時間: 2025-3-27 00:34
作者: Antimicrobial 時間: 2025-3-27 03:14
Rubble without a Cause: The Air War in Postwar Film, of conversation in local pubs, for example, or discussion in the privacy of their “Behelfsheime” (makeshift homes) or “Kellerwohnungen” (generally a euphemism for a cave-like space in the ruins), on a market place, or anywhere else.. Rubble films contribute little to the public memory of these harr
作者: appall 時間: 2025-3-27 06:51
,Rubble Film as Archive of Trauma and Grief: Wolfgang Lamprecht’s ,,esent, the Mitscherlichs’ focus on the suppression of guilt relied on an all too unitary notion of collective behavior and memory production. Moreover, their investment in a normative perspective of how the Germans should have dealt with the past prevented a further probing of the presumably absent
作者: 直覺沒有 時間: 2025-3-27 12:24
,What’s New? Allegorical Representations of Renewal in DEFA’s Youth Films, 1946–1949,garded both as documentary evidence of Germany’s postwar misery as well as allegories where the ruins are the external sign of internal desolation, a metaphor of Germany’s spiritual devastation.. In the DEFA features under consideration here the notion of youth as a transitional time of self-realiza
作者: 得意牛 時間: 2025-3-27 17:14
Rubble Noir,r acquaintances, Michael Rott (Viktor de Kowa), has returned to the Regina from his exile in Switzerland. He comes in search of another woman he loved only to find himself accused of having stolen Nelly’s jewels before he himself fled the Nazis. To clear his name, these jewels must be recovered from
作者: 口訣 時間: 2025-3-27 18:21
,“Kampf dem Kampf”: Aesthetic Experimentation and Social Satire in ,,age, both in terms of film and intellectual history,”. . has scored particularly badly. Seldom discussed at any length, the film tends to be summarily criticized as politically reactionary, alternatively as an example for emerging anticommunism under Allied censorship,. as exemplifying contemporary
作者: 轉(zhuǎn)折點 時間: 2025-3-28 01:45
The Sound of Ruins,he world below. The plane’s metal bars enclosing front and side windows are painted in such a way that they bleed into the architectural structures of the city, indicative of a blurring of all distinctions between interior and exterior spaces, between a pilot’s stillness in relation to his machinery
作者: Minikin 時間: 2025-3-28 06:02
Book 2008This volume offers a cultural, aesthetic, and critical reappraisal of?German ‘rubble films‘ produced in the immediate aftermath of the Second World War and constructs their meaning in a historical context.
作者: 綠州 時間: 2025-3-28 08:33
作者: 確定方向 時間: 2025-3-28 13:12
作者: 格言 時間: 2025-3-28 15:15
作者: Conscientious 時間: 2025-3-28 19:24
2945-6274 Overview: This volume offers a cultural, aesthetic, and critical reappraisal of?German ‘rubble films‘ produced in the immediate aftermath of the Second World War and constructs their meaning in a historical context.978-1-349-37504-2978-0-230-61697-4Series ISSN 2945-6274 Series E-ISSN 2945-6282
作者: apropos 時間: 2025-3-29 01:22
作者: Mammal 時間: 2025-3-29 04:52
作者: DEMN 時間: 2025-3-29 08:56
作者: 滑稽 時間: 2025-3-29 14:05
作者: Exuberance 時間: 2025-3-29 15:40
Alfred A. Bartolucci,William B. Hillegassckdrop, feature the ruins of destroyed cities, civilian death, and hopelessness, and zoom in for brief moments on disease and hunger as the necessary consequences of erasing urban civilian habitation on an unprecedented scale, the films mostly depict a new humanism coming from the shared experience
作者: Frequency 時間: 2025-3-29 22:53
作者: hardheaded 時間: 2025-3-30 01:39
Nonablative Fractional Energy Treatments,econd World War. Most famously, Alexander and Margarete Mitscherlich argued in their book . (1967) that in an attempt to shake off guilt the Germans blocked out any capacity for empathy and paid little attention to the losses of the victims of Nazism or their own for that matter.. Observing an emoti
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