Titlebook: German Postwar Films; Life and Love in the Wilfried Wilms,William Rasch Book 2008 Wilfried Wilms and William Rasch 2008 Alfred Schütz.film.

使乳化

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 .,

consolidate

nurture

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

使無(wú)效

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

intimate

,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

Grandstand

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

FLINT

,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

Moderate

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

Intruder

一個(gè)攪動(dòng)不安

,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