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West Germany's postwar culture is marked by processesof contestation and the existence of competing histories.The specific historical situation in Germany after World War II allowed collective amnesia to develop, but many Germanfilmmakers who emerged from the context of the 1960s student movement attempted tocounter this amnesia, creating alternative public memories that re-imagined German history.The resolutions of the resulting film narratives occur not within the filiative national community, but rather through the affiliative potential of the world community." [Art Index] "Part of a special issue on marginality and alterity in new European cinemas.Therelationship of the Comedy Wave in 1990s German film to greater social and psychologicaltransformations in Germany is examined."German cinema." In: The Cambridge companion to modern German culture / edited by Eva Kolinsky and Wilfried van der Will.Cambridge, UK ; New York, NY: Cambridge University Press, 1998. New York: Berghahn Books, 2003."Propaganda is a central issue for non-fiction film in the Third Reich.Most historians involved with Third Reich film have concerned themselves with propaganda, which is not unexpected, in view of their interest in the state and the fact that Third Reich film (of all varieties)-either overtly or covertly in numerous ways-promoted the interests of the state.
The writerinvestigates the specific material structures and historical transformations that gave rise to thesubgenre, uses the analytic tools of queer theory to approach the dynamic of sexuality at workin the films, and concludes by examining the psychic structures involved in the films' crises andtheir relationships to social transformations." [Art Index] "The writer discusses German filmmakers involved in the struggles over publicmemory in postwar West Germany.This genre reflected the need of a people in a specific situation at a specific period in time." [Art Abstracts] "Down These Seen Streets A Man Must Go: Siegfried Kracauer, Hollywood's Terror Films and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies. One reason for their popularity is their attempt to replace reason with subtle fantasies.In the so-called Weimar Germany period, the cinema formed a part of popular culture.Eisner; [translated from the French by Roger Greaves]. Der historische Spielfilm im Nationalsozialismus / Hans-Gerd Happel. The newsreels determine the image of the Third Reich that we have in our minds today, since they form the basis for nearly all the popular historical programs on television.Berkeley: University of California Press, 1973, c1969."Film history and visual pleasure: Weimar cinemar." In: Cinema histories, cinema practices / edited by Patricia Mellencamp and Philip Rosen. Fantastique et réalisme dans le cinéma allemand 1912-1933. Surprisingly, however, there is not much research in Germany about this area of film production.