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By combining close analyses of five films made between 1947 and 1988 with extensive archival research, this book unravels the complex status of films dealing with Jewish persecution produced in a country that consistently privileged narratives of political persecution above racial victimhood.

During the past two decades Ecuadorians have engaged in a national debate around Buen Vivir (living well). This ethnography discusses one of the ways in which people experience well-being or aspire to live well in Ecuadorian Amazonia. Waponi Kewemonipa (living well) is a Waorani notion that embraces ideas of good conviviality, health and certain ecological relations. For the Waorani living along the oil roads, living well has taken many pathways. Notably, they have developed new spatial organizations as they move between several houses, and navigate between the economy of the market and the economy of the forest.

Audiences for contemporary German film and television are becoming increasingly transnational, and depictions of German cultural history are moving beyond the typical post-war focus on Germany's problematic past. Entertaining German Culture explores this radical shift, building on recent research into transnational culture to argue that a new process of internal and external cultural reabsorption is taking place through areas of mutually assimilating cultural exchange such as streaming services, an increasingly international film market, and the import and export of Anglo-American media formats.

Between the two world wars, a distinct and vibrant film culture emerged in Europe. Film festivals and schools were established; film theory and history was written that took cinema seriously as an art form; and critical writing that created the film canon flourished. This scene was decidedly transnational and creative, overcoming traditional boundaries between theory and practice, and between national and linguistic borders. This new European film culture established film as a valid form of social expression, as an art form, and as a political force to be reckoned with. By examining the extraordinarily rich and creative uses of cinema in the interwar period, we can examine the roots of film culture as we know it today.

Best known for his 1979 film David, Peter Lilienthal was an unusual figure within postwar filmmaking circles. A child refugee from Nazi Germany who grew up in Uruguay, he was uniquely situated at the crossroads of German, Jewish, and Latin American cultures: while his work emerged from West German auteur filmmaking, his films bore the unmistakable imprints of Jewish thought and the militant character of New Latin American cinema. Peter Lilienthal is the first comprehensive study of Lilienthal's life and career, highlighting the distinctively cross-cultural and transnational dimensions of his oeuvre, and exploring his role as an early exemplar of a more vibrant, inclusive European film culture.

Moving Frames addresses precise historical moments uniquely in a German context. Across films both in and outside the canon, this volume tackles those specific historical moments experienced in media forms to gauge the cultural, political, and transnational trends in humanity's desire for agency and how that agency is represented.

Screening Art represents the first full-length study of films about art and artists produced by the state-owned Eastern German film studio DEFA. It investigates the essential role that these "art films" played in the development of new paradigms of socialist art in post-war Europe.

Almost from their very inception, European cinemas frequently undertook collaborative ventures in an attempt to cultivate a transnational "Film-Europe." Despite the significant obstacles that the East/West divide presented to achieving that ideal, in the postwar era it was DEFA where these practices persisted.

Sensitive Subjects examines how contemporary German-language cinema may be read as seeking to produce greater political sensitivity in audiences through its form-that is, by employing medium-specific devices such as lighting, sound, editing and mise-en-scene in ways that prompt a more critical stance towards the societies it depicts.

The film industry in the Weimar Republic was a major site for German-Jewish experience that provided a sphere for Jewish "outsiders" to shape mainstream culture. The essays in this book offer new historical, theoretical, and methodological approaches to the significant involvement of Jewish people in Weimar cinema.

This account of the popular German film industry, its main protagonists, and its production strategies in the 1960s; challenges traditional assumptions. The most striking phenomenon of 1960s' popular German cinema: the disappearance of any explicit reference to contemporary German reality.

Examines how a variety of German and Austrian films treat aspects of Jewish life, at home and in the synagogue, and Jewish interaction with fellow Jews in different cultural environments. This book offers the reader information on the many Jews involved in all spheres of the cinema and who created a great industry and new forms of art.

The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.

Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "e;incarnations."e;

Despite the massive influx of Hollywood movies and films from other European countries after World War II, Austrian film continued to be hugely popular with Austrian and German audiences. By examining the decisive role that popular cinema played in the turbulent post-war era, this book provides unique insights into the reconstruction of a disrupted society. Through detailed analysis of the stylistic patterns, narratives and major themes of four popular genres of the time, costume film, Heimatfilm, tourist film and comedy, the book explains how popular cinema helped to shape national identity, smoothed conflicted gender relations and relieved the Austrians from the burden of the Nazi past through celebrating the harmonious, charming, musical Austrian man.

Since the fall of the Berlin Wall, there has been a proliferation of German historical films. These productions have earned prestigious awards and succeeded at box offices both at home and abroad, where they count among the most popular German films of all time. Recently, however, the country's cinematic take on history has seen a significant new development: the radical style, content, and politics of the New German Cinema. With in-depth analyses of the major trends and films, this book represents a comprehensive assessment of the historical film in today's Germany. Challenging previous paradigms, it takes account of a postwall cinema that complexly engages with various historiographical forms and, above all, with film history itself.

Peter Lorre described himself as merely a 'face maker'. His own negative attitude also characterizes traditional perspectives which position Lorre as a tragic figure within film history: the promising European artist reduced to a Hollywood gimmick, unable to escape the murderous image of his role in Fritz Lang's M. This book shows that the life of Peter Lorre cannot be reduced to a series of simplistic oppositions. It reveals that, despite the limitations of his macabre star image, Lorre's screen performances were highly ambitious, and the terms of his employment were rarely restrictive. Lorre's career was a complex negotiation between transnational identity, Hollywood filmmaking practices, the ownership of star images and the mechanics of screen performance.

With six Academy Awards, four entries on the American Film Institute's list of 100 greatest American movies, and more titles on the National Historic Register of classic films deemed worthy of preservation than any other director, Billy Wilder counts as one of the most accomplished filmmakers ever to work in Hollywood. Yet how American is Billy Wilder, the Jewish migr from Central Europe? This book underscores this complex issue, unpacking underlying contradictions where previous commentators routinely smoothed them out. Wilder emerges as an artist with roots in sensationalist journalism and the world of entertainment as well as with an awareness of literary culture and the avant-garde, features that lead to productive and often highly original confrontations between high and low.

The demise of the New German Cinema and the return of popular cinema since the 1990s have led to a renewed interest in the postwar years and the complicated relationship between East and West German cinema in particular. A survey of the 1950s, as offered here for the first time, is therefore long overdue.

The legacy of emigres in the British film industry, from the silent film era until after the Second World War, has been largely neglected in the scholarly literature. Destination London is the first book to redress this imbalance...

The legacy of emigres in the British film industry, from the silent film era until after the Second World War, has been largely neglected in the scholarly literature. Destination London is the first book to redress this imbalance.

In the last five years of the 20th century, films by the 2nd and 3rd generation of the so-called German guest workers exploded onto the German film landscape. Self-confident, articulate, and dynamic, these films situate themselves in the global exchange of cinematic images, citing and rewriting American gangster narratives, Kung Fu action films...