Escape into a different person, escape into a different reality:Despairby Vladimir Nabokov and Rainer Werner Fassbinder
About: This article is published in Journal of Adaptation in Film & Performance.The article was published on 2010-03-01. It has received 1 citations till now.
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TL;DR: From Caligari to Hitler as discussed by the authors is a landmark study of the history of the Weimar Republic, which examines German history from 1921 to 1933 in light of such movies as "The Cabinet of Dr.Caligari, M, Metropolis," and "The Blue Angel" and has never gone out of print.
Abstract: A landmark, now classic, study of the rich cinematic history of the Weimar Republic, "From Caligari to Hitler" was first published by Princeton University Press in 1947. Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as "The Cabinet of Dr. Caligari, M, Metropolis," and "The Blue Angel," has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In "From Caligari to Hitler," Siegfried Kracauer--the German-born writer and film critic who shared many ideas and interests with his friend Walter Benjamin--made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s such as "The Cabinet of Dr. Caligari, M, Metropolis," and "The Blue Angel," he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film. In "From Caligari to Hitler," Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film. Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote "From Caligari to Hitler" while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, "From Caligari to Hitler" remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his "Theory of Film: The Redemption of Physical Reality in 1997."
325 citations
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01 Jan 1980
TL;DR: In this article, the authors present a collection of free of expense books on russian literature writer by which can be read online in format of ppt, kindle, pdf, word, txt, rar, as well as zip.
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109 citations
01 Jan 1996
TL;DR: In this paper, a detailed analysis of Fassbinder's work is presented, with an overview and a number of detailed readings of crucial films, while also providing a European context for the author's own coming to terms with fascism.
Abstract: Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.
62 citations
Book•
01 Jun 1997
TL;DR: In Fassbinder, Thomsen, a close friend of the director, illuminates the body of work while revealing his insider views of a man who, despite a furious temper, manic working habits, and rampant drug addiction, supported an extended family, including his mother, a string of male lovers, lovelorn women, and even a pair of frustrated wives.
Abstract: In Fassbinder, Christian Thomsen, a close friend of the director, illuminates Fassbinder's body of work while revealing his insider views of a man who, despite a furious temper, manic working habits, and rampant drug addiction, supported an extended family- including his mother, a string of male lovers, lovelorn women, and even a pair of frustrated wives-with his intoxicating and prolific imagination. This book, like Fassbinder's often-used image of the mirror, brilliantly reflects the sexual, political, and overwhelmingly human contradictions inherent in the life of this intensely creative man and the remarkable films he directed.
15 citations
TL;DR: For instance, the authors pointed out the passages which Nabokov altered and suggested some of the principles he used when introducing changes, which made it easier to interpret specific passages in the novel.
Abstract: IT IS DIFFICULT to think of any writer of any century who has displayed such a wide range of verbal talent as Vladimir Nabokov. His flashing prose has earned him an important place both in American and in Russian literature. Original prose and poetry, translations of prose and poetry, meticulous scholarly criticism and commentary, devastating literary polemic-everything seems within his range. But Nabokov's chameleonic transformations from Russian into English and English into Russian are particularly fascinating to watch.1 He has translated (or helped translate) his own Russian novels, including Priglashenie na kazn', Zashchita Luzhina, and Dar, into English; he has translated English works including Pnin, Speak, Memory, and, most recently, Lolita into Russian.2 The metamorphosis of Otchaianie into Despair is a special case, because while translating the novel Nabokov made certain revisions.3 The purpose of this study is to point out the passages which Nabokov altered and to suggest some of the principles he used when introducing changes. These changes are interesting merely for the light they shed on the development of Nabokov himself and on loosening "moral" restrictions in art, but in a few cases the interpolations also make it easier to interpret specific passages in the novel. By reserving the right to revise, Nabokov escapes the theoretical strictures which he places on translators, including himself. He so values the sonorities and humor of alliteration, onomatopoeia, and puns that when translating his own work he is often unable to adhere to his standards of literalism. For example:
6 citations