University of Wisconsin Press, 2012 Paper: 978-0-299-28714-6 | eISBN: 978-0-299-28713-9 Library of Congress Classification PN1995.9.N36H343 2012 Dewey Decimal Classification 791.43658
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil’s General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond.
Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance.
Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian “Naziploitation” films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s–2000s from the United States and numerous European countries.
AUTHOR BIOGRAPHY
Sabine Hake is the Texas Chair of German Literature and Culture at the University of Texas at Austin. She is the author of numerous books and anthologies on German cinema and culture, including Topographies of Class: Modern Architecture and Mass Society in Weimar Berlin.
REVIEWS
“Sabine Hake explores why filmmakers in various settings were, and continue to be, able to appeal to powerful emotions when screening the fascist past.”—Lutz Koepnick, author of The Dark Mirror: German Cinema between Hitler and Hollywood
“Hake’s innovative transnational approach and theoretical sophistication are accompanied by fine detailed analysis of specific films. She engages in dialogue with some of the newest and most interesting work in the theory of cinema.”—Siobhan S. Craig, author of Cinema after Fascism: The Shattered Screen
TABLE OF CONTENTS
List of Illustrations
Acknowledgments
Introduction
1 Democracy in Action: The Hollywood Anti-Nazi Films of the 1940s
2 Resistance to the Resistance: Denazification and Democratization in 1950s West German Cinema
3 Melancholy Antifascism: The East German Antifascist Films of the 1960s and 1970s
4 Between Art and Exploitation: Fascism and the Politics of Sexuality in 1970s Italian Cinema
5 Postpolitical Affects and Intertextual Effects: On Moloch (1999) and Inglourious Basterds (2009)
6 Postfascist Identity Politics: European Resistance Films in the New Millennium
7 Entombing the Nazi Past: On Downfall (2004) and Historicism
Notes
Index of Names
Index of Films
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
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Please have the accessibility coordinator at your school fill out this form.
University of Wisconsin Press, 2012 Paper: 978-0-299-28714-6 eISBN: 978-0-299-28713-9
From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil’s General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond.
Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance.
Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian “Naziploitation” films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s–2000s from the United States and numerous European countries.
AUTHOR BIOGRAPHY
Sabine Hake is the Texas Chair of German Literature and Culture at the University of Texas at Austin. She is the author of numerous books and anthologies on German cinema and culture, including Topographies of Class: Modern Architecture and Mass Society in Weimar Berlin.
REVIEWS
“Sabine Hake explores why filmmakers in various settings were, and continue to be, able to appeal to powerful emotions when screening the fascist past.”—Lutz Koepnick, author of The Dark Mirror: German Cinema between Hitler and Hollywood
“Hake’s innovative transnational approach and theoretical sophistication are accompanied by fine detailed analysis of specific films. She engages in dialogue with some of the newest and most interesting work in the theory of cinema.”—Siobhan S. Craig, author of Cinema after Fascism: The Shattered Screen
TABLE OF CONTENTS
List of Illustrations
Acknowledgments
Introduction
1 Democracy in Action: The Hollywood Anti-Nazi Films of the 1940s
2 Resistance to the Resistance: Denazification and Democratization in 1950s West German Cinema
3 Melancholy Antifascism: The East German Antifascist Films of the 1960s and 1970s
4 Between Art and Exploitation: Fascism and the Politics of Sexuality in 1970s Italian Cinema
5 Postpolitical Affects and Intertextual Effects: On Moloch (1999) and Inglourious Basterds (2009)
6 Postfascist Identity Politics: European Resistance Films in the New Millennium
7 Entombing the Nazi Past: On Downfall (2004) and Historicism
Notes
Index of Names
Index of Films
REQUEST ACCESSIBLE FILE
If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you
with an electronic file for alternative access.
Please have the accessibility coordinator at your school fill out this form.
It can take 2-3 weeks for requests to be filled.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE