front cover of Film and the German Left in the Weimar Republic
Film and the German Left in the Weimar Republic
From Caligari to Kuhle Wampe
By Bruce Murray
University of Texas Press, 1990

The Weimar Republic of Germany, covering the post-World War I period of civil and governmental strife, witnessed a great struggle among a variety of ideologies, a struggle for which the arts provided one important arena. Leftist individuals and organizations critiqued mainstream art production and attempted to counter what they perceived as its conservative-to-reactionary influence on public opinion. In this groundbreaking study, Bruce Murray focuses on the leftist counter-current in Weimar cinema, offering an alternative critical approach to the traditional one of close readings of the classical films.

Beginning with a brief review of pre-Weimar cinema (1896-1918), he analyzes the film activity of the Social Democratic Party, the German Communists, and independent leftists in the Weimar era. Leftist filmmakers, journalists, and commentators, who in many cases contributed significantly to marginal leftist as well as mainstream cinema, have, until now, received little scholarly attention. Drawing on exhaustive archival research and personal interviews, Murray shows how the plurality of aesthetic models represented in the work of individuals who participated in leftist experiments with cinema in the 1920S collapsed as Germany underwent the transition from parliamentary democracy to fascist dictatorship. He suggests that leftists shared responsibility for that collapse and asserts the value of such insights for those who contemplate alternatives to institutional forms of cinematic discourse today.

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Framing the Past
The Historiograpy of German Cinema and Television
Edited by Bruce A. Murray and Christopher J. Wickham
Southern Illinois University Press, 1992

This collection of essays was selected from those presented in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema." The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, political, and religious institutions that have influenced the historiography of German cinema and television.

Before the turn of the century, Germans began to employ the medium of film to represent the past when they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of personal, cultural, and national identity by consistently providing prominent treatment of historical subjects.

Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine precisely which factors have motivated those changes.

In attempting to define these factors, the link between German cinema, television, and history has developed around three interrelated issues: (1) the reception of Weimar cinema, which for most film scholars continues to be mediated to one extent or another by Siegfried Kracauer’s work; (2) the inscribing of fascism in cinema and television; and (3) the nature of, and potential for, alternatives to mainstream cinema and television.

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Religious Liberty in America
The First Amendment in Historical and Contemporary Perspective
Bruce T. Murray
University of Massachusetts Press, 2008
In recent years a series of highly publicized controversies has focused attention on what are arguably the sixteen most important words in the U.S. Constitution: "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof." The ongoing court battles over the inclusion of the words "under God" in the Pledge of Allegiance, the now annual cultural quarrel over "Merry Christmas" vs. "Happy Holidays," and the political promotion of "faith-based initiatives" to address social problems—all reflect competing views of the meaning of the religious liberty clauses of the First Amendment.

Such disputes, as Bruce T. Murray shows, are nothing new. For more than two hundred years Americans have disagreed about the proper role of religion in public life and where to draw the line between church and state. In this book, he reexamines these debates and distills the volumes of commentary and case law they have generated. He analyzes not only the changing contours of religious freedom but also the phenomenon of American civil religion, grounded in the notion that the nation's purpose is sanctified by a higher authority—an idea that can be traced back to the earliest New England colonists and remains deeply ingrained in the American psyche.

Throughout the book, Murray connects past and present, tracing the historical roots of contemporary controversies. He considers why it is that a country founded on the separation of church and state remains singularly religious among nations, and concludes by showing how the Supreme Court's thinking about the religious liberty clauses has evolved since the late eighteenth century.
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