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These films represent a specific subgenre of comedythat had a significant resonance in Germany at a time of rapid cultural change.

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.

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The picture that emerges is a complex one, and the variations from context to context are significant." [Communication Abstracts] "Hitler's history films: David Welch looks at the dramatisation of Fuhrerprinzip in the Nazi cinema, and how history films were used to propagate themes of anti-parliamentarianism and the concept of an individual leader of genius." History Today 52.12 (Dec 2002): 20(6). 'New' and 'Traditional' Interpretations of Third Reich Film Representations of Women." Historical Journal of Film, Radio and Television, vol. 24 Issue 1, p5-34, 30p UC users only Depictions of the German and foreigner in films and authors appearing in West Germany in the 1980s and 1990s are discussed.

The films are "Yasemin" and "Keiner liebt mich," while the literature is by Irene Dische and Aras Oren. 121-152, Spring 2008 "The writer discusses film in Germany in the period between 19.

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.

This genre involved Germany's own attempt to come to terms with the war and Nazism, and the film reached back past the vulgarity and kitsch of Nazi film to the period of classical German cinema of the 1920s, the Expressionist era, where the crooked streets and painted shadows of Expressionism have become reality in Germany's ruined cities.

The Trummerfilm died out in the 1950s with the onslaught of the Cold War and the division of Germany. "History played a role in the popularity of Nazi entertainment films.

Another contributory to the German cinema's success was its sound technology which replaced most of the silent films." [Expanded Academic Index] "The recent expansion of the German film industry is not merely a market effect of globalization, but also involves a process of conscious transnationalism.

The fundamental premise of the national film industry has altered in a subtle yet important way: Industry experts no longer speak of German directors creating German films, but rather of a film as " made in Germany" or from "location Germany." The shift from "made for Germans" to "made in Germany" leads to products that sidestep apprehension by national-oriented approaches.

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.

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