Germany (Directory of World Cinema)
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From bleak expressionist works to the edgy political works of the New German Cinema to the feel-good Heimat films of the postwar era, Directory of World Cinema: Germany aims to offer a wider film and cultural context for the films that have emerged from Germany—including some of the East German films recently made available to Western audiences for the first time. With contributions by leading academics and emerging scholars in the field, this volume explores the key directors, themes, and periods in German film history, and demonstrates how genres have been adapted over time to fit historical circumstances. Rounding out this addition to the Directory of World Cinema series are fifty full-color stills, numerous reviews and recommendations, and a comprehensive filmography.
been the subject of rigorous analysis, debate and controversy. Cameramen who honed their cinematographic skills on Fanck’s films and went on to enjoy distinguished careers of their own include Hans Schneeberger, Sepp Allgeier and Walter Riml. All made significant contributions to the German film and television industries and were highly regarded internationally. Walter Riml worked for the US Army immediately after World War II and was engaged as a specialist consultant on films such as The Great
artistic expression. Before Tykwer several established directors, such as Stanley Kubrick or Martin Scorsese, considered adapting Süskind’s novel. The major obstacle was the author’s refusal to sell the copyright of the book. After years of negotiations Bernd Eichinger finally acquired the rights. Made on a budget exceeding €50 million, Perfume remains one of the most expensive German movies of all time. The critical reception was mixed, but the film became a commercial success in Germany and
into the reeds, suggesting they have become intimate. Later that afternoon Wolf and Erwin hire a paddleboat and flirt with two other women. Brigitte and Christl look on appalled, but take some satisfaction when the men have to borrow money to pay the boat rental. Brigitte asks to meet Wolf the next Sunday. He reluctantly agrees but Erwin brusquely reminds him that they have other plans. It is clear that the most enduring relationship is that between Directory of World Cinema People on Sunday:
given its nature as a mainstream and popular movie, a rare cinematic find in 1950s Germany. Christine Haase Carbide and Sorrel Karbid und Sauerampfer Production Company: Deutsche Film (DEFA) Distributor: VEB Progress Film-Vertrieb Director: Frank Beyer Screenwriters: Frank Beyer Hans Oliva 130 Germany Synopsis In Frank Beyer’s 1963 black-and-white film Carbide and Sorrel, the main character, Kalle (Geschonneck) must travel, by whatever means he can find – on foot, with a borrowed
to survive the dehumanized and dehumanizing conditions. For the flashbacks the film employs exaggerated and vibrant colours reminiscent of East German fairy-tale films. These serve to explain the relationships between the characters and show us their lives before the Nazis invaded Poland. In contrast, the subdued colours of the present accentuate the life the Jewish inmates lead between forced labour and scarce spare time. The interactions between the characters are touching and sometimes sad. A