From Hitler to Heimat: The Return of History as Film (Hardback)
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Since World War II West German film-makers have tried to come to terms with Germany's past. Kaes argues that a shift in German attitudes in the 1970s - illustrated in films - shows the focus is now less on guilt and atonement and more on personal memory and a need for a national identity.

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Von Händler/Antiquariat, Between the Covers Rare Books.
West German film-makers have tried repeatedly over the past half-century to come to terms with Germany's stigmatized history. How can *** and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s - a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for a national identity. Hardcover, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 1989-09-14, Studio: Harvard University Press, Verkaufsrang: 4545408.

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Von Händler/Antiquariat, Half Price Books Inc, TX, Dallas, [RE:4].
Connecting readers with great books since 1972. Used books may not include companion materials, some shelf wear, may contain highlighting/notes, and may not include cd-rom or access codes. Customer service is our top priority! Paperback, Revised ed.

Von Händler/Antiquariat, The Book Depository [54837791], London, United Kingdom.
Language: English. Brand new Book. West German filmmakers have tried to repeatedly over the past half-century to come to terms with Germany's stigmatized history. How can Hitler and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s-a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for national identity.To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jurgen Syberberg's Hitler, a Film from Germany, a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun, the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother, relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot, a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat, a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the spite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film. Books.

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Von Händler/Antiquariat, Fundus-Online GbR.
Cambridge, Mass. ; London, England, Harvard Univ. Press, XIII, 273 S. : Ill. ; 24 cm. Originalleinen mit Schutzumschlag. Gutes Ex.; der OUmschlag etwas beschädigt: Fehlstellen. // Vorsatz mit WIDMUNG an Eberhard Lämmert - Literaturwissenschaftler - und SIGNIERT von Anton Kaes. - INHALT : Preface -- IMAGES OF HISTORY -- Postwar German Films and the Third Reich -- The Politics of Representation The Flight from Memory The Return of the Repressed -- GERMANY AS MYTH -- Hans Jiirgen Syberberg's Hitler, a Film from Germany -- History at a Standstill Postmodernist Staging Myth and Identity Irrationalism Reclaimed -- THE PRESENCE OF THE PAST -- Rainer Werner Fassbinder's The Marriage of Maria Braun -- The Politics of Private Life Historical Narration History as Trauma The End of Utopia -- IN SEARCH OF GERMANY -- Alexander Kluge's The Patriot -- Nomadic History The Constructivist Method Archaeology and Imagination The New Patriotism -- OUR CHILDHOODS, OURSELVES -- Helma Sanders-Brahms's Germany, Pale Mother -- Autobiography and Memory Fatherland, Mother Tongue Feminist Historiography -- GERMANY AS MEMORY Edgar Reitz's Heimat -- Scenes from the Provinces History of the Everyday Memory and Technology History-Made in Germany -- EPILOGUE -- History, Memory, and Film -- Film and Videotape Sources Selected Bibliography Notes Index. // West German filmmakers have tried repeatedly over the past half-century to come to terms with Germany's stigmatized history. How can Hitler and the Holocaust. how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes toward the Third Reich and its aftermath occurred in the mid-1970s - a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and a yearning for national identity. To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jiirgen Syberberg's Hitler, a Film from Germany, a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun, the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother, relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot, a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat, a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the provinces. Despite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present. Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film. (Verlagstext) ISBN 0674324560Drittes Reich [Deutschland (Bundesrepublik) ; Film ; Nationalsozialismus ; Vergangenheitsbewältigung ; Geschichte 1974-1984, Theater, Tanz, Film, Geschichte und Historische Hilfswissenschaften] 1992.

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West German filmmakers have tried to repeatedly over the past half-century to come to terms with Germany'e(tm)s stigmatized history. How can Hitler and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s'e"a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for national identity. To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jürgen Syberberg's Hitler, a Film from Germany , a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun , the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother , relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot , a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat , a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the provinces. Despite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film.

Lieferung aus: Deutschland, Versandkostenfrei in der BRD, Lieferbar.
The Return of History as Film, Buch, Hardcover, West German filmmakers have tried to repeatedly over the past half-century to come to terms with Germany’s stigmatized history. How can Hitler and the Holocaust, how can the complicity and shame of the average German be narrated and visualized? How can Auschwitz be reconstructed? Anton Kaes argues that a major shift in German attitudes occurred in the mid-1970s—a shift best illustrated in films of the New German Cinema, which have focused less on guilt and atonement than on personal memory and yearning for national identity. To support his claim, Kaes devotes a chapter to each of five complex and celebrated films of the modern German era: Hans Jürgen Syberberg's Hitler, a Film from Germany, a provocative restaging of German history in postmodern tableaux; The Marriage of Maria Braun, the personal and political reflection on postwar Germany with which Rainer Werner Fassbinder first caught the attention of American and European audiences; Helma Sanders-Brahms's feminist and autobiographical film Germany, Pale Mother, relating the unexplored role of German women during and after the war; Alexander Kluge's The Patriot, a self-reflexive collage of verbal and visual quotations from the entire course of the German past; and, finally, Edgar Reitz's Heimat, a 16-hour epic rendering of German history from 1918 to the present from the perspective of everyday life in the provinces. Despite radical differences in style and form, these films are all concerned with memory, representation, and the dialogue between past and present Kaes draws from a variety of disciplines, interweaving textual interpretation, cultural history, and current theory to create a dynamic approach to highly complex and multi-voiced films. His book will engage readers interested in postwar German history, politics, and culture; in film and media studies; and in the interplay of history, memory, and film.

Von Händler/Antiquariat, Booked Again [55383221], Summit, NJ, U.S.A.
Good condition, some are ex-library and can have markings.

Von Händler/Antiquariat, BookSleuth [58350165], Danville, CA, U.S.A.
From *** to Heimat: The Return of History as Film.