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FF:FAVz010 German Cinema 1920-1945 - Informace o předmětu

FAVz010 German Cinema in International Relations, 1920-1945

Filozofická fakulta
jaro 2008
Rozsah
0/0/0. 5 kr. Doporučované ukončení: k. Jiná možná ukončení: zk.
Vyučující
Dr. Joseph Garncarz (přednášející)
M.A. Michael Ross (cvičící)
Garance
doc. Mgr. Petr Szczepanik, Ph.D.
Ústav filmu a audiovizuální kultury - Filozofická fakulta
Kontaktní osoba: doc. Mgr. Petr Szczepanik, Ph.D.
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Mateřské obory
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Cíle předmětu
As a rule, a “national cinema” implies that a certain country’s film supply is dominated by domestic films. Alternatively, the concept refers to the selection of a country’s output that constructs a homogeneous and imaginary national identity. In my Brno lectures, I will conceptualize German cinema differently, taking into account that German audiences not only liked German films and that the German film industry not only produced films for its own market. The German film industry imported and exported films and personnel from the beginning. My lectures deal with diverse aspects of German cinema in international relations; they are organized chronologically from the early 1920s to the end of WWII.
Osnova
  • SCHEDULE: March 11 10.00 - 11.35, 11.40 - 13.15 March 12 10.00 - 11.35, 11.40 - 13.15 (případně projekce 18.20 - 20.45) March 13 10.00 - 11.35 16.40 - 18.15 LOCATION: University cinema, C:34 PLAN OF LECTURES: The first two lectures are concerned with the popularity of films and stars with German audiences during the 1920s. 1. “German Cinema of the 1920s“ 2. “Questioning Chaplin’s Popularity in Weimar Germany” The next two lectures deal with the export of German actors and films during the early 1930s. 3. “How Marlene Dietrich Conquered Hollywood”. 4. „Multiple-Language Versions and the Early German Sound Cinema“ The last two lectures are concerned with exporting films and the emigration of Jewish actors during the “Third Reich”. 5. “OLYMPIA – FEST DER VÖLKER/FEST DER SCHÖNHEIT“ 6. “Jews Playing Nazis in Hollywood” The seminar deals with concepts of “national cinema”. Our question will be how to conceptualize the cinema of a country, which is always – even under a totalitarian regime – interrelated with other markets in various ways (e.g. exchange of films, personnel and capital). As it is commonly understood, the concept “national cinema” refers to the films produced by a country, whether the entire output or a specific portion of it. When we consider the popularity of foreign films, exporting strategies or the exchange of personnel, then we need to revise the concept “national cinema”. I would like to discuss alternative concepts such as my notion of a “national film culture”. Please read these texts: Andrew Higson: “The Concept of National Cinema”, in: Screen, 30.4 (Autumn 1989), pp. 36–46. Joseph Garncarz: “The emergence of nationally specific film cultures in Europe, 1911-1914", in: Richard Abel, Giorgio Bertellini, Rob King (eds.): Early Cinema and the “National”. Eastleigh: John Libbey, 2008, pp. 183-192. 15. - 16. květen - výzkumný seminář, vede M.A. Michael Ross
Metody hodnocení
test
Vyučovací jazyk
Angličtina
Informace učitele
Joseph Garncarz (1957) is internationally renowned historian of German cinema, who – among other contributions – proposed an original methodology of studying film versions, cinemagoing preferences and film stars. He is “Privatdozent” in Film Studies at the University of Cologne in Germany. His main subject of study is European film history and he has published widely on this topic in British, American and German journals and edited collections (Film History, Cinema & Cie, Hitchcock Annual, KINtop, montage a/v, etc.). His dissertation on film versions was published as Filmfassungen (Frankfurt: Lang, 1992). He wrote a post-doctoral thesis called Importing Entertainment: The Internationalization of German Film Culture, 1925-1990 (Populäres Kino in Deutschland. Internationalisierung einer Filmkultur, 1925-1990). He is currently working on two books, The Emergence of Cinema in Germany, 1895-1924 and German Cinema: A History. He is also a participant of the film-historical research project called „Industrialization of Perception“ at the University of Siegen.
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