FAVz010 German Cinema in International Relations, 1920-1945

Faculty of Arts
Spring 2008
Extent and Intensity
0/0/0. 5 credit(s). Recommended Type of Completion: k (colloquium). Other types of completion: zk (examination).
Teacher(s)
Dr. Joseph Garncarz (lecturer)
M.A. Michael Ross (seminar tutor)
Guaranteed by
doc. Mgr. Petr Szczepanik, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Contact Person: doc. Mgr. Petr Szczepanik, Ph.D.
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 100 student(s).
Current registration and enrolment status: enrolled: 0/100, only registered: 0/100, only registered with preference (fields directly associated with the programme): 0/100
fields of study / plans the course is directly associated with
there are 11 fields of study the course is directly associated with, display
Course objectives
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.
Syllabus
  • 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. May 15 - May 16 - research seminar, M.A. Michael Ross
Assessment methods (in Czech)
test
Language of instruction
English
Further comments (probably available only in Czech)
Study Materials
The course is taught only once.
The course is taught: in blocks.
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