The promise of cinema : German film theory, 1907--1933 /

Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once...

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Other Authors: Kaes, Anton (Editor), Baer, Nicholas, 1985- (Editor), Cowan, Michael J., 1971- (Editor)
Format: eBook
Language:English
Published: Oakland : University of California Press, 2016.
Series:Weimar and now.
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245 0 4 |a The promise of cinema :  |b German film theory, 1907--1933 /  |c edited by Anton Kaes, Nicholas Baer, and Michael Cowan. 
264 1 |a Oakland :  |b University of California Press,  |c 2016. 
264 4 |c ©2016 
300 |a 1 online resource 
336 |a text  |b txt  |2 rdacontent 
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490 1 |a Weimar and now 
588 0 |a Online resource; title from PDF title page (EBSCO, viewed February 15, 2016). 
505 0 |6 880-01  |a Cover; THE PROMISE OF CINEMA; Title; Copyright; Contents; Acknowledgments ; User's Guide ; Introduction ; SECTION ONE. TRANSFORMATIONS OF EXPERIENCE ; 1. A New Sensorium ; 1. Hanns Heinz Ewers, The Kientopp (1907) ; 2. Max Brod, Cinematographic Theater (1909). 
505 8 |a 3. Gustav Melcher, On Living Photography and the Film Drama (1909) 4. Kurt Weisse, A New Task for the Cinema (1909) ; 5. Anon., New Terrain for Cinematographic Theaters (1910) ; 6. Anon., The Career of the Cinematograph (1910) ; 7. Karl Hans Strobl, The Cinematograph (1911). 
505 8 |a 8. Ph. Sommer, On the Psychology of the Cinematograph (1911) 9. Hermann Kienzl, Theater and Cinematograph (1911) ; 10. Adolf Sellmann, The Secret of the Cinema (1912) ; 11. Arno Arndt, Sports on Film (1912) ; 12. Carl Forch, Thrills in Film Drama and Elsewhere (1912-13). 
505 8 |a 13. Lou Andreas-Salomé, Cinema (1912-13) 14. Walter Hasenclever, The Kintopp as Educator: An Apology (1913) ; 15. Walter Serner, Cinema and Visual Pleasure (1913) ; 16. Albert Hellwig, Illusions and Hallucinations during Cinematographic Projections (1914) ; 2. The World in Motion. 
505 8 |a 17. H. Ste., The Cinematograph in the Service of Ethnology (1907) 18. O. Th. Stein, The Cinematograph as Modern Newspaper (1913-14) ; 19. Hermann Häfker, Cinema and Geography: Introduction (1914) ; 20. Yvan Goll, The Cinedram (1920) ; 21. Hans Schomburgk, Africa and Film (1922). 
520 |a Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of "theory" not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity's most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongs. 
504 |a Includes bibliographical references. 
504 |a Includes bibliographical references and index. 
590 |a Books at JSTOR Evidence Based Acquisitions 
590 |a EBSCO eBook Academic Comprehensive Collection North America 
650 0 |a Motion pictures  |z Germany  |x History  |y 20th century. 
650 0 |a Film criticism  |z Germany. 
650 0 |a Motion pictures  |x History  |y 20th century. 
648 7 |a 1900-1999  |2 fast 
655 7 |a History.  |2 fast  |0 (OCoLC)fst01411628 
700 1 |a Kaes, Anton,  |e editor. 
700 1 |a Baer, Nicholas,  |d 1985-  |e editor. 
700 1 |a Cowan, Michael J.,  |d 1971-  |e editor. 
730 0 |a WORLDSHARE SUB RECORDS 
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830 0 |a Weimar and now. 
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880 0 |6 505-00/(Q  |a The cinema ballad (1913) / Ulrich Rauscher -- Quo vadis, cinema(1913) / Kurt Pinthus -- The student of Prague (1913) / Anon. -- The call for art (1913) / Hermann Ha⁾їfker -- Problems of the film drama (1913-14) / Herbert Tannenbaum -- The new illusion (11913-14) / Will Scheller -- The photoplay (1914) / Kurt Pinthus -- The onlookers of life in the cinema (1914-15) / Malwine Rennert -- On the artistic possibilities of the motion picture (1917) / Paul Wegener -- We lack film poetry (1920) / Ernst Lubitsch -- Kitsch-Sensation-Culture and film (1924) / Friz Lang -- Cinematograph and schoolchildren (1909) / Georg Kleibmer -- Cinema as educator (1909) / Franz Pfemfert -- Trash films (1911) / Albert Hellwig -- The dangers of the cinema (1911-12) / Robert Gaupp -- The cinematograph from an ethical and aesthetic viewpoint (1912) / Konrad Lange -- The sexual danger in the cinema (1912) / Ike Spier -- Against a cinema that makes women stupid (1912-13) / P. Max Grempe -- Against a cinema that makes women stupid: a response (1912-13) / Roland -- The cinema's damaging effects on health (1913) / Naldo Felke -- Today's cinematograph: a public menace (1913) / Karl Brunner -- Cinematic mankind (1916) / Richard Gutmann -- Homosexuality and Jewishness (1919) / Walther Friedmann -- Homo cinematicus (1919) / Wilhelm Stapel -- Cinema censorship (1920) / Kurt Tucholsky -- The motion picture and the state (1924) / Albert Hellwig -- Cinema (1931) / Aurel Wolfram -- Film Bolshevism (1932) / Fritz Olimsky -- The German Kaiser in film (1912) / Paul Klebinder -- Cinematograph and crowd psychology (1912) / Hermann Duenschmann -- War and cinema (1914) / Der Kinematograph -- The cinematograph as shooting gallery (1914) / Anon. -- Cinema and the educated class: a foreword (1914) / Hermann Ha⁾їfker -- The tasks of cinematography in this war (1914) / Hermann Ha⁾їfker -- The benefits of war for the cinema (1914) / Edgar Kltsch -- Made in Germany (1916) / Karl Kraus -- State and cinema (1916) / Anon. -- Art and cinema in war (1916) / Johannes Gaulke -- Film propaganda for German affairs abroad (1917) / Gustav Stresemann -- The Ludendorff letter (1917) / Erich Ludendorff -- The triumph of film (1917) / Joseph Max Jacobi -- Film as a means of agistation (1919) / Rudolf Genenncher -- War films (1927) / Kurt Tucholsky -- Film in the new Germany (1928) / Film-Kurier -- All quiet on the western front (1930) / Seigfried Kracauer -- Against the ban on the Remarque film (1931) / Kurt Tucholsky -- American cinema (1920) / Claire Goll -- The significance of conglomerates in the film industry (1920) / Erich Pommer -- The significance of film for international understanding (1921) / Valentin -- The style of the export film (1922) / Joe May -- German cinema (1922) / Hans Siemsen -- Film-America and us (1922) / Georg Jacoby -- Film internationality (1924) / Ernst Lubitsch -- Is film national or international(1924) / Georg Otto Stindt -- The twilight of film(1926) / Axel Eggebrecht -- The restructuring of Ufa (1927) / Anon. -- Film German and Film America (1928) / Carl Laemmle -- The first one back from Hollywood (1929) / Billie Wilder -- Film statistics (1930) / Alexander Jason -- Done with Hollywood (1931) / A.K. -- Film-Europe, a fact! (1931) / Anon. -- Internationality through the version systems (1931) / Anon. -- The international talking film (1932) / Erich Pommer -- The diva (1919) / Henny Porten -- Henny Porten for president (1921) / Kurt Pinthus -- Impression of a nai⁾їf (1923) / Robert Musil -- Only stars! (1926) / Bela Balazs -- The automobile in film (1926) / Vicky Baum -- Vienna is filming! (1926) / Anon. -- Why we love film (1926) / Willy Haas -- Film education (1928) / Hugo -- What is film illusion(1928) / K.W. -- The representative of a generation (1928) / Hans Feld, Anita Berber -- To an unknown woman (1930) / Marlene Dietrich -- Love on film (1930) / Max Brod and Rudolf Thomas -- All about film stars (1931) / Siegfried Kracauer -- Destitution and distraction (1931) / Siegfried Kracauer -- In the empire of film (1931) / Anon. -- The revolutionary film (1922) / Bela Balazs -- The Klieg lights stay on (1926) / Siegfried Kracauer -- Potemkin and tendentious art (1927) / Oscar A.H. Schmitz -- Reply to Oscar A.H. Scmitz (1927) / Walter Benjamin -- The new youth and film (1928) / Lotte H. Eisner -- Film und Volk: foreword (1928) / Franz Ho⁾їllering -- Film works for us! (1928) / Bela Balazs -- Film and the people (1928) / Heinrich Mann -- Who will create the German revolutionary film(1928) / Ernst Toller -- Mass-man in the cinema (1929) / Karl Ritter -- Film and propaganda (1929) / Willi Mnzenberg -- World film report (1929) / A.A. -- Individual and montage (1930) / Lupu Pick. 
880 0 |6 505-00/(Q  |a The threepenny lawsuit (1931) / Bertolt Brecht -- The banned Kuhle Wampe (1932) / Herbert Jhering -- Film and conviction (1933) / Georg Wilhelm Pabst -- Thoughts toward an aesthetic of the cinema (1911) / Georg Lukacs -- The effects of the film theater (1912) / Alfred A. Baeumler -- A substitute for dreams (1921) / Hugo von Hofmannsthal -- The ethical potential of film (1923) / Kurt Pinthus -- A film (1924) / Siegfried Kracauer -- Film image and prophetic speech (1925) / Siegfried Kracauer -- The public's attitude toward modern German literature (1926) / Adolf Behne -- Revue and film (1928) / Fritz Giese -- Chaplin in retrospect (1928) / Walter Benjamin -- Chaplin in old films (1930) / Siegfried Kracauer -- Kierkegaard prophesies Chaplin (1930) / Theodor W. Adorno -- Mickey Mouse (1931) / Walter Benjamin -- Painting and film (1931) / Ernst Kallai -- Fantasy by the meter (1931) / Rene Fu⁾їlo⁾їp-Miller -- The worker (1932) / Ernst Ju⁾їnger -- Expressionism and cinema (1916) / Bernhard Diebold -- The expressionist film (1919) / Gertrud David -- Expressionism in film (1920) / J.B. -- An "Expressionist" film (1920) / Ernst Angel -- If I only had the cinema! (1920) / Carlo Mierendorff -- The future of film (1921) / Robert Mu⁾їller -- Expressionism in film (1922) / Robert Wiene -- An afterword to Caligari (1925) / Walter Reimann -- Limitations of the Expressionist film (1926) / Rudolf Kurtz -- The interpretation of dreams in film (1926) / Hanns Sachs -- The film of factuality (1927) / Robert Breuer -- Fantastic film (1929) / Henrik Galeen -- Painting with time (ca.1919) / Walter Ruttmann -- A new art: film's music for the eyes (1921) / Bernhard Diebold -- Basic principles of the art of movement (1921) / Hans Richter -- Film as a work of art (1921) / Adolf Behne -- The absolute film (1925) / Rudolf Arnheim -- Film at the Bauhaus: a rejoinder (1926) / Laszlo Moholy-Nagy -- How I made my Berlin film (1927) / Walter Ruttmann -- The "absolute" fashion (1928) / Walter Ruttmann -- Abstract film (1928) / Seigfried Kracauer -- The artist belongs to the industry! (1928) / Laszlo Moholy-Nagy -- Living shadows (1929) / Lotte Reiniger -- New means of filmmaking (1929) / Hans Richter -- The isolated artist (1929) / Walter Ruttmann -- Avant-garde in the realm of the possible (1929) / Hans Richter -- "Candid" cinematography (1929) / Anon. -- Avant-garde for the masses (1929) / Lotte H. Eisner -- The end of the avant-garde(1930) / Alex Strasser -- Melody in the cinema, or immanent and transcendental music (1914) / Ernst Bloch -- The muteness of the film image (1920) / Oskar Kalbus -- Lighting design in film (1922) / Albin Grau -- Intertitles (1923) / Hans Pander -- The close-up (1924) / Bela Balazs -- My ideal screenplay (1924) / Fritz Lang and F.W. Murnau -- Architecture in film (1924) / Paul Leni -- Film and fashion (1924) / Julie Elias -- The delirious camera (1925) / Guido Seeber -- Productive and reproductive film art (1926) / Bela Balazs -- Looking toward the future (1926) / Fritz Lang -- Behind my camera (1927) / Karl Freund -- Subjective movement (1927) / Lotar Holland -- Film and music (1928) / Giuseppe Becce -- Farewell to silent film (1930) / Bela Balazs. 
880 0 |6 505-00/(Q  |a The Kientopp (1907) / Hanns Heinz Ewers -- Cinematographic theater (1909) / Max Brod -- On living photography and the film drama (1909) / Gustav Melcher -- A new task for the cinema (1909) / Kurt Weisse -- New terrain for cinematographic theaters (1909) / Anon. -- The career of the cinematograph (1910) / Anon. -- The cinematograph (1911) / Karl Hans Strobl -- On the psychology of the cinematograph (1911) / Ph. Sommer -- Theater and cinematograph (1911) / Hermann Kienzl -- The secret of the cinema (1912) / Adolf Sellmann -- Sports on film (1912) / Arno Arndt -- Thrills in film drama and elsewhere (1912-1913) / Carl Forch -- Cinema (1912-1913) / Lou Andreas-Salome -- The Kintopp as educator: an apology (1913) / Walter Hasenclever -- Cinema and visual pleasure (1913) / Walter Serner -- Illusions and hallucinations during cinematographic projections (1914) / Albert Hellwig -- The cinematograph in the service of ethnology (1907) / Anon. -- The cinematograph as modern newspaper (1913-1914) / O. Th. Stein -- Cinema and geography: introduction (1914) / Hermann Ha⁾їfker -- The film drama (1920) / Yvan Goll -- Africa and film (1922) / Hans Schomburgk -- The value of the adventure film (1923) / Franc Cornel -- Reel consciousness (1925) / Bela Balazs -- Exotic journeys with a camera (1928) / Colin Ross -- Lunar flight in film (1929) / Anon. -- A new India film: a throw of dice (1929) / Lotte H. Eisner -- Pictures-pictures (1929) / Erich Burger -- The panic of reality (1930) / Alfred Polgar -- The case of Dr. Franck (1931) / Bela Balazs -- The weekly newsreel (1931) / Siegfried Kracauer -- Cinematographic archives (1908) / Ludwig Brauner -- In the cinematographic theater (1910) / Berthold Viertel -- Cinematograph and epistemology (1911) / Eduard Bumer -- Proposal for the establishment of an archive for cinema-films (1912) / Franz Goerke -- Mechanized immortality (1912) / J. Landau -- Why-This is why! (1913) / Heinrich Lautensack -- The film archive of the great general staff (1915) / E.W. -- Slow motion (1917) / Hans Lehmann -- The transcendence of the film image (1920) / Friedrich Sieburg -- Film as historian (1921) / August Wolf -- Will to style in film (1924) / Fritz Lang -- Mountains, clouds, people (1925) / Siegfried Kracauer -- The uncovered grave (1925) / Joseph Roth -- On the question of a national film archive (1926) / Fritz Schimmer -- Documentary and artistic film (1929) / Albrecht Viktor Blum -- Where is the German sound film archive(1931) / Bela Balazs -- Film dramas and film mimes (1910) / Walter Turszinsky -- Theater, pantomime, and cinema (1916) / Friedrich Freksa -- Film and theater (1919) / Carl Hauptmann -- Mimic expression in film (1922) / Oskar Diehl -- The eroticism of Asta Neilsen (1923) / Bela Balazs -- The magic of the body (1923) / Friedrich Sieburg -- The nude body on film (1925) / Max Osborn -- The educational values of film art (1925) / Bela Balazs -- How I came to film ... (1926) / Leni Riefenstahl -- The Charleston in one thousand steps (1927) / Anon. -- On the psychomechanics of the spectator (1927) / Leo Witlin -- Film and dance belong together (1928) / Lotte H. Eisner and Rudolf von Laban -- The art of mimic expression in film (1929) / Fritz Lang -- Miming and speaking (1930) / Emil Jannings -- Greta Garbo: a study (1933) / Siegfried Kracauer -- Illusion in the cinematographic theater (1907) / Fred Hood -- Theater of the little people (1909) / Alfred Do⁾їblin -- The education of moviegoers into a theater public (1910) / Arthur Mellini -- The movie girl (1911) / Anon. -- Various thoughts on the movie theater interior (1912) / Anon. -- The cinema (1913) / Victor Noack -- On the sociology of cinema (1914) / Emilie Altenloh -- From Berlin North and thereabouts-In the movie houses of Berlin West (1919) / Resi Langer -- Cinema (1920) / Milena Jesenska -- Erotic films (1920) / Kurt Tucholsky -- Film advertising and the advertising film (1920) / Herbert Tannenbaum -- The spectator in cinema (1921) / August Wolf -- Ufa Palace (1925) / Kurt Pinthus -- The sociological foundations of the cinema industry (1926) / Karl Demeter -- The movie theater as gathering place (1926) / Rudolf Harms -- The cinema on Mnzstrasse (1932) / Siegfried Kracauer -- Prologue before the film (1912-13) / Egon Friedell -- The autorenfilm and its assessment (1913) / Anon. 
880 0 |6 505-01/(Q  |a Cinematography in the service of neurology and psychiatry (1910) / Hans Hennes -- The cinematograph in biological and medical science (1911) / Osvaldo Polimanti -- The cultural mission of the cinematograph (1912) / Leonhard Birnbaum -- Cinema in the light of medicine (1913) / Der Kinematograph -- Film advertising (1913) / Julius Pinschewer -- Artistic film porgram (1920) / Bruno Taut -- Cinematography in the service of the police (1921) / Wilhelm von Ledebur -- Film advertising and advertising films (1921) / Arthur Lassally -- School and film (1924) / Edgar Beyfuss -- Industrial films (1924) / Ulrich Kayser -- Kulturfilm and cinema (1924) / Eugen R. Schlesinger -- The trick film (1927) / Dietrich W. Dreyer -- Film is promotion (1929) / Hans Cu⁾їrlis -- Advertising film and its psychological effects (1932) / Karl Nikolaus -- How singing pictures (sound pictures) are made (1908) / Anon. -- The acoustic film (1922) / Herbert Jhering -- Film and music (1928) / Heinrich Strobel -- Principles of the sound film (1928) / Walter Ruttmann -- Sound-image film (1928) / Seigfried Kracauer -- A conviction (1929) / Bela Balazs --The nature and value of sound film (1929) / Ernst Hugo Correll -- Reality of sound film (1929) / Georg Wilhelm Pabst -- Problems of the camera (1929) / Carl Hoffmann -- Possibilities for the use of music in sound film (1929) / Walter Gronostay -- Sound film friend and foe (1929-30) / Erwin Piscator -- A commentary on the crisis facing montage (1930) / Rudolf Arnheim -- Experiences in composing music for sound films (1930) / Edmund Meisel -- Only the transformed author can transform film (1930) / Alfred Do⁾їblin -- Problems in sound film design (1931) / Film-Kurier, Fritz Lang -- The conquest of the third dimension (1914) / Max Mack -- The prehistory of the bioskop (1916) / Max Skladanowsky -- Art and technology in film (1923) / Heinz Michaelis -- The color film (1923) / Bela Balazs -- The telefilm (1925) / S.E. Bastian -- Film and radio (1925) / Herbert Jhering -- Possibilities for absolute radio art (1925) / Kurt Weill -- My process (1926) / Eugen Schu⁾їfftan -- Why we still do not have television (1929) / Arthur Korn -- The elements once again (1929) / Laszlo Moholy-Nagy -- The third dimension (1929) / Erich Grave -- Telecinema in the home (1929) / Ernst Steffen -- A glance into the future (1930) / Frank Warschauer -- The color film (1930) / H. Baer -- Radio-film (1932) / Rudolf Arnheim -- The future of Mickey Mouse (1932) / Bernhard Diebold -- On the border of yesterday (1932) / Siegfried Kracauer. 
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