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Libros sobre el tema "Nazis au cinéma"

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Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 28 de julio de 2024

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1

Camarade, Hélène y Claire Kaiser. Le national-socialisme dans le cinéma allemand contemporain. Villeneuve d'Ascq, France: Presses Universitaires du Septentrion, 2013.

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2

Richler, Mordecai. St. Urbain's horseman: A novel. New York: Penguin Books, 1992.

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3

Richler, Mordecai. St. Urbain's horseman. London: Vintage, 1992.

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4

Richler, Mordecai. Der Traum des Jakob Hersch: Roman. Frankfurt am Main: Fischer Taschenbuch Verlag, 1996.

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5

Richler, Mordecai. St. Urbain's horseman. Toronto: McClelland & Stewart, 1989.

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6

Richler, Mordecai. Le cavalier de Saint-Urbain. Paris: Buchet/Chastel, 2005.

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7

Richler, Mordecai. St. Urbain's horseman: A novel. Toronto: McClelland and Stewart, 1985.

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8

Ascheid, Antje. Hitler's heroines: Stardom and womanhood in Nazi cinema. Philadelphia, PA: Temple University Press, 2002.

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9

Rentschler, Eric. The ministry of illusion: Nazi cinema and its afterlife. Cambridge, Mass: Harvard University Press, 1996.

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10

J, Reimer Carol, ed. Nazi-retro film: How German narrative cinema remembers the past. New York: Twayne, 1992.

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11

O'Brien, Mary-Elizabeth. Nazi cinema as enchantment: The politics of entertainment in the Third Reich. Rochester, NY: Camden House, 2004.

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12

Delage, Christian. La vision nazie de l'historie: Le cinéma documentaire du Troisième Reich. Lausanne: L'Age d'homme, 1989.

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13

Paolo, Gobetti, ed. Europa ritrovata: Cinema e Resistenza sotto l'occupazione nazista. [Torino]: Regione Piemonte, 1995.

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14

Richard, Lionel. Suites et séquelles de l'Allemagne nazie. Paris: Syllepse, 2005.

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15

Suites et séquelles de l'Allemagne nazie. Paris: Syllepse, 2005.

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16

Bleitrach, Danielle. Bertolt Brecht et Fritz Lang: Le nazisme n'a jamais été éradiqué : sociologie du cinéma. La Madeleine: Lett Motif, 2015.

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17

(Germany), Bundesarchiv y Stiftung Topographie des Terrors, eds. Die Kamera als Waffe: Propagandabilder des Zweiten Weltkrieges. München: ET+K, Edition Text + Kritik, 2010.

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18

Banda, Osiris Alejandro Valdez. Proceedings of the International Seminar on Safety and Security of Autonomous Vessels (ISSAV) and European STAMP Workshop and Conference (ESWC) 2019. Warsaw: De Gruyter, 2020.

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19

Tegel, Susan. Nazis and the Cinema. Bloomsbury Publishing Plc, 2008.

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20

Nazis and the Cinema. Hambledon & London, 2007.

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21

Nazis and the Cinema. Bloomsbury Publishing Plc, 2008.

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22

Nazis and the Cinema. Bloomsbury Publishing Plc, 2008.

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23

Haunted Laughter: Representations of Adolf Hitler, the Third Reich, and the Holocaust in Comedic Film and Television. Lexington Books/Fortress Academic, 2022.

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24

Haunted Laughter: Representations of Adolf Hitler, the Third Reich, and the Holocaust in Comedic Film and Television. Rowman & Littlefield Publishers, Incorporated, 2024.

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25

Screen Nazis: Cinema, history, and democracy. Madison: The University of Wisconsin Press, 2012.

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26

Heins, Laura. The Nazi Modernization of Sex: Romance Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0003.

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This chapter explores how Third Reich romance melodramas attempted to form spectator desires to the benefit of Nazi imperialist aims. Nazi romance films positioned Third Reich culture as a liberation from nineteenth-century sexual morality while encouraging female participation in the public sphere in preparation for a war economy. The sexual content of Nazi films was furthermore calculated to exceed that of Hollywood in an attempt to make Nazi rule appear more attractive to German, occupied, and neutral audiences. And contrary to the assumptions that the Nazis attempted to desexualize the cinema, historical evidence shows that the erotic attractions of female performers were explicitly used in order to suppress political critique. Yet the “woman question” continually threatened to interfere with the propaganda minister's instrumentalization of the female body, and Nazi cinema's deployment of the erotic sometimes backfired.
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27

Heins, Laura. Breaking Out of the Bourgeois Home: Domestic Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0004.

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This chapter examines the domestic melodrama and argues that it was used by the Nazis in a genre-contradictory manner to effect a departure from the nuclear family, in accordance with the antibourgeois antipathies of the regime's leadership. It contends that Nazi films, far from universally reinforcing traditional family structures, actually profit from an undermining of sexual taboos—the ultimate goal being an increased level of efficiency of production and reproduction. Seemingly prohibited desires actually formed the core of Nazi film melodramas; just as fascist Germany's “leading man” found the family largely unattractive, so did the imaginary of its cinema. Filmmakers in the Third Reich preferred to offer images of the dissolution of the family rather than images of harmonious familial units, and the domestic melodrama in particular reveals the highly conflicted attitude of Nazi ideology and policy regarding bourgeois morality, marriage, and motherhood.
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28

Richler, Mordecai. St. Urbain's Horseman. Emblem Editions, 2001.

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29

Richler, Mordecai. St. Urbain's Horseman. Seal Books, 1987.

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30

Mordecai Richler; Vanderhaeghe, Guy (Afterword). St. Urbain's Horseman: A Novel. McClelland & Stewart Ltd, 1991.

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31

Hitler's heroines: Stardom and womanhood in Nazi cinema. Philadelphia: Temple University Press, 2003.

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32

Rentschler, Eric. Ministry of Illusion: Nazi Cinema and Its Afterlife. Harvard University Press, 1996.

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33

Ascheid, Antje. Hitler's Heroines: Stardom and Womanhood in Nazi Cinema. Temple University Press, 2010.

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34

The ministry of illusion: Nazi cinema and its afterlife. Cambridge, Ma: Harvard University Press, 1996.

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35

Frey, David. Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929-1944. Bloomsbury Publishing Plc, 2021.

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36

Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929-1944. I. B. Tauris & Company, Limited, 2013.

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37

Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929-1944. I. B. Tauris & Company, Limited, 2017.

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38

Film Propaganda: Soviet Russia and Nazi Germany (Cinema and Society). I. B. Tauris, 1998.

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39

Nazisploitation!: The Nazi Image in Low-Brow Cinema and Culture. Bloomsbury Academic & Professional, 2011.

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40

Schulte-Sasse, Linda. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema. Duke University Press, 1996.

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41

Bridges, Elizabeth, Kristin T. Vander Lugt y Daniel H. Magilow. Nazisploitation!: The Nazi Image in Low-Brow Cinema and Culture. Bloomsbury Academic & Professional, 2011.

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42

Entertaining the Third Reich: Illusions of wholeness in Nazi cinema. Durham: Duke University Press, 1996.

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43

Nazisploitation!: The Nazi image in low-brow cinema and culture. New York: Continuum, 2012.

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44

Fox, Jo. Film Propaganda in Britain and Nazi Germany: World War II Cinema. Berg Publishers, 2007.

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45

Berg, Anne. On Screen and Off: Cinema and the Making of Nazi Hamburg. University of Pennsylvania Press, 2022.

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46

Film Propaganda in Britain and Nazi Germany: World War II Cinema. Berg Publishers, 2007.

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47

On Screen and Off: Cinema and the Making of Nazi Hamburg. University of Pennsylvania Press, 2022.

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48

FILM PROPAGANDA IN BRITAIN AND NAZI GERMANY: WORLD WAR II CINEMA. OXFORD: BERG, 2007.

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49

Heins, Laura. An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0002.

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This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.
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50

O'Brien, Mary-Elizabeth. Nazi Cinema As Enchantment: The Politics of Entertainment in the Third Reich. Boydell & Brewer, Incorporated, 2003.

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