Titlebook: German Postwar Films; Life and Love in the Wilfried Wilms,William Rasch Book 2008 Wilfried Wilms and William Rasch 2008 Alfred Schütz.film.

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,“Kampf dem Kampf”: Aesthetic Experimentation and Social Satire in ,,a highly successful Berlin cabaret performance by Günter Neumann, who also wrote the screenplay, the film outdid almost all other rubble films at the box office.. Despite some irritation with the cabaret-inspired form, the contemporary critical response was overall positive as well, and . was awarde

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Planes, Trains, and the Occasional Car: The Rubble Film as Demobilization Film,inated film industry that preceded it.. During the Allied-imposed . of 1945–1946, there were many calls to abandon the relentlessly entertaining style of the Nazi-coordinated film industry and to instigate instead a socially critical, historically engaged, film-realist approach—and most have charact

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Alfred A. Bartolucci,William B. Hillegass of conversation in local pubs, for example, or discussion in the privacy of their “Behelfsheime” (makeshift homes) or “Kellerwohnungen” (generally a euphemism for a cave-like space in the ruins), on a market place, or anywhere else.. Rubble films contribute little to the public memory of these harr

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https://doi.org/10.1007/978-981-33-6804-0r acquaintances, Michael Rott (Viktor de Kowa), has returned to the Regina from his exile in Switzerland. He comes in search of another woman he loved only to find himself accused of having stolen Nelly’s jewels before he himself fled the Nazis. To clear his name, these jewels must be recovered from

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https://doi.org/10.1007/978-981-99-0534-8he world below. The plane’s metal bars enclosing front and side windows are painted in such a way that they bleed into the architectural structures of the city, indicative of a blurring of all distinctions between interior and exterior spaces, between a pilot’s stillness in relation to his machinery