- We will send in 10–14 business days.
/images/books/2961358/9780231166799.jpg)
- Author: Gerd Gemünden
- Publisher: Columbia University Press
- ISBN-10: 0231166796
- ISBN-13: 9780231166799
- Format: 15.2 x 22.6 x 1.8 cm, minkšti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer's The Black Cat (1934), William Dieterle's The Life of Emile Zola (1937), Ernst Lubitsch's To Be or Not to Be (1942), Bertolt Brecht and Fritz Lang's Hangmen Also Die (1943), Fred Zinnemann's Act of Violence (1948), and Peter Lorre's Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 22d.23:13:26
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: Gerd Gemünden
- Publisher: Columbia University Press
- ISBN-10: 0231166796
- ISBN-13: 9780231166799
- Format: 15.2 x 22.6 x 1.8 cm, minkšti viršeliai
- Language: English English
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer's The Black Cat (1934), William Dieterle's The Life of Emile Zola (1937), Ernst Lubitsch's To Be or Not to Be (1942), Bertolt Brecht and Fritz Lang's Hangmen Also Die (1943), Fred Zinnemann's Act of Violence (1948), and Peter Lorre's Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.
Reviews