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New Approaches to Ernst Lubitsch : A Light Touch / ed. by Ido Lewit, Brigitte Peucker.

Contributor(s): Material type: TextTextSeries: Film Culture in TransitionPublisher: Amsterdam : Amsterdam University Press, [2024]Copyright date: 2024Description: 1 online resource (326 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9789048558063
Subject(s): DDC classification:
  • 791.43/0233092 23/eng/20240308
LOC classification:
  • PN1998.3.L83 N49 2024
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Table of Contents -- List of Illustrations -- Acknowledgements -- Introduction -- Part I. Identity and History -- 1. Jewishness in Lubitsch’s Milieu Films : The Pride of the Firm and Shoe Palace Pinkus -- 2. The Mirror and the Mother-In-Law : Bourgeois Jewish Femininity in The Pride of the Firm, The Blouse King, and When I Was Dead -- 3. Lubitsch Revisits the Schmatta Trade: The Shop Around the Corner -- 4. To Be or Not to Be: Revising History in Light of Migrant Interactions -- Part II. Theatricality and Performance -- 5. “Done!”: Kurt Richter’s Perspectival Set Design in Lubitsch’s German Films -- 6. Lubitsch’s May McAvoy Trilogy: Threesomes, Triangles, Allegories -- 7. Theatrical Yet Deeply Cinematic : Situating Lubitsch’s Musicals Within the Early Sound Era -- 8. Miriam Hopkins Learns to Wink -- Part III. Objects and Spaces -- 9. Regulating the Gaze and the Voice for a Cinema in Transition : The Merry Jail and So This Is Paris -- 10. Lubitsch, In and Out of Bed -- 11. Ninotchka: Pleasure and Politics Objectified -- Part IV. Elusive Style -- 12. That Uncertain Feeling and the Symptoms of Married Life -- 13. Ernst Lubitsch, Censored and Censoring -- 14. Chaplin / Lubitsch / Chaplin : Influence and Counter-Influence in A Woman of Paris, The Marriage Circle, and A Countess from Hong Kong -- 15. Films in Which Nothing Very Much Happens : Unstable Knowledge in Lubitsch’s Late Silent Work -- Bibliography -- Index
Summary: This exciting collection of unpublished essays on Ernst Lubitsch addresses multiple gaps in scholarly and critical engagement with the director. His understudied early German films shed light on Jewish culture, on the relation of comedy to gender and the influence of theatre on his filmmaking. The popular historical epics brought Lubitsch an invitation to Hollywood in 1922. There, Lubitsch helped develop the film musical and notably contributed to the genre of Hollywood romantic comedy. The well-known scholars—film historians, archivists, and theorists—whose essays appear in this volume expand our knowledge of the set designers, actors, directors and members of the emigré community who contributed to Lubitsch’s vibrant films. An emphasis on the role of material objects opens up a new dimension of critical engagement with the director. Light is shed on neglected films, and the antifascist dimension of his oeuvre brings his political stance clearly to light. As these essays make clear, Lubtisch’s cinema is elusive and deserving of our close attention.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9789048558063

Frontmatter -- Table of Contents -- List of Illustrations -- Acknowledgements -- Introduction -- Part I. Identity and History -- 1. Jewishness in Lubitsch’s Milieu Films : The Pride of the Firm and Shoe Palace Pinkus -- 2. The Mirror and the Mother-In-Law : Bourgeois Jewish Femininity in The Pride of the Firm, The Blouse King, and When I Was Dead -- 3. Lubitsch Revisits the Schmatta Trade: The Shop Around the Corner -- 4. To Be or Not to Be: Revising History in Light of Migrant Interactions -- Part II. Theatricality and Performance -- 5. “Done!”: Kurt Richter’s Perspectival Set Design in Lubitsch’s German Films -- 6. Lubitsch’s May McAvoy Trilogy: Threesomes, Triangles, Allegories -- 7. Theatrical Yet Deeply Cinematic : Situating Lubitsch’s Musicals Within the Early Sound Era -- 8. Miriam Hopkins Learns to Wink -- Part III. Objects and Spaces -- 9. Regulating the Gaze and the Voice for a Cinema in Transition : The Merry Jail and So This Is Paris -- 10. Lubitsch, In and Out of Bed -- 11. Ninotchka: Pleasure and Politics Objectified -- Part IV. Elusive Style -- 12. That Uncertain Feeling and the Symptoms of Married Life -- 13. Ernst Lubitsch, Censored and Censoring -- 14. Chaplin / Lubitsch / Chaplin : Influence and Counter-Influence in A Woman of Paris, The Marriage Circle, and A Countess from Hong Kong -- 15. Films in Which Nothing Very Much Happens : Unstable Knowledge in Lubitsch’s Late Silent Work -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

This exciting collection of unpublished essays on Ernst Lubitsch addresses multiple gaps in scholarly and critical engagement with the director. His understudied early German films shed light on Jewish culture, on the relation of comedy to gender and the influence of theatre on his filmmaking. The popular historical epics brought Lubitsch an invitation to Hollywood in 1922. There, Lubitsch helped develop the film musical and notably contributed to the genre of Hollywood romantic comedy. The well-known scholars—film historians, archivists, and theorists—whose essays appear in this volume expand our knowledge of the set designers, actors, directors and members of the emigré community who contributed to Lubitsch’s vibrant films. An emphasis on the role of material objects opens up a new dimension of critical engagement with the director. Light is shed on neglected films, and the antifascist dimension of his oeuvre brings his political stance clearly to light. As these essays make clear, Lubtisch’s cinema is elusive and deserving of our close attention.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 20. Nov 2024)