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001			189084
003			IT-RoAPU
005			20221214232426.0
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008			220426t20212002txu fo d z eng d
020			_a9780292798304 _qPDF
024	7		_a10.7560/734579 _2doi
035			_a(DE-B1597)9780292798304
035			_a(DE-B1597)588076
035			_a(OCoLC)1286806838
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER000000 _2bisacsh
082	0	4	_a791.43/0943/09043 _221
084			_aonline - DeGruyter
100	1		_aHake, Sabine _eautore
245	1	0	_aPopular Cinema of the Third Reich / _cSabine Hake.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2002
300			_a1 online resource (288 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tCONTENTS -- _tPreface -- _t1. Popular Cinema, National Cinema, Nazi Cinema -- _t2. Made in 1933 -- _t3. Cinema, Set Design, and the Domestication of Modernism -- _t4. At the Movies -- _t5. Stars -- _t6. Detlef Sierck and Schlußakkord (Final Chord, 1936) -- _t7. The Foreign and the Familiar -- _t8. The Annexation of an Imaginary City -- _t9. The Power of Thought -- _t10. A Question of Representation -- _t11. The Legacies of the Past in the Cinema of Postwar Reconstruction -- _tNotes -- _tSelect Bibliography -- _tIndex of German Titles and Names
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aToo often dismissed as escapist entertainment or vilified as mass manipulation, popular cinema in the Third Reich was in fact sustained by well-established generic conventions, cultural traditions, aesthetic sensibilities, social practices, and a highly developed star system—not unlike its Hollywood counterpart in the 1930s. This pathfinding study contributes to the ongoing reassessment of Third Reich cinema by examining it as a social, cultural, economic, and political practice that often conflicted with, contradicted, and compromised the intentions of the Propaganda Ministry. Nevertheless, by providing the illusion of a public sphere presumably free of politics, popular cinema helped to sustain the Nazi regime, especially during the war years. Rather than examining Third Reich cinema through overdetermined categories such as propaganda, ideology, or fascist aesthetics, Sabine Hake concentrates on the constituent elements shared by most popular cinemas: famous stars, directors, and studios; movie audiences and exhibition practices; popular genres and new trends in set design; the reception of foreign films; the role of film criticism; and the representation of women. She pays special attention to the forced coordination of the industry in 1933, the changing demands on cinema during the war years, and the various ways of coming to terms with these filmic legacies after the war. Throughout, Hake's findings underscore the continuities among Weimar, Third Reich, and post-1945 West German cinema. They also emphasize the codevelopment of German and other national cinemas, especially the dominant Hollywood model.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aMotion pictures _zGermany _xHistory.
650		0	_aNational socialism and motion pictures.
650		7	_aPERFORMING ARTS / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/734579
856	4	0	_uhttps://www.degruyter.com/isbn/9780292798304
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780292798304/original
942			_cEB
999			_c189084 _d189084