LEADER 04011nam 2200601 a 450 001 9910780326603321 005 20230607214438.0 010 $a0-292-79830-X 024 7 $a10.7560/734579 035 $a(CKB)111090425017238 035 $a(OCoLC)191662563 035 $a(CaPaEBR)ebrary10190655 035 $a(SSID)ssj0000224447 035 $a(PQKBManifestationID)11187015 035 $a(PQKBTitleCode)TC0000224447 035 $a(PQKBWorkID)10206208 035 $a(PQKB)10680772 035 $a(MiAaPQ)EBC3443073 035 $a(OCoLC)55890171 035 $a(MdBmJHUP)muse1928 035 $a(Au-PeEL)EBL3443073 035 $a(CaPaEBR)ebr10190655 035 $a(DE-B1597)588076 035 $a(DE-B1597)9780292798304 035 $a(EXLCZ)99111090425017238 100 $a20010425d2001 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPopular cinema of the Third Reich$b[electronic resource] /$fSabine Hake 205 $a1st ed. 210 $aAustin, TX $cUniversity of Texas Press$d2001 215 $a1 online resource (289 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-73457-3 320 $aIncludes bibliographical references (p. [263]-265) and index. 327 $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 330 $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. 606 $aNational socialism and motion pictures 606 $aMotion pictures$zGermany$xHistory 615 0$aNational socialism and motion pictures. 615 0$aMotion pictures$xHistory. 676 $a791.43/0943/09043 700 $aHake$b Sabine$f1956-$01088843 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910780326603321 996 $aPopular cinema of the Third Reich$93713664 997 $aUNINA