Germany's '30s-'40s era film stars, such as Greta Garbo or Marlene Dietrich, were appreciated not for their National Socialist virtues, but for their wit, beauty and ability to make Germans forget about their violent present. Tainted Goddesses includes biographies of these women of the Nazi era, along with rare photographs, synopses and credits of their most important films.
Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945. This volume's essays explore these and other aspects of the arts and cultural life under National Socialism.
The Ministry of Illusion
Author: Arthur Kingsley Porter Professor of Germanic Languages and Literatures Eric Rentschler
Too 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.
Giving deserved attention to nearly 150 neglected films, this book covers early sound era features, serials and documentaries with genre elements of horror, science fiction and fantasy, from major and minor studios and independents. Full credits, synopses, critical analyses and contemporary reviews are provided for The Blue Light, The Cat Creeps, College Scandal, Cosmic Voyage, The Dragon Murder Case, The Haunted Barn, Lost Gods, Murder in the Red Barn, The New Gulliver, Return of the Terror, Seven Footprints to Satan, S.O.S. Iceberg, While the Patient Slept, The White Hell of Pitz Palu and many others.
Religious Stereotyping and Interreligious Relations
This collection of essays by array of international scholars addresses some aspects of the issues of religious stereotyping, prejudice and discrimination and offers solutions through discussions of method, terminology and definitions regarding interreligious relations, the political implications in the Middle East, and various case-studies.
This book is both reference manual and critical essay, an analytical "work in progress" that illustrates the enormous presence of Italian cinema in Hollywood, tracing the stories of the Italian nominations and victories at the Academy Awards from 1947, when the Academy of Motion Picture Arts & Sciences awarded Vittorio De Sica's Shoeshine an honorary Oscar. This book not only offers readers a vast panorama of the films (with cast and credit lists as well as notes on the productions) but also recounts, with concise individual descriptions, the stories of the directors, actors, producers, writers and dozens of talented artists and technicians (costume designers, cinematographers, composers, editors and art directors) whose work and inspiration have contributed to the great success of Italian cinema throughout the world. Prefaced with an introduction by Bernardo Bertolucci and an extensive essay by the author - which reconstructs the history of Italian cinema in Hollywood through the voices of its greatest protagonists as well as observant "admirers" from among American talents like Martin Scorsese and George Lucas - the book contains detailed indexes and chronologies, as well as a vast collection of photographs, including portraits of the artists, scenes from the films, and rare backstage moments.
From the grindhouse oddities to major studio releases, this work details 46 horror films released during the genre's golden era. Each entry includes cast and credits, a plot synopsis, in-depth critical analysis, contemporary reviews, time of release, brief biographies of the principal cast and crew, and a production history. Apart from the 46 main entries, 71 additional "borderline horrors" are examined and critiqued in an appendix.