German popular filmmakers who participated in the Denk ich an Deutschland series brought a range of conflicting impulses to their meditations on Germany, including the universalizing tendencies of popular culture, together with the personal and political strains often present in documentary films. With varying degrees of success, each director agitates national identity via an idiosyncratic selfhood, a process which in turn expands our notions of Germany beyond generic convention. The best of the five films discussed in this essay—directed by Doris Dörrie, Fatih Akin, Katja von Garnier, Sherry Hormann, and Klaus Lemke—feature their creators' struggle to box themselves out of a larger collective identity. By modeling their own existential Bildung, they chip away at an otherwise implacable German identity and provide a psychic service for Germans potentially more salutary than the way Hollywood films sustain American identity.
Postwar American Melodrama and the Crisis of Queer Juvenility
This essay analyzes the cinematic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, post-WWII America organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. The sensation scene was deployed by popular films to mark queer and racialized masculinities in an aesthetic system that mirrored institutional efforts to prevent “unfit” juveniles from accessing the benefits of full social and political participation. Today, the genre device continues to structure popular film representations of and common thinking about the relative value of young, male American lives.
Anger in Popular Hindi Cinema
The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems.
Edited by Stephen Prince
degree to which viewers agree with one another in their assessments of popular films. Their findings point toward low rates of agreement, which the authors suggest is consistent with a view of cinematic narratives as being a medium offering many degrees
Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails
Johanna d’Arc of Mongolia , West Germany/France, 1989, produced by Ulrike Ottinger. Filmproduktion Berlin in coproduction with Popular-Film GmbH Leinfelden, ZDF Mainz, and La Sept, directed and written by Ulrike Ottinger, starring Delphine Seyrig
Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward
audience. As a result, in the 1940s 80 per cent of film serials originated in newspaper comic strips or radio serials (95). The other side of this book explores how the comic format was exploited to market films to new audiences. Popular films were adapted
Response to Carl Plantinga's Screen Stories
. Given its clear and accessible style and use of examples from popular films and TV shows, perhaps he is already showing the way for film critics to achieve a broader impact, demonstrating the urgency as well as the viability of the project of critical
and limitations. Hollywood Aesthetic analyzes the design of a range of films that span Hollywood history. The book demonstrates some of the ways in which even ordinary popular films (like Tarzan and His Mate [Cedric Gibbons, 1934], No Time for
“comic”’, 21 which were printed in the popular film magazine Nuevo Fotogramas , literally vindicated the artistic, cultural and intellectual worthiness of the medium. ‘Un nuevo arte nos ha nacido’ unashamedly heralded the status of comics as art. Lara
Jason Dean and Geoffrey Raynor
George Lucas’s popular film series Star Wars depicts an epic galactic battle between good and evil. A basic premise of the story is that the universe is penetrated with “the force,” which has a light and dark side. In these films, the good