Wandering in/to the rubble-film: Filmic flanerie and the exploded panorama after 1945

Article Abstract:

The flaneur, an important linkage in post-war films is investigated through the film depictions of wanderings in the post-war city, usually Berlin, with movement and mobility becoming key metaphors for the films' representational strategies. The flaneur combines the triad of urban space in memory, the memories of war and a specific disciplining of the flaneur's idle movement, which acknowledges a hesitant association with German modernity.

Berlin, Germany, War films, War movies, War in motion pictures, Tramps

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Rubble canyons: 'Die Morder sind unter uns' and the Western

Article Abstract:

'Die Morder sind unter uns' by Wolfgang Staudte was the first German film following World War II, and it needed a coherent approach to portray the moral questions raised by recent events. Staudte used conventions generally associated with the Hollywood western to accomplish this task.

Influence, Critical Essay, Western films, Western movies, Staudte, Wolfgang

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Innocent action and splendid spectacle: facism and entertainment in Harry Piel's movie Die Welt ohne Maske (1934)

Article Abstract:

Filmmaker and actor Harry Piel's high tech action thriller Die Welt ohne Maske (1934) is critically analyzed. Piel's film is placed in the context of an emerging Nazi film industry that sought to infuse consumption with coercion and entertainment with ideology.

Works, Filmmakers, Movie directors, Die Welt ohne Maske (Motion picture), Piel, Harry

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