Cinema of Germany
Cinema of Germany | |
---|---|
No. of screens | 4,803 (2017)[2] |
• Per capita | 6.2 per 100,000 (2011)[3] |
Main distributors | Warner (19.5%) Walt Disney (11.5%) Sony Pictures (11.1%)[4] |
Produced feature films (2011)[5] | |
Fictional | 128 (60.4%) |
Animated | 5 (2.4%) |
Documentary | 79 (37.3%) |
Number of admissions (2017)[2] | |
Total | 122,305,182 |
• Per capita | 1.48 (2017) |
National films | 28,300,000 (23.1%) |
Gross box office (2017)[2] | |
Total | €1.06 billion |
The
German movies and German artists earned 230 Oscar nominations and 54 Oscar wins.
Germany witnessed major changes to its identity during the 20th and 21st century. Those changes determined the periodisation of national cinema into a succession of distinct eras and movements.[8]
History
1895–1918 German Empire
The history of cinema in Germany can be traced back to the years shortly after the medium's birth. On 1 November 1895,
In its earliest days, the cinematograph was perceived as an attraction for upper class audiences, but the novelty of moving pictures did not last long. Soon, trivial short films were being shown as fairground attractions aimed at the working class and lower-middle class. The booths in which these films were shown were known in Germany somewhat disparagingly as Kintopps. Film-makers with an artistic bent attempted to counter this view of cinema with longer films based on literary models, and the first German "artistic" films began to be produced from around 1910, an example being the Edgar Allan Poe adaptation The Student of Prague (1913) which was co-directed by Paul Wegener and Stellan Rye, photographed by Guido Seeber and starring actors from Max Reinhardt's company.
Early film theorists in Germany began to write about the significance of Schaulust, or "visual pleasure", for the audience, including the
Cinemas themselves began to be established landmarks in the years immediately before World War I. Before this, German filmmakers would tour with their works, travelling from fairground to fairground. The earliest ongoing cinemas were set up in cafes and pubs by owners who saw a way of attracting more customers. The storefront cinema was called a Kientopp, and this is where films were viewed for the most part before the First World War broke out.[11] The first standalone, dedicated cinema in Germany was opened in Mannheim in 1906, and by 1910, there were over 1000 cinemas operating in Germany.[11] Henny Porten and Asta Nielsen (the latter originally from Denmark) were the first major film stars in Germany.[12]
Prior to 1914, however, many foreign films were imported. In the era of the
The outbreak of
1918–1933 Weimar Republic
The German film industry, which was protected during the war by the ban on foreign films import, became exposed at the end of the war to the international film industry while having to face an embargo, this time on its own films. Many countries banned the import of German films and audiences themselves were resisting anything that was "German".
Nevertheless, the German film industry enjoyed an unprecedented development – during the 14 years which comprise the Weimar period, an average of 250 film were being produced each year, a total of 3,500 full-feature films.[13] Apart from UFA, about 230 film companies were active in Berlin alone. This industry was attracting producers and directors from all over Europe. The fact that the films were silent and language was not a factor, enabled even foreign actors, like the Danish film star Asta Nielsen or the American Louise Brooks, to be hired even for leading roles. This period can also be noted for new technological developments in film making and experimentation in set design and lighting, led by UFA. Babelsberg Studio, which was incorporated into UFA, expanded massively and gave the German film industry a highly developed infrastructure. Babelsberg remained the centre of German filmmaking for many years, became the largest film studio in Europe and produced most of the films in this "golden era" of German cinema.[15] In essence it was "the German equivalent to Hollywood".[16]
Films about an exaggerated version of Japanese culture that included "geishas, samurai, and Shinto shrines" were popular in Germany during this era.[17]
Due to the unstable economic condition and in an attempt to deal with modest production budgets, filmmakers were trying to reach the largest audience possible and in that, to maximize their revenues. This led to films being made in a vast array of genres and styles.[13]
One of the main film genres associated with the Weimar Republic cinema is
Despite its significance, expressionist cinema was not the dominant genre of this era.[19] Many other genres such as period dramas, melodramas, romantic comedies, and films of social and political nature, were much more prevalent and definitely more popular.
The "master" of period-dramas was undoubtedly
As the genre of expressionism began to diminish, the genre of the
Pabst is also identified with another genre which branched from the New Objectivity – that of social and political films. These filmmakers dared to confront sensitive and controversial social issues which engaged the public in those days; such as
The polarised politics of the
Another important film genre of the Weimar years was the Kammerspiel or "chamber drama", which was borrowed from the theater and developed by stage director, who would later become a film producer and director himself, Max Reinhardt. This style was in many ways a reaction against the spectacle of expressionism and thus tended to revolve around ordinary people from the lower-middle-class. Films of this genre were often called "instinct" films because they emphasized the impulses and intimate psychology of the characters. The sets were kept to a minimum and there was abundant use of camera movements to add complexity to the rather intimate and simple spaces. Associated with this particular style is also screenwriter Carl Mayer and films such as Murnau's Last Laugh (1924).
Nature films, a genre referred to as Bergfilm, also became popular. Most known in this category are the films by director Arnold Fanck, in which individuals were shown battling against nature in the mountains. Animators and directors of experimental films such as; Lotte Reiniger, Oskar Fischinger and Walter Ruttmann, were also very active in Germany in the 1920s. Ruttman's experimental documentary Berlin: Symphony of a Metropolis (1927) epitomised the energy of 1920s Berlin.
The arrival of sound at the very end of the 1920s, produced a final artistic flourish of German film before the collapse of the Weimar Republic in 1933. As early as 1918, three inventors came up with the
In addition to developments in the industry itself, the Weimar period saw the birth of film criticism as a serious discipline whose practitioners included Rudolf Arnheim in Die Weltbühne and in Film als Kunst (1932), Béla Balázs in Der Sichtbare Mensch (1924), Siegfried Kracauer in the Frankfurter Zeitung, and Lotte H. Eisner in the Filmkurier.
1933–1945 Nazi Germany
The uncertain economic and political situation in Weimar Germany had already led to a number of film-makers and performers leaving the country, primarily for the United States; Ernst Lubitsch moved to Hollywood as early as 1923, the Hungarian-born
Within weeks of the
With the German film industry now effectively an arm of the
Despite the emigration of many film-makers and the political restrictions, the period was not without technical and aesthetic innovations, the introduction of
1945–1989 East Germany
East German cinema initially profited from the fact that much of the country's film infrastructure, notably the former UFA studios, lay in the
In total, DEFA produced some 900 feature films during its existence as well as around 800 animated films and over 3000 documentaries and short films.
Notable non-genre films produced by DEFA include Wolfgang Staudte's adaptation of Heinrich Mann's Der Untertan (1951); Konrad Wolf's Der geteilte Himmel (Divided Heaven) (1964), an adaptation of Christa Wolf's novel; Frank Beyer's adaptation of Jurek Becker's Jacob the Liar (1975), the only East German film to be nominated for an Oscar;[42] The Legend of Paul and Paula (1973), directed by Heiner Carow from Ulrich Plenzdorf's novel; and Solo Sunny (1980), again the work of Konrad Wolf.
However, film-making in the GDR was always constrained and oriented by the political situation in the country at any given time.
In the late 1970s, numerous film-makers left the GDR for the West as a result of restrictions on their work, among them director
In the final years of the GDR, the availability of television and the programming and films on television broadcasts reaching into the GDR via the uncontrollable airwaves, reduced the influence of DEFA productions, although its continuing role in producing shows for East German television channel remained.[
1945–1989 West Germany
1945–1960 Reconstruction
The occupation and reconstruction of Germany by the
Amidst the devastation of the
Many of the German films of the immediate post-war period can be characterised as belonging to the genre of the
Despite the advent of a regular television service in the Federal Republic in 1952, cinema attendances continued to grow through much of the 1950s, reaching a peak of 817.5 million visits in 1956.[30] The majority of the films of this period set out to do no more than entertain the audience and had few pretensions to artistry or active engagement with social issues. The defining genre of the period was arguably the Heimatfilm ("homeland film"), in which morally simplistic tales of love and family were played out in a rural setting, often in the mountains of Bavaria, Austria or Switzerland. In their day Heimatfilms were of little interest to more scholarly film critics, but in recent years they have been the subject of study in relation to what they say about the culture of West Germany in the years of the Wirtschaftswunder. Other film genres typical of this period were adaptations of operettas, hospital melodramas, comedies and musicals. Many films were remakes of earlier Ufa productions.
In
Even though there are countless
The international significance of the West German film industry of the 1950s could no longer measure up to that of France, Italy, or Japan. German films were only rarely distributed internationally as they were perceived as provincial. International co-productions of the kind which were becoming common in France and Italy tended to be rejected by German producers (Schneider 1990:43). However a few German films and film-makers did achieve international recognition at this time, among them Bernhard Wicki's Oscar-nominated Die Brücke (The Bridge) (1959), and the actresses Hildegard Knef and Romy Schneider.
1960–1970 cinema in crisis
In the late 1950s, the growth in cinema attendance of the preceding decade first stagnated and then went into freefall throughout the 1960s. By 1969 West German cinema attendance at 172.2 million visits per year was less than a quarter of its 1956 post-war peak.[30] As a consequence of this, numerous German production and distribution companies went out of business in the 1950s and 1960s and cinemas across the Federal Republic closed their doors; the number of screens in West Germany almost halved between the beginning and the end of the decade.[citation needed]
Initially, the crisis was perceived as a problem of overproduction. Consequently, the German film industry cut back on production. 123 German movies were produced in 1955, only 65 in 1965. However, many German film companies followed the 1960s trends of
The roots of the problem lay deeper in changing economic and social circumstances. Average incomes in the Federal Republic rose sharply and this opened up alternative leisure activities to compete with cinema-going. At this time too, television was developing into a mass medium that could compete with the cinema. In 1953 there were only 1,000,000 sets in West Germany; by 1962 there were 7 million (Connor 1990:49) (Hoffman 1990:69).
The majority of films produced in the Federal Republic in the 1960s were genre works:
At the end of the 1960s
1960–1980 New German Cinema
In the 1960s more than three-quarters of the regular cinema audience were lost as consequence of the rising popularity of TV sets at home. As a reaction to the artistic and economic stagnation of German cinema, a group of young film-makers issued the
Despite the foundation of the Kuratorium Junger Deutscher Film (Young German Film Committee) in 1965, set up under the auspices of the
This situation changed after 1974 when the Film-Fernseh-Abkommen (Film and Television Accord) was agreed between the Federal Republic's main broadcasters, ARD and ZDF, and the German Federal Film Board (a government body created in 1968 to support film-making in Germany).[56] This accord, which has been repeatedly extended up to the present day, provides for the television companies to make available an annual sum to support the production of films which are suitable for both theatrical distribution and television presentation. (The amount of money provided by the public broadcasters has varied between 4.5 and 12.94 million euros per year. Under the terms of the accord, films produced using these funds can only be screened on television 24 months after their theatrical release. They may appear on video or DVD no sooner than six months after cinema release. Nevertheless, the New German Cinema found it difficult to attract a large domestic or international audience.
The socially critical films of the New German Cinema strove to delineate themselves from what had gone before and the works of
Films such as Kluge's
German production companies have been quite commonly involved in expensive French and Italian productions from
1980–1989 popular productions
Having achieved some of its goals, among them the establishment of state funding for the film industry and renewed international recognition for German films, the New German Cinema had begun to show signs of fatigue by the 1980s, even though many of its proponents continued to enjoy individual success.
Among the commercial successes for German films of the 1980s were the Otto film series beginning in 1985 starring comedian
Away from the mainstream, the splatter film director Jörg Buttgereit came to prominence in the 1980s. The development of arthouse cinemas (Programmkinos) from the 1970s onwards provided a venue for the works of less mainstream film-makers like Herbert Achternbusch, Hark Bohm, Dominik Graf, Oliver Herbrich, Rosa von Praunheim or Christoph Schlingensief.
From the mid-1980s the spread of
1990–Modern Germany
Today's biggest German production studios include
Notable directors working in German currently include
Internationally, German filmmakers such as Roland Emmerich or Wolfgang Petersen or Uwe Boll built successful careers as directors and producers. Hans Zimmer, a film composer, has become one of the world's most acclaimed producers of movie scores. Michael Ballhaus became a renowned cinematographer.
Germany has a long tradition of cooperation with the European-based film industry, which started as early as during the 1960s. Since 1990 the number of international projects financed and co-produced by German filmmakers has expanded.
The new millennium since 2000 has seen a general resurgence of the German film industry, with a higher output and improved returns at the German box office.
The collapse of the GDR had a large effect on the German cinema industry. The viewer count increased with the new population's access to western movies. The movies produced in the United States were the most popular, due to the fact that the market was dominated by them and the production was more advanced than Germany's. Some other genres that were popular consisted of Romantic Comedies, and Social Commentaries. Wolfgang Petersen and Roland Emmerich both established international success.
Internationally, German productions are benefitting from streaming. Their global market share is rising.[59] Domestically, the German movies improved their market share of about 16% in 1996 to around 30% in 2021.,[60] so the movie culture is partly recognized to be underfunded, problem laden and rather inward looking.
Film funding
The main production incentive provided by governmental authorities is the Deutscher Filmförderfonds (DFFF) (German Federal Film Fund). The DFFF is a grant given by the Staatsministerin für Kultur und Medien (Federal Government Commissioner for Culture and the Media). To receive the grant a producer has to fulfill different requirements including a cultural eligibility test. The fund offers 50 million euros a year to film producers and or co-producers and grants can amount to up to 20% of the approved German production costs. At least 25% the production costs must be spent in Germany, or only 20%, if the production costs are higher than 20 million euros. The DFFF has been established in 2007 and supported projects in all categories and genres.
In 2015, the Deutsche Filmförderungsfond was reduced from 60 million euros to 50 million euros. To compensate, Finance minister Gabriel announced that the difference will be made up from the budget of the Bundesministerium für Wirtschaft und Klimaschutz (Federal Ministry for Economic Affairs and Climate Action).[61][62] For the first time in Germany high-profile tv series and digital filmmaking will be funded at a federal level in the same manner as feature films.[63] Funding is also increasingly flowing to international co-productions.
In 1979, the German states also began to establish funding institutions, often with the intention of supporting their own production locations. Today, film funding by the federal states makes up the largest share of film funding in Germany. A total of more than 200 million euros in grants are distributed annually, with an upward trend.
The history of film funding began in Germany with the founding of the UFA GmbH (1917), which was to produce pro-German propaganda films - equipped with funds from industry and banks. During the period of National Socialism (1933-1945), the state indirectly promoted the financing of film projects by establishing the Filmkreditbank GmbH (FKB) (Film Credit Bank).
After the end of World War II, many feature films were initially supported by federal guarantees. However, film funding in its current form did not develop until the 1950s, when television began to supplant motion pictures. In 1967, a film funding law was passed for the first time. The Berlin-based Filmförderungsanstalt (FFA) (Film Funding Agency) was the first major funding institution to be founded in 1968.
Critics accuse film funding in Germany of being institutionally fragmented, making it virtually impossible to coordinate all measures, which would ultimately benefit the quality of productions. They also say that a blanket distribution of grants stifles the incentive to produce films that recoup their production costs.
Film funding institutions
Film funding in Germany is provided, among others, by the following institutions:
Federal
- Deutscher Filmförderfonds (DFFF) (German Federal Film Fund) of the Beauftragten der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media)
- Filmförderungsanstalt (FFA) (Film Funding Agency), since 1968
- Kuratorium junger deutscher Film (Board of Trustees for Young German Film)
Regional
- MFG Medien- und Filmgesellschaft Baden-Württemberg, since 1995
- FilmFernsehFonds Bayern, seit 1996
- Medienboard Berlin-Brandenburg, since 1994
- Filmbüro Bremen
- MOIN Filmförderung Hamburg Schleswig-Holstein
- Filmbüro Hessen
- Hessische Filmförderung
- Film- und Medienbüro Niedersachsen
- Nordmedia – Film- und Mediengesellschaft Niedersachsen/Bremen mbH
- Film- und Medienstiftung NRW
- Filmbüro Nordrhein-Westfalen
- Mitteldeutsche Medienförderung, since 1998
- MV Filmförderung, since 2020
- Filmbüro Mecklenburg-Vorpommern, until 2020
- Stiftung Rheinland-Pfalz für Kultur
- Saarländisches Filmbüro, until 1998
- Gesellschaft zur Förderung des Medienstandortes Saarland
- Filmverband Sachsen
- Kulturelle Filmförderung des Landes Sachsen-Anhalt through the Kunststiftung des Landes Sachsen-Anhalt
- Filmbüro Schleswig-Holstein
- Kulturelle Filmförderung Schleswig-Holstein
- Kulturelle Filmförderung Thüringen
Lokal:
Festival
The Berlin International Film Festival, also called Berlinale, is one of the world's leading film festivals and most reputable media events.[64] It is held in Berlin, Germany.[65] Founded in West Berlin in 1951, the festival has been celebrated annually in February since 1978. With 274,000 tickets sold and 487,000 admissions it is considered the largest publicly attended film festival worldwide.[66][67] Up to 400 films are shown in several sections, representing a comprehensive array of the cinematic world. Around twenty films compete for the awards called the Golden and Silver Bears. Since 2001 the director of the festival has been Dieter Kosslick.[68][69]
The festival, the EFM and other satellite events are attended by around 20,000 professionals from over 130 countries.[70] More than 4200 journalists are responsible for the media exposure in over 110 countries.[71] At high-profile feature film premieres, movie stars and celebrities are present at the red carpet.[72]
German Film Academy
The Deutsche Filmakademie was founded in 2003 in Berlin and aims to provide native filmmakers a forum for discussion and a way to promote the reputation of German cinema through publications, presentations, discussions and regular promotion of the subject in the schools.
Awards
Since 2005, the winners of the
Year | English title | Original title | Director(s) |
---|---|---|---|
2005 | Go for Zucker | Alles auf Zucker! | Dani Levy |
2006 | The Lives of Others | Das Leben der Anderen | Florian Henckel von Donnersmarck |
2007 | Four Minutes |
Vier Minuten | Chris Kraus
|
2008 | The Edge of Heaven | Auf der anderen Seite | Fatih Akın
|
2009 | John Rabe | John Rabe | Florian Gallenberger |
2010 | The White Ribbon | Das weiße Band | Michael Haneke |
2011 | Vincent Wants to Sea | Vincent will Meer | Ralf Huettner |
2012 | Stopped on Track | Halt auf freier Strecke | Andreas Dresen |
2013 | A Coffee in Berlin | Oh Boy | Jan-Ole Gerster |
2014 | Home from Home | Die andere Heimat | Edgar Reitz |
2015 | Victoria | Victoria | Sebastian Schipper |
2016 | The People vs. Fritz Bauer | Der Staat gegen Fritz Bauer | Lars Kraume |
Film schools
Several institutions, both government run and private, provide formal education in various aspects of filmmaking.
- Deutsche Film- und Fernsehakademie Berlin (dffb) Berlin
- Hochschule für bildende Künste Hamburg (HfbK) Hamburg
- Film Academy Baden-Württemberg, Ludwigsburg
- International Film School Cologne, Cologne
- University of Television and Film Munich, Munich
- Filmuniversität Babelsberg, Potsdam
Personalities
-
Volker Schloendorff
See also
- Lists of German films
- List of German Academy Award winners and nominees
- List of highest-grossing films in Germany
- European Film Academy
- Kammerspielfilm
- German underground horror
- List of films set in Berlin
- Media of Germany
- Cinema of the world
- History of cinema
- World cinema
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- ^ a b c "Kinoergebnisse". www.ffa.de (in German). FFA Filmförderungsanstalt. Retrieved 15 September 2018.
- ^ "Table 8: Cinema Infrastructure – Capacity". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
- ^ "Table 6: Share of Top 3 distributors (Excel)". UNESCO Institute for Statistics. Archived from the original on 24 December 2018. Retrieved 5 November 2013.
- ^ "Table 1: Feature Film Production – Genre/Method of Shooting". UNESCO Institute for Statistics. Archived from the original on 26 December 2018. Retrieved 5 November 2013.
- ^ "How German emigres defined Hollywood's golden age". 12 August 2022.
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- ^ "Restrict German Imports". Motion Picture News. XXIII (21): 3027. 14 May 1921.
- ^ a b c The New Encyclopædia Britannica, Macropedia – Volume 24 – Motion Pictures. Chicago: Encyclopædia Britannica Inc. 2010. pp. 376–378.
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- ^ Dawsey, Jason (3 November 2021). "Adolf Hitler and the Origins of the Berlin-Tokyo Axis". The National WWII Museum. Retrieved 26 June 2023.
- ^ "How the Cabinet of Dr Caligari changed cinema - the Skinny".
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- ^ Shapira, Avner (20 December 2010). "Going Into the Night – New Look at Early German Cinema by Ofer Ashkenazi". Haaretz.
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- ^ "5 things we can learn from Marlene Dietrich – DW – 05/05/2022". Deutsche Welle.
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- ^ "M: In Context". The Cinessential. Retrieved 28 September 2020.
- ^ "The long shadow of M". The Dissolve. Archived from the original on 27 January 2021. Retrieved 28 September 2020.
- ^ "A Peerless Classic". @GI_weltweit. Retrieved 28 September 2020.
- ^ Bordwell, David and Thompson, Kristen. (2003) "Film History An Introduction". New York: McGraw-Hill, p.200.
- ^ Corliss, Richard (22 September 2011). "Olympia | All-TIME 25 Best Sports Movies". Time.
- ^ "Eighty years since Riefenstahl's Olympia - a piece of sporting film history". 8 April 2018.
- ^ a b c d e Kinobesuche in Deutschland 1925 bis 2004 Archived 4 February 2012 at the Wayback Machine Spitzenorganisation der Filmwirtschaft e. V
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- ^ a b "History" (in German). DEFA-Stiftung. Retrieved 26 June 2020.
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- ^ "DEFA Film Library - The Murderers Are among Us". www.umass.edu. University of Massachusetts Amherst. Retrieved 12 December 2023.
- ^ "Three Hazelnuts for Cinderella". DEFA Film Library. Retrieved 26 June 2020.
- ^ "The Silent Star". DEFA Film Library. Retrieved 26 June 2020.
- ^ "PROGRESS Film-Verleih -Die Söhne der großen Bärin". www.progress-film.de (in German). Archived from the original on 14 November 2011. Retrieved 26 June 2020.
- ^ Bergan, Ronald (10 October 2006). "Obituary: Frank Beyer". The Guardian. Retrieved 26 June 2020.
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- ^ Schneider 1990:35, 42 & 44
- ^ a b c d Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 page 136.
- ^ Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 pages 134–135.
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- ^ Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 pages 132–133.
- ^ Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 page 133
- ^ Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 page 135.
- ^ Bartov, Omer "Celluloid Soldiers: Cinematic Images of the Wehrmacht" pages 130–143 from Russia War, Peace and Diplomacy edited by Ljubica & Mark Erickson, London: Weidenfeld & Nicolson, 2004 page 139.
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Further reading
- Bergfelder, Tim, et al. eds. The German Cinema Book (2008)
- Blaney, Martin. Symbiosis or Confrontation? (Bonn, 1992)
- Brockman, Stephen. A Critical History of German Film (2011)
- Feinstein, Joshua. Triumph of the Ordinary: Depictions of Daily Life in the East German Cinema, 1949–1989 (chapel Hill, 2002)
- Garncarz, Joseph, and Annemone Ligensa, eds. The Cinema of Germany (Wallflower Press, distributed by Columbia University Press; 2012) 264 pages; analyses of 24 works from silent movies to such contemporary films as "Good Bye, Lenin!"
- Hake, Sabine. German National Cinema (2002; 2nd ed. 2008)
- Heiduschke, Sebastian. East German Cinema: DEFA and Film History (2013)
- Hoffman, Kay 1990 Am Ende Video – Video am Ende? Berlin
- Kapczynski, Jennifer M. and Michael D. Richardson, eds. (2012) A New History of German Cinema (Rochester Camden House, 2012) 673 pp. online review
- ISBN 0-691-11519-2
- Schneider, Irmela 1990 Film, Fernsehen & Co. Heidelberg.
- Stielke, Sebastian. 100 Facts about Babelsberg – Cradle of Film and modern Media City (German/English). Bebra-Verlag (publishing house), Berlin 2021, 240 pages, ISBN 978-3-86124-746-3
- Fay, Jennifer. 2008. Theaters of Occupation: Hollywood and the Reeducation of Postwar Germany. Minneapolis: Univ. of Minnesota Press. ISBN 978-0-8166-4745-3
External links
- German Film History
- Biographies and autographs of the early German film era
- Articles and news on German filmmakers, movies, festivals, Web portal on German film of the Goethe-Institut