دانلود کتاب Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language

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CONTENTS\nList of Illustrations\nAcknowledgments\nIntroduction. Dismantling the Dream Factory: Gender and Spectatorship in Postwar German Cinema\nPart I. Relegitimating Cinema: Female Spectators and the Problem of Representation\n1 How Do You Solve a Problem Like Susanne?: The Female Gaze in Wolfgang Staudte’s The Murderers Are Among Us (1946)\n2 When Fantasy Meets Reality: Authorship and Stardom in Rudolf Jugert’s Film Without a Title (1948)\n3 Gendered Visions of the German Past: Wolfgang Liebeneiner’s Love ’47 (1949) as Woman’s Film\n4 Unsolved Mysteries: Race, Ethnicity, and Gender in Helmut Käutner’s Epilogue (1950)\nPart II. Art on Film: Representing Gender and Sexuality in Popular Cinema\n5 “Through Her Eyes”: Regendering Representation in Willi Forst’s The Sinner (1951)\n6 Looking at Heimat: Visual Pleasure and Cinematic Realism in Alfons Stummer’s The Forester of the Silver Wood (1955)\n7 Degenerate Art?: Problems of Gender and Sexuality in Veit Harlan’s Different From You and Me (§175) (1957)\nPart III. Towards the New Wave: Gender and the Critique of Popular Cinema\n8 Pleasurable Negotiations: Spectatorship and Genre in Helmut Käutner’s “Anti-Tearjerker” Engagement in Zurich (1957)\n9 Sound and Spectacle in the Wirtschaftswunder: The Critical Strategies of Rolf Thiele’s The Girl Rosemarie (1958)\n10 Gender and the New Wave: Herbert Vesely’s The Bread of Those Early Years (1962) as Transitional Film\nEpilogue. Adapting the 1950s: The Afterlife of Postwar Cinema in Post-Unification Popular Culture\nBibliography\nIndex