No Place Like Home: Locations of Heimat in German Cinema
This is the first comprehensive account of Germany's most enduring film genre, the Heimatfilm, which has offered idyllic variations on the idea that "there is no place like home" since cinema's early days. Charting the development of this popular genre over the course of a century in a work informed by film studies, cultural history, and social theory, Johannes von Moltke focuses in particular on its heyday in the 1950s, a period that has been little studied. Questions of what it could possibly mean to call the German nation "home" after the catastrophes of World War II are anxiously present in these films, and von Moltke uses them as a lens through which to view contemporary discourses on German national identity.
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Launching the Heimatfilmwelle From the Triimmerfilm to Grün ist die Heide
HeimatHorrorHistory Rosen bliihen auf dem Heidegrab
Nostalgic Modernization Locating Home in the Economic Miracle
Expellees Emigrants Exiles Spectacles of Displacement
Collectivizing the Local DEFA and the Question of Heimat in the 1950s
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aesthetic Alpine American antimodern Arnold Fanck audience Bergfilm Berlin blaue Licht camera Confino contemporary context cultural Das blaue Licht decade DEFA deutsche diegetic discourse displacement Dorothee Edgar Reitz's Heimat Eschmann expellees Fanck's Fascism film's filmmakers function Ganghofer Ganghofer's Gemeinschaft German cinema German film German film history Griin Heide Heidegrab Heimat genre Heimatfilm Heimatkunst Heimkehr Hochland Holzendorf Ibid ideological idyll images Landdrztin landscape Liebeneiner Liebeneiner's film Liidersen logic Ludwig Ludwig Ganghofer Maria metaphor mobility modernity mountain narrative Nazi notion of Heimat novels Oberhausen Manifesto Ostermayr past plot political popular postwar production rape reactionary refugee role Rosen bliihen Rudolf Prack rural scene Schabbach Schelsky Schlosser und Katen sense sequence shots Silesian social socialist song space of Heimat spatial story suggest Third Reich tion tradition transformation Trapps turn unheimlich verurteilte Dorf viewer village visual Waldwinter Weimar Weimar Republic West German Wirtschaftswunder
Page 12 - The advent of modernity increasingly tears space away from place by fostering relations between "absent" others, locationally distant from any given situation of face-to-face interaction. In conditions of modernity, place becomes increasingly phantasmagoric: that is to say, locales are thoroughly penetrated by and shaped in terms of social influences quite distant from them. What structures the locale is not simply that which is present on the scene; the "visible form" of the locale conceals the...
Page 13 - ... lifting out" of social relations from local contexts of interaction and their restructuring across indefinite spans of time-space
Page 2 - Em — and it's that — if I ever go looking for my heart's desire again, I won't look any further than my own backyard. Because if it isn't there, I never really lost it to begin with!
Page 11 - All of these have been attempts to fix the meaning of places, to enclose and defend them: they construct singular, fixed and static identities for places, and they interpret places as bounded enclosed spaces defined through counterposition against the Other who is outside. Yet this is not the only way in which the notion of 'place' can be conceived. If space is conceptualized in terms of a four-dimensional 'space-time...