Anton Kaes
Datos Biográficos
| ID | 972634 |
|---|---|
| NOMBRE | Anton Kaes |
| NOMBRES | Anton |
| APELLIDO | Kaes |
| FIRMA | KAES A |
| AFILIACIONES | ANTON KAES is Class of 1939 Professor of German and Film & Media at the University of California, Berkeley. His most recent book is Shell Shock Cinema: Weimar Culture and the Wounds of War (Princeton, 2009). |
| VERIFICADO | No |
| TOTAL DE OBRAS | 32 |
| TOTAL DE CITAS | 10 |
| TOTAL COMO AUTOR | 27 |
| TOTAL COMO EDITOR | 5 |
| PRIMER AÑO DE PUBLICACIÓN | 1978 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2019 |
| ÍNDICE H | 2 |
Germany in Transit
How does migration change a nation? Germany in Transit is the first sourcebook to illuminate the country's transition into a multiethnic society—from the arrival of the first guest workers in the mid-1950s to the most recent reforms in immigration and citizenship law. The book charts the highly contentious debates about migrant labor, human rights, multiculturalism, and globalization that have unfolded in Germany over the past fifty years—debates…
Roundtable on the Return to Classical Film Theory
Stuart Liebman: I want to take up several issues in Malcolm's introduction in order to amplify, and perhaps to qualify, some of his remarks. He rightly notes that we are presently living through a period of scholarly engagement with early film theory. Malcolm implies that the current interest is somehow larger and more extensive than it used to be, and there is some truth in that. In addition to those texts he mentions, one must cite Richard Tayl…
The Future of the Past
These short statements were presented in the roundtable discussion held at the September 2012 Columbia University conference dedicated to Miriam Hansen, “Cinema and the Legacies of Critical Theory.” The discussion was moderated by Eric Rentschler; the panelists included Heide Schlüpmann, Susan Buck-Morss, Anton Kaes, Edward Dimendberg, D. N. Rodowick, and Laura Mulvey
Urban Vision and Surveillance
Every film has its moment. Be it an unforeseen glance, an unmotivated gesture, or a startling sequence unnecessary for narrative progression, such a "moment" reveals in a flash what's at stake—then and now. In the following, I analyze such a moment in Karl Grune's Die Strasse (The Street), a film that Siegfried Kracauer considered one of the defining documents of German modernity. Produced and shown in fall of 1923, the film inaugurated the so-ca…
Film in der Weimarer Republik
Am 9. November 1918, als der Kaiser abdankte und die erste deutsche Republik ausgerufen wurde, liefen in Berlin Filme mit den Titeln: die sünden der väter, verlorene töchter, opium, im zeichen der schuld und die neuesten Folgen der Joe Jenkins- und Stuart Webbs-Detektivserien: der schweigende gast und der stier von salanda. Unberührt von den politischen Tagesereignissen, von Straßenkämpfen und Streiks wurde im Kino ein breites Angebot an Unterhal…
Geschichte des deutschen Films
Internationales Standardwerk der Filmgeschichtsschreibung. Von ausgewählten Filmen und ihren Regisseuren bis zum "Autorenfilm" berichtet der Band über alle wichtigen filmgeschichtlichen Epochen. Vorge
Geschichte des deutschen Films (German Edition)
A Stranger in the House
Foreigner's Gaze A barbershop in a small Midwestern town. A patron, waiting to be shaved, holds forth about the need for a law that would ban radical ideas in schools. Another customer, the local teacher, reminds him: It's not possible to get a law that denies the right to say what one believes. In peace-time, anyway. patron looks stunned and asks: Who says so? teacher replies: The Constitution of the United States. should read it sometime, inter…
M
M
Leaving Home
Like many others, Karsten Witte arrived in Berlin from elsewhere. As a consummately urban person, he liked mobility and was fond of transience and impermanence. Not surprisingly, he had a lifelong passion for motion pictures, as film, so aptly, used to be called. The following essay, which is dedicated to his memory, seeks to explore the nexus between spatial displacement, urban modernity, and the nature of film. I want to argue that Walther Rutt…
German Cultural History and the Study of Film
I should like to summarize briefly what I hope I learned in America. The first thing to be mentioned would be something sociological in itself and infinitely important for me as a sociologist that in America, and even to certain extent during my English stay, I was constrained no longer to regard as natural the circumstances that had developed historically in Europe not to take things for granted. My now departed friend Tillich once said that he …
The Weimar Republic Sourcebook
A laboratory for competing visions of modernity, the Weimar Republic (1918-1933) continues to haunt the imagination of the twentieth century. Its political and cultural lessons retain uncanny relevance for all who seek to understand the tensions and possibilities of our age. The Weimar Republic Sourcebook represents the most comprehensive documentation of Weimar culture, history, and politics assembled in any language. It invites a wide community…
Geschichte des deutschen Films
Film in der Weimarer Republik
Am 9. November 1918, als der Kaiser abdankte und die erste deutsche Republik ausgerufen wurde, liefen in Berlin Filme mit den Titeln: die sünden der väter, verlorene töchter, opium, im zeichen der schuld und die neuesten Folgen der Joe Jenkins- und Stuart Webbs-Detektivserien: der schweigende gast und der stier von salanda. Unberührt von den politischen Tagesereignissen, von Straßenkämpfen und Streiks, wurde im Kino ein breites Angebot an Unterha…
Geschichte des deutschen Films
The Cold Gaze
In Fritz Lang's M (1931), there is one fleeting moment, one apparently insignificant detail, that (in the manner of Roland Barthes's punctum') expands and overpowers the reading of the film. A tracking shot moves down a Berlin street and affords a passing glance at a movie poster on a wall, billing the most famous German war film at the time, G. W. Pabst's Wesfront 1918. Admittedly, the allusion to this contemporary film (released exactly a year …
From Hitler to Heimat
Deutschlandbilder. Die Wiederkehr der Geschichte als Film
New Historicism and the Study of German Literature
Anton Kaes, New Historicism and the Study of German Literature, The German Quarterly, Vol. 62, No. 2, Theme: Germanistik as German Studies Interdisciplinary Theories and Methods (Spring, 1989), pp. 210-219
The Debate about Cinema
In the following I will examine the critical confrontation between literature and the emerging medium of film in the context of poetological discussions which took place during the 1910 Os and 1920s. The incursion of film into the literary domain between 1909 and 1929 forced mainstream literature into a self-reflective mode which had important social and aesthetic consequences. During these years, cinema became an object of discussion to the exte…
Probleme der Moderne
Probleme der Moderne
Weimarer Republik
Weimarer Republik
A Stranger in the House
Foreigner's Gaze A barbershop in a small Midwestern town. A patron, waiting to be shaved, holds forth about the need for a law that would ban radical ideas in schools. Another customer, the local teacher, reminds him: It's not possible to get a law that denies the right to say what one believes. In peace-time, anyway. patron looks stunned and asks: Who says so? teacher replies: The Constitution of the United States. should read it sometime, inter…
Leaving Home
Like many others, Karsten Witte arrived in Berlin from elsewhere. As a consummately urban person, he liked mobility and was fond of transience and impermanence. Not surprisingly, he had a lifelong passion for motion pictures, as film, so aptly, used to be called. The following essay, which is dedicated to his memory, seeks to explore the nexus between spatial displacement, urban modernity, and the nature of film. I want to argue that Walther Rutt…
German Cultural History and the Study of Film
I should like to summarize briefly what I hope I learned in America. The first thing to be mentioned would be something sociological in itself and infinitely important for me as a sociologist that in America, and even to certain extent during my English stay, I was constrained no longer to regard as natural the circumstances that had developed historically in Europe not to take things for granted. My now departed friend Tillich once said that he …
The Cold Gaze
In Fritz Lang's M (1931), there is one fleeting moment, one apparently insignificant detail, that (in the manner of Roland Barthes's punctum') expands and overpowers the reading of the film. A tracking shot moves down a Berlin street and affords a passing glance at a movie poster on a wall, billing the most famous German war film at the time, G. W. Pabst's Wesfront 1918. Admittedly, the allusion to this contemporary film (released exactly a year …
The Debate about Cinema
In the following I will examine the critical confrontation between literature and the emerging medium of film in the context of poetological discussions which took place during the 1910 Os and 1920s. The incursion of film into the literary domain between 1909 and 1929 forced mainstream literature into a self-reflective mode which had important social and aesthetic consequences. During these years, cinema became an object of discussion to the exte…
Expressionismus in Amerika. Rezeption und Innovation
Heeresbericht
Romankrise. Die Entstehungsgeschichte der modernen Romanpoetik in Deutschland
Weimarer Republik
Weimarer Republik
Portrat Martin Walser
Weimarer Republik
Weimarer Republik
Distanced observers
John Sandford. The New German Cinema. New York: Da Capo Press, 1980. 180 pp. James Franklin. New German Cinema: From Oberhausen to Hamburg. Boston: Twayne Publishers, 1983. Klaus Phillips, ed. New German Filmmakers: From Oberhausen Through the 1970s. New York: Frederick Ungar Publishing Co., 1984. xxv + 462 pp. Hans Günther Pflaum and Hans Helmut Prinzler. Cinema in the Federal Republic of Germany. The New German Film. Origins and Present Situati…
Probleme der Moderne
Probleme der Moderne
The Debate about Cinema
In the following I will examine the critical confrontation between literature and the emerging medium of film in the context of poetological discussions which took place during the 1910 Os and 1920s. The incursion of film into the literary domain between 1909 and 1929 forced mainstream literature into a self-reflective mode which had important social and aesthetic consequences. During these years, cinema became an object of discussion to the exte…
Deutschlandbilder. Die Wiederkehr der Geschichte als Film
New Historicism and the Study of German Literature
Anton Kaes, New Historicism and the Study of German Literature, The German Quarterly, Vol. 62, No. 2, Theme: Germanistik as German Studies Interdisciplinary Theories and Methods (Spring, 1989), pp. 210-219
From Hitler to Heimat
Geschichte des deutschen Films
Film in der Weimarer Republik
Am 9. November 1918, als der Kaiser abdankte und die erste deutsche Republik ausgerufen wurde, liefen in Berlin Filme mit den Titeln: die sünden der väter, verlorene töchter, opium, im zeichen der schuld und die neuesten Folgen der Joe Jenkins- und Stuart Webbs-Detektivserien: der schweigende gast und der stier von salanda. Unberührt von den politischen Tagesereignissen, von Straßenkämpfen und Streiks, wurde im Kino ein breites Angebot an Unterha…
Geschichte des deutschen Films
The Cold Gaze
In Fritz Lang's M (1931), there is one fleeting moment, one apparently insignificant detail, that (in the manner of Roland Barthes's punctum') expands and overpowers the reading of the film. A tracking shot moves down a Berlin street and affords a passing glance at a movie poster on a wall, billing the most famous German war film at the time, G. W. Pabst's Wesfront 1918. Admittedly, the allusion to this contemporary film (released exactly a year …
The Weimar Republic Sourcebook
A laboratory for competing visions of modernity, the Weimar Republic (1918-1933) continues to haunt the imagination of the twentieth century. Its political and cultural lessons retain uncanny relevance for all who seek to understand the tensions and possibilities of our age. The Weimar Republic Sourcebook represents the most comprehensive documentation of Weimar culture, history, and politics assembled in any language. It invites a wide community…
German Cultural History and the Study of Film
I should like to summarize briefly what I hope I learned in America. The first thing to be mentioned would be something sociological in itself and infinitely important for me as a sociologist that in America, and even to certain extent during my English stay, I was constrained no longer to regard as natural the circumstances that had developed historically in Europe not to take things for granted. My now departed friend Tillich once said that he …
Leaving Home
Like many others, Karsten Witte arrived in Berlin from elsewhere. As a consummately urban person, he liked mobility and was fond of transience and impermanence. Not surprisingly, he had a lifelong passion for motion pictures, as film, so aptly, used to be called. The following essay, which is dedicated to his memory, seeks to explore the nexus between spatial displacement, urban modernity, and the nature of film. I want to argue that Walther Rutt…
M
M
A Stranger in the House
Foreigner's Gaze A barbershop in a small Midwestern town. A patron, waiting to be shaved, holds forth about the need for a law that would ban radical ideas in schools. Another customer, the local teacher, reminds him: It's not possible to get a law that denies the right to say what one believes. In peace-time, anyway. patron looks stunned and asks: Who says so? teacher replies: The Constitution of the United States. should read it sometime, inter…
Art (24 obras) · European history and politics (16 obras) · German History and Society (10 obras) · Philosophy (10 obras) · Political science (10 obras) · Cinema and Media Studies (9 obras) · German Literature and Culture Studies (8 obras) · Art history (7 obras) · History (7 obras) · Literature (7 obras)