Karsten Witte
Biographic Data
| ID | 3864293 |
|---|---|
| NAME | Karsten Witte |
| GIVEN NAMES | Karsten |
| FAMILY NAME | Witte |
| SIGNATURE | WITTE K |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1968 |
| LATEST PUBLICATION YEAR | 2004 |
| H-INDEX | 1 |
Film im Nationalsozialismus
Die rund tausend Spielfilme — Kulturfilme und großdeutsche Wochenschauen nicht eingerechnet —, die das ›Dritte Reich‹ den Nachkommenden hinterließ, sind ein verruchtes Erbe. Die meisten schlagen es aus, wenige nehmen es an. Diese gelten als Verharmloser der Hinterlassenschaft, jene neigen dazu, sie zu dämonisieren. Beide Schulen operieren auf vermintem Terrain und halten anstatt der verhandelten Materie einander für gefährlich. Jahrzehntelang gin…
How Fascist Is The Punch Bowl
Nearly half of all Nazi films, according to Albrecht's study of 1969, belong to the genre of H-films, i.e., essentially cheerful [heitere] films that have a merely latent political function.' My thesis that this socalled political latency is not the case in the majority of fascist entertainment films is hardly original. What is new at best is my attempt to suggest how the films' ideology is transported from the minds of the filmmakers into the au…
The Indivisible Legacy of Nazi Cinema
Reflections on Methodology While scholars of Nazi cinema working in the 1970s focused primarily on the consonance between politics and aesthetics, more recent commentators have begun to consider the circumstances under which a seeming disparity between politics and aesthetics was both possible and productive. It is now no longer admissible to define a Nazi film's aesthetics solely by locating its systemic place. Instead of determining which featu…
Too Beautiful to Be True: Lilian Harvey
Lilian Harvey always looked like she had needed to stage a comeback already at start of her career. The prematurely aged face was continually coerced into an iron mask of charm, which in moments of consternation revealed chinks that no makeup could ever hide. The Ufa direction did not want her to be a vamp or a lady; what they had in mind was the sweetest girl in world [das siileste Madel der Welt]. They allowed this face to assume only one expre…
Light Sorrow: Siegfried Kracauer as Literary Critic
To study a well-known author within a lesser-known discipline is not to diminish his accomplishments or stature. Historians of modem thought are well aware that Siegfried Kracauer was first an architect, then a sociologist, ajournalist, and a novelist, and finally a historian and a theorist of film and historiography. But are we thus obligated to maintain that he approached his Sociology as Science scientifically, his novels literarily, The White…
Dossier on Heimat
Miriam Hansen, Karsten Witte, J. Hoberman, Thomas Elsaesser, Gertrud Koch, Friedrich P. Kahlenberg, Klaus Kreimeier, , Dossier on Heimat, New German Critique, No. 36, Special Issue on Heimat (Autumn, 1985), pp. 3-24
Visual Pleasure Inhibited: Aspects of the German Revue Film
Karsten Witte, J. D. Steakley, Gabriele Hoover, Visual Pleasure Inhibited: Aspects of the German Revue Film, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 238-263
"Introduction to Siegfried Kracauer's "The Mass Ornament
From Caligari to Hitler (Princeton, 1947) and Theory of Film (New York, 1960) made Siegfried Kracauer so well-known in his American exile that his important work before his emigration to New York in 1941 has escaped our attention. Although the theoretical premises of the early Kracauer are present even in his posthumously published meditation on historiography, History (New York, 1969), his early writings in Germany aroused no interest in New Yor…
"Das ist echt! Eine Burleske!" Zur Tristan-Novelle von Thomas Mann
"Introduction to Siegfried Kracauer's "The Mass Ornament
From Caligari to Hitler (Princeton, 1947) and Theory of Film (New York, 1960) made Siegfried Kracauer so well-known in his American exile that his important work before his emigration to New York in 1941 has escaped our attention. Although the theoretical premises of the early Kracauer are present even in his posthumously published meditation on historiography, History (New York, 1969), his early writings in Germany aroused no interest in New Yor…
"Das ist echt! Eine Burleske!" Zur Tristan-Novelle von Thomas Mann
"Introduction to Siegfried Kracauer's "The Mass Ornament
From Caligari to Hitler (Princeton, 1947) and Theory of Film (New York, 1960) made Siegfried Kracauer so well-known in his American exile that his important work before his emigration to New York in 1941 has escaped our attention. Although the theoretical premises of the early Kracauer are present even in his posthumously published meditation on historiography, History (New York, 1969), his early writings in Germany aroused no interest in New Yor…
Visual Pleasure Inhibited: Aspects of the German Revue Film
Karsten Witte, J. D. Steakley, Gabriele Hoover, Visual Pleasure Inhibited: Aspects of the German Revue Film, New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 238-263
Dossier on Heimat
Miriam Hansen, Karsten Witte, J. Hoberman, Thomas Elsaesser, Gertrud Koch, Friedrich P. Kahlenberg, Klaus Kreimeier, , Dossier on Heimat, New German Critique, No. 36, Special Issue on Heimat (Autumn, 1985), pp. 3-24
Light Sorrow: Siegfried Kracauer as Literary Critic
To study a well-known author within a lesser-known discipline is not to diminish his accomplishments or stature. Historians of modem thought are well aware that Siegfried Kracauer was first an architect, then a sociologist, ajournalist, and a novelist, and finally a historian and a theorist of film and historiography. But are we thus obligated to maintain that he approached his Sociology as Science scientifically, his novels literarily, The White…
How Fascist Is The Punch Bowl
Nearly half of all Nazi films, according to Albrecht's study of 1969, belong to the genre of H-films, i.e., essentially cheerful [heitere] films that have a merely latent political function.' My thesis that this socalled political latency is not the case in the majority of fascist entertainment films is hardly original. What is new at best is my attempt to suggest how the films' ideology is transported from the minds of the filmmakers into the au…
The Indivisible Legacy of Nazi Cinema
Reflections on Methodology While scholars of Nazi cinema working in the 1970s focused primarily on the consonance between politics and aesthetics, more recent commentators have begun to consider the circumstances under which a seeming disparity between politics and aesthetics was both possible and productive. It is now no longer admissible to define a Nazi film's aesthetics solely by locating its systemic place. Instead of determining which featu…
Too Beautiful to Be True: Lilian Harvey
Lilian Harvey always looked like she had needed to stage a comeback already at start of her career. The prematurely aged face was continually coerced into an iron mask of charm, which in moments of consternation revealed chinks that no makeup could ever hide. The Ufa direction did not want her to be a vamp or a lady; what they had in mind was the sweetest girl in world [das siileste Madel der Welt]. They allowed this face to assume only one expre…
Film im Nationalsozialismus
Die rund tausend Spielfilme — Kulturfilme und großdeutsche Wochenschauen nicht eingerechnet —, die das ›Dritte Reich‹ den Nachkommenden hinterließ, sind ein verruchtes Erbe. Die meisten schlagen es aus, wenige nehmen es an. Diese gelten als Verharmloser der Hinterlassenschaft, jene neigen dazu, sie zu dämonisieren. Beide Schulen operieren auf vermintem Terrain und halten anstatt der verhandelten Materie einander für gefährlich. Jahrzehntelang gin…
Art (7 works) · European history and politics (7 works) · German Literature and Culture Studies (4 works) · German History and Society (3 works) · Italian Fascism and Post-war Society (3 works) · Philosophy (3 works) · Aesthetics (2 works) · Cinema and Media Studies (2 works) · German (2 works) · German legal, social, and political studies (2 works)