"Kinodramatisch"
Cinema in Karl Kraus' Die Fackel and Die letzten Tage der Menschheit
Bibliographic Data
| ID | 20655531 |
|---|---|
| Authors | Leo A Lensing (corresponding author) |
| Year | 1982 |
| Volume | 55 |
| Issue | 4 |
| Pages | 480 |
| Publication date | 1982-11-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The German Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0016-8831 • E-ISSN: 1756-1183 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/404634 |
| OpenAlex | W2328205370 |
| Language | EN |
| Citations received | 2 |
The moviegoer of today who watches the flickering images and crude plots of the earliest silent films can readily understand why Karl Kraus, whose literary career began during the infancy of the cinema, soon added the term kinodramatisch to his pejorative vocabulary.' That the Fackel documents a gradual but significant change in Kraus' attitude towards this then new mass medium has scarcely been noticed; nor has the importance of the film in Die letzten Tage der Menschheit, both as satirical object and theatrical device, been dealt with more than in passing.2 This study will first investigate both the critical attention paid to the cinema in pre-war issues of the Fackel and the evidence that Kraus viewed the medium more ambivalently than his public rhetoric suggested. Secondly, the rapid development of propagandistic film making after 1914 will be juxtaposed with its sharply focused satirical reflection in the Fackel of the war years. Finally, a discussion of cinematic elements in Die letzten Tage der Menschheit will conclude with a glance at the controversial performances and near performances of the drama during Kraus' lifetime.3
Art · Die (integrated circuit) · Theology · Central European national history · Engineering · German Literature and Culture Studies · Mechanical Engineering · Musicology and Musical Analysis · Philosophy
| Citations per year | 0.13 |
|---|---|
| Citation span | 2011 - 2022 (12) |
| Highly cited | No |