[PDF] Karl Ritter eBook

Author : William Gillespie
Publisher :
Page : 253 pages
File Size : 50,48 MB
Release : 2014
Category : Motion picture producers and directors
ISBN : 9780980861228

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Expaned 2nd edition of the original title published in 2012. Publication date: May 2014. The new edition is 110 pages longer than the 1st edition and has a new ISBN# to reflect this major revised edition of the book.

Author : ans-Michael Bock,,
Publisher : Berghahn Books
Page : 596 pages
File Size : 14,28 MB
Release : 2009-09-01
Category : Performing Arts
ISBN : 9780857455659

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This comprehensive guide is an ideal reference work for film specialists and enthusiasts. First published in 1984 but continuously updated ever since, CineGraph is the most authoritative and comprehensive encyclopedia on German-speaking cinema in the German language. This condensed and substantially revised English-language edition makes this important resource available to students and researchers for the first time outside its German context. It offers a representative historical overview through bio-filmographical entries on the main protagonists, from the beginnings to the present day. Included are directors and actors, writers and cameramen, composers and production designers, film theorists and critics, producers and distributors, inventors and manufacturers. An appendix includes short introductory essays on specific periods and movements, such as Early Film, Weimar, Nazi Cinema, DEFA, New German Cinema, and German film since unification, as well as on cinematic developments in Austria and Switzerland. Sections that crossreference names around specific professional groups and themes will prove equally invaluable to researchers.

Author : William A. Gillespie
Publisher :
Page : 242 pages
File Size : 24,30 MB
Release : 2019-07-06
Category : Motion picture producers and directors
ISBN : 9780980861266

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The 1939 aborted Ufa feature feature film on the Legion Condor, Writted, Directed and Produced by Karl Ritter. The presumed lost original film script and background material used to present the story and history of the film for the first time. The author had exclusive access to the rediscovered film script as well as the unpüublished diaries of the film director, Karl Ritter.

Author : Christiane Ritter
Publisher : Greystone Books
Page : 224 pages
File Size : 48,13 MB
Release : 2010-04-10
Category : Travel
ISBN : 1553656040

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In this extraordinary adventure, a reluctant visitor to the Arctic thrives in the awesome and unforgiving landscape. In 1933, Christiane Ritter, a painter from Austria, travelled to Spitsbergen, an Arctic island north of Norway, to be with her husband. He had been taking part in a scientific expedition and stayed on to hunt and fish. “Leave everything as it is and follow me to the Arctic,” he wrote to his wife; but for Christiane, “as for all central Europeans, the Arctic was just another word for freezing and forsaken solitude. I did not follow at once.” Eventually she gave in, lured by his compelling stories about the remarkable wildlife and alluring light shows. She says: “They told of journeys by water and over ice, of the animals and the fascination of the wilderness, of the strange light over the landscape, of the strange illumination of one’s own self in the remoteness of the polar night. In his descriptions there was practically never any mention of cold or darkness, of storms or hardships.”

Author : Eric Rentschler
Publisher : Harvard University Press
Page : 480 pages
File Size : 23,90 MB
Release : 1996-10-01
Category : Performing Arts
ISBN : 0674266625

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German cinema of the Third Reich, even a half-century after Hitler's demise, still provokes extreme reactions. "Never before and in no other country," observes director Wim Wenders, "have images and language been abused so unscrupulously as here, never before and nowhere else have they been debased so deeply as vehicles to transmit lies." More than a thousand German feature films that premiered during the reign of National Socialism survive as mementoes of what many regard as film history's darkest hour. As Eric Rentschler argues, however, cinema in the Third Reich emanated from a Ministry of Illusion and not from a Ministry of Fear. Party vehicles such as Hitler Youth Quex and anti-Semitic hate films such as Jew Süss may warrant the epithet "Nazi propaganda," but they amount to a mere fraction of the productions from this era. The vast majority of the epoch's films seemed to be "unpolitical"--melodramas, biopix, and frothy entertainments set in cozy urbane surroundings, places where one rarely sees a swastika or hears a "Sieg Heil." Minister of propaganda Joseph Goebbels, Rentschler shows, endeavored to maximize film's seductive potential, to cloak party priorities in alluring cinematic shapes. Hitler and Goebbels were master showmen enamored of their media images, the Third Reich was a grand production, the Second World War a continuing movie of the week. The Nazis were movie mad, and the Third Reich was movie made. Rentschler's analysis of the sophisticated media culture of this period demonstrates in an unprecedented way the potent and destructive powers of fascination and fantasy. Nazi feature films--both as entities that unreeled in moviehouses during the regime and as productions that continue to enjoy wide attention today--show that entertainment is often much more than innocent pleasure.

Author : Milton E. Brener
Publisher : McFarland
Page : 344 pages
File Size : 41,65 MB
Release : 2015-01-27
Category : Social Science
ISBN : 0786491388

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It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art. Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera--Parsifal, based on Christian legend--at Wagner's request; no one, Wagner declared, understood his work so well. Even in death his Jewish friends were by his side; two were among his twelve pallbearers. The contradictions between Wagner's antipathy toward the amorphous entity "The Jews" and his genuine friendships with individual Jews are the subject of this book. Drawing on extensive sources in both German and English, including Wagner's autobiography and diary and the diaries of his second wife, this comprehensive treatment of Wagner's anti-Semitism is the first to place it in perspective with his life and work. Included in the text are portions of unpublished letters exchanged between Wagner and Hermann Levi. Altogether, the book reveals astonishing complexities in a man long known as much for his prejudice as for his epic contributions to opera.