By Terri Ginsberg, Andrea Mensch
A significant other to German Cinema bargains a wide-ranging choice of essays demonstrating state-of-play scholarship on German cinema at a time in which cinema reviews in addition to German cinema have once more all started to flourish.
Offers a cautious blend of theoretical rigor, conceptual accessibility, and highbrow inclusiveness
Includes essays via recognized writers in addition to up-and-coming students who take cutting edge severe ways to either universal and emergent parts within the box, specifically relating to race, gender, sexuality, and (trans)nationalism
Distinctive for its modern relevance, reorienting the sphere to the worldwide twenty-first century
Fills serious gaps within the extant scholarship, commencing the sphere onto new terrains of severe engagement
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Extra info for A Companion to German Cinema
MINGOFAGEINFANTASYLANDTHE : SELF-PARENTINGCHILDINWALTDISNEYANIMATEDFILMS a soundtrack filled with memorable songs. Thus, Alice in Wonderland should have been highly successful. However, it is widely viewed as Disney’s most spectacular failure: it was one of the few animated features that lost money on its initial release, the first such film to be shown on television (as early as 1954), and one of the few films that was never re-released to theaters. The question we must ask is: what’s wrong with this movie?
And we can employ this model to propose solutions to a few problems raised by the Disney animated films. The first problem has been alluded to: the peculiar and conspicuous absence of mothers in these films. This is crucial, for while fathers were once traditionally allowed to periodically leave the home or be absent for extended periods, the established role of the mother was to always be at home, nurturing the children and keeping the family functioning as a unit. Thus, removing the mother rather than the father—the usual preference in the films—is the strongest device for attacking the family.
Their message is 323|CO . MINGOFAGEINFANTASYLANDTHE : SELF-PARENTINGCHILDINWALTDISNEYANIMATEDFILMS that parents are not in fact an important element in childhood: children can prosper without true parents or effective parents; and when they encounter parent-like figures, they can learn how to dominate and control those potential surrogate parents. In effect, children in Disney animated films create their own families and make themselves the parents of those families. Some may not accept that these classic and beloved films are a functional assault on American family values; but the true test of a model is how well it explains otherwise puzzling aspects of its subject.
A Companion to German Cinema by Terri Ginsberg, Andrea Mensch