首页> 外文期刊>Central European History >Nazi Cinema's New Women. By Jana F. Bruns. New York: Cambridge University Press. 2009. Pp. xiii + 271. Cloth $85.00. ISBN 978-0-521-85685-0.
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Nazi Cinema's New Women. By Jana F. Bruns. New York: Cambridge University Press. 2009. Pp. xiii + 271. Cloth $85.00. ISBN 978-0-521-85685-0.

机译:纳粹电影的新女性。 Jana F. Bruns着。纽约:剑桥大学出版社。 2009年。 xiii +271。布$ 85.00。 ISBN 978-0-521-85685-0。

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摘要

Jana Bruns’s book, Nazi Cinema’s New Women, fits into the newer body of worknon film in the Third Reich that stresses the ambiguousness, rather than the overtnindoctrination, that characterized much of Nazi cinema. Yet, Bruns seeks to setnher work apart from the “literary scholarship” that, she states, has characterizednrecent film studies. Such literary analyses focus on close readings and formalnaspects of Nazi films or on the roles, gendered images, and aesthetic constructionsnof the films’ actors and actresses. Bruns asserts that while such textual examinationsnimpart a more nuanced assessment, they do not provide a full picture of cinema innNazi Germany. She argues that by binding textual analysis to the historicalncontext in which Nazi Germany’s film stars and films operated, she is able tonoffer important insights into the transformation of the Nazi film industry, thenideological essence of the films and the star images they conveyed, the Nazis’ conundrum of both promoting their socio-political agenda and appealing to filmnaudiences, and the impact of film stars and of film on popular attitudes. In othernwords, Bruns focuses her lens—historical and textual—on the site where massnentertainment, stardom, propaganda, gender ideology, and popular culture inter-nsected in the Third Reich. She is interested in learning what the Nazis wantednentertainment films to achieve, how successful they were in meshing propagandanobjectives with entertainment and commercial interests, how such films werenreceived, how they shaped the experience of Nazism, and if they served tonsupport or to destabilize the regime.
机译:贾纳·布朗斯(Jana Bruns)的书《纳粹电影院的新女人》适合第三帝国的新型工作电影,该电影强调纳粹电影院的特点是模棱两可,而不是过分灌输。然而,布伦斯(Bruns)力图将作品与“文学奖学金”区分开来,她指出,这是最近电影研究的特色。这样的文学分析着眼于纳粹电影的近距离阅读和形式化方面,或者电影男演员的角色,性别形象以及审美结构。布伦斯断言,尽管这样的文字检查并没有带来更细微的评估,但它们并不能提供纳粹德国电影院的完整画面。她认为,通过将文本分析与纳粹德国电影明星和电影经营所在的历史背景相结合,她能够对纳粹电影业的转型,电影的意识形态本质以及它们所传达的明星形象,纳粹电影的变迁产生重要见解。既要促进他们的社会政治议程,又要吸引电影观众,以及电影明星和电影对大众态度的影响这两个难题。换句话说,布伦斯将她的镜头(历史和文字)聚焦在第三帝国与大众娱乐,明星,宣传,性别意识形态和大众文化相交的地方。她有兴趣了解纳粹想要获得娱乐性电影的目的,他们如何成功地将宣传目标与娱乐和商业利益相结合,如何获得这种电影,如何塑造纳粹主义的经验,是否为人民提供支持或破坏政权的稳定。

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  • 来源
    《Central European History》 |2010年第4期|p.720-723|共4页
  • 作者

    Irene Guenther;

  • 作者单位

    MARQUETTE UNIVERSITY;

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  • 正文语种 eng
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  • 入库时间 2022-08-17 13:59:58

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