Popular Cinema Of The Third Reich
Popular Cinema Of The Third Reich
复制标题
第三帝国的流行电影
作者：
S. Hake
哈克萨宾《第三帝国的大众电影》（Popular Cinema of the Third赖希）奥斯汀：德克萨斯大学出版社，2001年。288页。平装本24.95美元。哈克对第三赖希大众电影的考察试图“规范化”一种学术话语，这种话语过于频繁地妖魔化或轻视该时期的电影制片厂和产品（宣传或逃避现实的娱乐），从而使我们忽视了第三赖希与魏玛和战后电影实践之间的连续性。通过主要通过电影学术的方法论和视角而不是意识形态批评的方法论和视角来接近这一时期的流行电影，她实现了对电影实践和话语的更详细和全面的描述。这并不是说哈克忽视了意识形态。事实上，她的分析引用了相关的意识形态批评，她的阅读得出了关于意识形态的结论;事实上，她对电影语境的各种详细描述为意识形态话语的真正复杂性提供了罕见的见解。她认为，第三赖希的电影“必须被承认为20世纪美学和意识形态遗产的一个组成部分”（xiv），更全面地考察它也将有助于我们理解电影和流行文化在当今的作用。为了避免过于简单化复杂的意识形态关系或屈服于“总体化模型”，哈克从“万花筒”的角度来处理她的主题。她的章节是一系列的案例研究，描述了一个不断变化的“电影和政治之间的矛盾，不对称和非同步关系”（xiv）不断被谈判和重新谈判的舞台。即使在极权主义国家，这种关系也是多变和复杂的。例如，尽管戈培尔对电影特别感兴趣，宣传部也在1933年对电影业进行了强制协调，但许多因素--如美学和流派传统、政府的不一致、制片厂的需要、经济需要和大众舆论--继续影响着电影制作，使“大众电影”成为一种新的电影形式。一个正在进行的斗争的网站”（x）。哈克设法充实这些理论模型非常令人信服，提供了电影，个人，机构，以及他们的互动启发帐户。章节重点包括犹太导演的命运和电影，观众研究，当时的电影理论，星星系统，好莱坞的影响，维也纳作为一个主题，劳动妇女的形象，作者身份，现代主义的布景设计，以及战后电影的连续性。…
Hake, Sabine. Popular Cinema of the Third Reich. Austin: University of Texas Press, 2001. 288 pp. $24.95 paperback. Hake's examination of the popular cinema of the Third Reich endeavors to "normalize" a scholarly discourse that too often demonizes or trivializes the studios and products of the period (propaganda or escapist entertainment), thus allowing us to ignore the continuities between practices in the Third Reich and in Weimar and Postwar cinema. By approaching the popular cinema of the period primarily through the methodologies and perspectives of film scholarship rather than those of ideological criticism, she achieves a more detailed and comprehensive description of filmic practices and discourses. This is not to say that Hake ignores ideology. In fact, her analyses cite pertinent ideological criticism and her readings arrive at conclusions about ideology; in fact, her varied and detailed accounts of filmic contexts offer rare insight into the true complexity of ideological discourses. She argues that the cinema of the Third Reich "must be acknowledged as an integral part of the aesthetic and ideological legacies of the twentieth century" (xiv) and that examining it more fully will also help us understand the function of cinema and popular culture in the present. To avoid oversimplifying complex ideological relationships or succumbing to "totalizing models," Hake approaches her subject from a "kaleidoscopic" perspective. Her chapters are a series of case studies, describing arenas where a shifting "paradoxical, asymmetrical, and nonsynchronous relationship between cinema and politics" (xiv) is constantly being negotiated and renegotiated. Even in a totalitarian state, such relations are variable and complex. For example, despite Goebbels's special interest in film and the Propaganda Ministry's forced coordination of the film industry in 1933, many factors-such as aesthetic and genre traditions, government inconsistencies, studio needs, economic necessities, and popular opinion-continue to influence film production, making "popular cinema ... a site of ongoing struggle" (x). Hake manages to flesh out these theoretical models very convincingly, providing illuminating accounts of films, individuals, institutions, and their interactions. Chapter foci include the fate and films of Jewish directors, audience studies, film theory from the time, the star system, Hollywood influences, Vienna as a topos, images of working women, authorship, modernism in set design, and cinematic continuities in postwar cinema. …