Vorwort - I. Sharp: Women and Weimar Berlin - C. Ujma: Theories of Masculinity and the Avant-Garde - T. Elsaesser: The Camera in the Kitchen: Grete Schütte-Lihotsky and Domestic Modernity - A. Baumhoff: Women in the Bauhaus: Gender Issues in Weimar Culture - D. Rowe: Painting herself. Lotte Laserstein between subject and object - U. Seiderer: Between Minor Sculpture and Promethean Creativity. The Position of Käthe Kollwitz in Weimar's Discourse on Art - C. Finnan: Photographers between Challenge and Conformity. Yva's Career and Ruvre - K. Bruns: Thea von Harbou. Writing Skills and Film Aesthetics - J. Trimborn: Leni Riefenstahl's Career before Hitler: Success-stories of an Outsider - C. Schönfeld: Lotte Reiniger and the Art of Animation - A. Lareau: The Blonde Lady Sings. Women in Weimar Cabaret - I. C. Gil: 'Jede Frau ist eine Tänzerin...' The Gender of Dance in Weimar Culture - B. Maier-Katkin: Anna Seghers, Irmgard Keun. A Discourse on Emancipation and Social Circumstance - C. Ujma: Gabriele Tergit and Berlin: Women, City and Modernity - C. Finnan: Marieluise Fleißer's Self-Reflections on the Female Writer - J. Redmann: Else Lasker-Schüler versus the Weimar Publishing Industry. Genius, Gender, Politics, and the Literary Market - J. Warren: Contrasted Heroines in Two Plays by Ilse Langner. A Dramatist at 'Weimar's End' - L. Soares: Vicky Baum and Gina Kaus: Vienna, Berlin, Hollywood
This collection focuses on the cultural history of the police as an institution from the sixteenth to the twentieth centuries. Contrary to most studies on the law and the state, Police Forces demonstrates how profoundly modern democracies are enveloped by more informal and less codified modes of social control. In a time when the rule of law appears to be on the retreat, 'police studies' emerges as a field in its own right. This volume helps stake out this new discipline, including the intricate link between police and the law, 'might' and 'right,' state violence, surveillance technologies, politics and resistance. Police Forces considers the question of law and order from below: alleyways, borders, police stations, law offices, bureaucracies, and the minds of administrators, in which the quotidian workings of the law unfold.
This volume begins with the general assumption that suspense is a major criterion for both an audience's selection and evaluation of entertaining media offerings. This assumption is supported not only by the popularity of suspenseful narratives, but also by the reasons users give for their actual choice of media contents. Despite this, there is no satisfying theory to describe and explain what suspense actually is, how exactly it is caused by films or books, and what kind of effect it has on audiences. This book's main objective is to provide that theory by bringing together scholars from different disciplines who are working on the issue. The editors' goal is to reflect the "state of the art" as much as it is to highlight and encourage further developments in this area. There are two ways of approaching the problem of describing and explaining suspense: an analysis of suspenseful texts or the reception process. Researchers who follow the more text-oriented approach identify the uncertainty of the narrative outcome, the threat or danger for the protagonist, the play with time delay, or other factors as important and necessary for the production of suspense. The more reception-oriented scholar focuses on the cognitive activities of audiences, readers' expectations, the curiosity of onlookers, their emotions, and their relationships with the protagonists. A correspondence between the two seems to be quite difficult, though necessary to determine. Both perspectives are important in order to describe and explain suspense. Thus, the editors utilize the thesis that suspense is an activity of the audience (reader, onlooker, etc.) that is related to specific features and characteristics of the text (books, films, etc.). Their question is: What kind of relation? The answer comes from finding out how, why, and which elements of the text cause effects that are experienced as suspense. Scholars from semiotics, literary criticism, cultural studies, and film theory assess the problem from a text-oriented point of view, dealing primarily with the how and which. Other scholars present the psychological perspective by focusing on the cognitive and emotional processes that underlie viewers' experience of suspense; that is, the reception theory tries to answer the question of why suspenseful texts may be experienced as they are.
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Trier, language: English, abstract: In these times badmouthing about other people and playing tricks on them is the order of the day. Being intimidated and embarrassed has become normal and unspectacular. People, who act really kind, are rare and if they do, the person they are acting nicely towards, is irritated. It seems like we have lost the ability to give and accept love and that superficiality and coolness are spread more and more. The same instances seem to have occurred more than 40 years ago, when Hitchcock was working on his brilliant film "The Birds." Within the following I am going to reveal, how love or a lack of love utters in Hitchcock's "The Birds" and what it leads to in case of the three characters Annie, Lydia and Melanie. Furthermore I will show what role birds play in this context. To better be able to analyse the film I have divided it into chapters, as does the DVD. The exact division can be seen in the appendix.
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Trier, course: The American Films of Alfred Hitchcock, language: English, abstract: In 1946 the director and “Master of Suspense” Alfred Hitchcock published a film named Notorious. The plot of this film is said to be about “a compelling spy mission interwoven with a romantic love story”. Hitchcock comments on the idea of his film as follows: “In Notorious geht es einfach um einen Mann, der verliebt ist in eine Frau, die in offiziellem Auftrag mit einem anderen Mann geschlafen hat und gezwungen wurde, ihn zu heiraten.” Concluding from his statement Hitchcock’s most important issue was to realize the love story between the two protagonists Alicia Huberman (Ingrid Bergman) and T.R. Devlin (Cary Grant). In fact the struggle of Alicia and Devlin, who are meant to be the heroic figures, is running like a central thread through the film until they are finally able to come together in the end. In the following analysis of the film Notorious from 1946 will be discussed how this struggle affects and changes both characters and their relationship to each other.