Hester Baer (240 results)

Condition: good. Book is in good condition and may include underlining highlighting and minimal wear. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Paperback. Condition: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Condition: Near Fine. 1st Printing. 2000. 1st Printing. Near Fine paperback book. A square, tight and clean copy. Bottom corners just lightly bumped. 280pp. (Ww).

Paperback or Softback. Condition: New. Dismantling the Dream Factory: Gender, German Cinema, and the Postwar Quest for a New Film Language. Book.

Softcover. Condition: Very Good. Solid VG/near fine softcover.

Soft cover. Condition: Fine. 1st Printing. 2000. 1st Printing. Fine paperback book. An as new copy, it's square, tight and clean. 280pp. (Ww).

Condition: New.

Paperback. Condition: New. .convincing in its arguments, Baer's Dismantling the Dream Factory is a nicely structured work that offers a good mixture of historiography and close analysis. Baer effectively draws on contemporary press and advertising materials to highlight extradiegetic discourses surrounding the films, particularly to show how they made their appeals to female viewers. Baer's book is clearly and accessibly written, making it equally useful for teaching purposes and for more advanced scholars of German cinema. German Quarterly Baer has written an original critical view of German cinema after WWII.Unique to this study is Baer's attempt to ground her inquiry in gender theory.The result is a book that reopens the era by examining it from a fresh angle. Baer supports this important study with well-chosen stills. Choice This is a great book, well grounded in the critical literature and contemporary archival sources.The author has an extraordinary eye for detail in her close readings of the films and a profound understanding of the interplay between the diegetic and extra-diegetic elements that make up the meaning of a given film text, as she ranges from discussion of the use of sound to the marketing strategies employed to sell the films under investigation, all of which is located in a detailed understanding of the broader historical context and the German 'national trauma' of the time. Scope .[a] fascinating study.[that] makes a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed. Monatshefte .makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films.[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.Jaimey Fisher, University of California, Davis The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents.…

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. Restores the first German feminist film, long neglected, to its rightful status as a classic forebear of more recent cinefeminism, demonstrating that the film is as relevant today as it was upon its 1968 release.Acclaimed as postwar Germany's first feminist film, Ula Stöckl's The Cat Has Nine Lives disappeared from view shortly after its 1968 premiere when its distributor went bankrupt. Although it laid the groundwork for the flourishing feminist cinema that emerged in West Germany and beyond during the 1970s, Stöckl's vibrant film long remained largely unknown. Yet it is as fresh and relevant today as it was when it debuted half a century ago. Revived at the 2019 Berlin International Film Festival (Berlinale), The Cat Has Nine Lives is now available for the first time on DVD with English subtitles. Posing the question, "Women have never had as many possibilities to do what they want as they have today, but do they know what they want?," Stöckl's film follows the intertwined stories of five characters to explore the possibilities for and limitations on women's subjectivity, desire, friendship, work, and artistic expression in a society defined by gender inequality. Restoring this singular film to its rightful place as a German film classic, Hester Baer argues that The Cat Has Nine Lives forms an important aesthetic and theoretical precursor to the unfolding cinefeminism of later decades.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. Restores the first German feminist film, long neglected, to its rightful status as a classic forebear of more recent cinefeminism, demonstrating that the film is as relevant today as it was upon its 1968 release.Acclaimed as postwar Germany's first feminist film, Ula Stöckl's The Cat Has Nine Lives disappeared from view shortly after its 1968 premiere when its distributor went bankrupt. Although it laid the groundwork for the flourishing feminist cinema that emerged in West Germany and beyond during the 1970s, Stöckl's vibrant film long remained largely unknown. Yet it is as fresh and relevant today as it was when it debuted half a century ago. Revived at the 2019 Berlin International Film Festival (Berlinale), The Cat Has Nine Lives is now available for the first time on DVD with English subtitles. Posing the question, "Women have never had as many possibilities to do what they want as they have today, but do they know what they want?," Stöckl's film follows the intertwined stories of five characters to explore the possibilities for and limitations on women's subjectivity, desire, friendship, work, and artistic expression in a society defined by gender inequality. Restoring this singular film to its rightful place as a German film classic, Hester Baer argues that The Cat Has Nine Lives forms an important aesthetic and theoretical precursor to the unfolding cinefeminism of later decades.…

paperback. Condition: Very Good. May have light to moderate shelf wear and/or a remainder mark. Complete. Clean pages.

Condition: New.

Paperback. Condition: New. .convincing in its arguments, Baer's Dismantling the Dream Factory is a nicely structured work that offers a good mixture of historiography and close analysis. Baer effectively draws on contemporary press and advertising materials to highlight extradiegetic discourses surrounding the films, particularly to show how they made their appeals to female viewers. Baer's book is clearly and accessibly written, making it equally useful for teaching purposes and for more advanced scholars of German cinema. German Quarterly Baer has written an original critical view of German cinema after WWII.Unique to this study is Baer's attempt to ground her inquiry in gender theory.The result is a book that reopens the era by examining it from a fresh angle. Baer supports this important study with well-chosen stills. Choice This is a great book, well grounded in the critical literature and contemporary archival sources.The author has an extraordinary eye for detail in her close readings of the films and a profound understanding of the interplay between the diegetic and extra-diegetic elements that make up the meaning of a given film text, as she ranges from discussion of the use of sound to the marketing strategies employed to sell the films under investigation, all of which is located in a detailed understanding of the broader historical context and the German 'national trauma' of the time. Scope .[a] fascinating study.[that] makes a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed. Monatshefte .makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films.[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.Jaimey Fisher, University of California, Davis The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: new. Paperback. Restores the first German feminist film, long neglected, to its rightful status as a classic forebear of more recent cinefeminism, demonstrating that the film is as relevant today as it was upon its 1968 release.Acclaimed as postwar Germany's first feminist film, Ula Stoeckl's The Cat Has Nine Lives disappeared from view shortly after its 1968 premiere when its distributor went bankrupt. Although it laid the groundwork for the flourishing feminist cinema that emerged in West Germany and beyond during the 1970s, Stoeckl's vibrant film long remained largely unknown. Yet it is as fresh and relevant today as it was when it debuted half a century ago. Revived at the 2019 Berlin International Film Festival (Berlinale), The Cat Has Nine Lives is now available for the first time on DVD with English subtitles. Posing the question, "Women have never had as many possibilities to do what they want as they have today, but do they know what they want?," Stoeckl's film follows the intertwined stories of five characters to explore the possibilities for and limitations on women's subjectivity, desire, friendship, work, and artistic expression in a society defined by gender inequality. Restoring this singular film to its rightful place as a German film classic, Hester Baer argues that The Cat Has Nine Lives forms an important aesthetic and theoretical precursor to the unfolding cinefeminism of later decades. Restores the first German feminist film, long neglected, to its rightful status as a classic forebear of more recent cinefeminism, demonstrating that the film is as relevant today as it was upon its 1968 release. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: new.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New. The essays in this collection address the German television series Babylon Berlin and explore its unique contribution to contemporary visual culture.Since its inception in 2017 the series, a neo-noir thriller set in Berlin in the final years of the Weimar republic, has reached audiences throughout Europe, Asia, and the Americas and has been met with both critical and popular acclaim. As a visual work rife with historical and contemporary citations Babylon Berlin offers its audience a panoramic view of politics, crime, culture, gender, and sexual relations in the German capital.Focusing especially on the intermedial and transhistorical dimensions of the series, across four parts-Babylon Berlin, Global Media and Fan Culture; The Look and Sound of Babylon Berlin; Representing Weimar History; and Weimar Intertexts-the volume brings together an interdisciplinary and international group of scholars to critically examine various facets of the show, including its aesthetic form and citation style, its representation of the history and politics of the late Weimar Republic, and its exemplary status as a blockbuster production of neoliberal media culture.Considering the series from the perspective of a variety of disciplines, Babylon Berlin, German Visual Spectacle, and Global Media Culture is essential reading for students of film, TV, media studies, and visual culture on German Studies, History, and European Studies programmes.…

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: new. Paperback. .convincing in its arguments, Baer's Dismantling the Dream Factory is a nicely structured work that offers a good mixture of historiography and close analysis. Baer effectively draws on contemporary press and advertising materials to highlight extradiegetic discourses surrounding the films, particularly to show how they made their appeals to female viewers. Baer's book is clearly and accessibly written, making it equally useful for teaching purposes and for more advanced scholars of German cinema. German Quarterly Baer has written an original critical view of German cinema after WWII.Unique to this study is Baer's attempt to ground her inquiry in gender theory.The result is a book that reopens the era by examining it from a fresh angle. Baer supports this important study with well-chosen stills. Choice This is a great book, well grounded in the critical literature and contemporary archival sources.The author has an extraordinary eye for detail in her close readings of the films and a profound understanding of the interplay between the diegetic and extra-diegetic elements that make up the meaning of a given film text, as she ranges from discussion of the use of sound to the marketing strategies employed to sell the films under investigation, all of which is located in a detailed understanding of the broader historical context and the German 'national trauma' of the time. Scope .[a] fascinating study.[that] makes a major contribution to a burgeoning field dedicated to the investigation of what was once dismissed. Monatshefte .makes a significant and original contribution, is well researched as well as written, and would lend itself conveniently to the teaching of any of these films.[It] bring[s] to bear theories from Anglo-American film studies as well as German cultural studies and history. The result is a felicitous mixture of theory, cultural-historical context, and informed film readings.Jaimey Fisher, University of California, Davis The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.Hester Baer is Associate Professor of German and Women's & Gender Studies at the University of Oklahoma, where she is also on the faculty of the Film & Media Studies program. She has published widely on German cinema, feminism, and women's writing. The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to dismantle the dream factory Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…