Download Der blaue Engel 1930 » Der blaue Engel 1930 could be available for fast direct download Stream Der blaue Engel 1930 » Der blaue Engel 1930 could be available for streaming. Not enough torrents? Make sure that all words are spelled correctly.
Learn about this topic in these articles:
Assorted References
discussed in biography
In Josef von Sternberg: Films with Dietrich
Der blaue Engel (1930; The Blue Angel), filmed simultaneously in German and in English, was a raw portrait of sexual degradation in which a distinguished professor (Jannings) is brought low by his obsession with the sultry nightclub singer Lola Lola (Marlene Dietrich in her breakthrough role).
Read More
history of motion pictures
In history of the motion picture: Germany and Italy
…Sternberg’s Der blaue Engel (The Blue Angel, 1930), G.W. Pabst’s two antiwar films, Westfront 1918 (1930) and Kameradschaft (1931), and his adaptation of Bertolt Brecht’s Die Dreigroschenoper (The Threepenny Opera, 1931). The most influential of the early German sound films, however, was Fritz Lang’s M (1931), which utilized a…
Read More
role of
Dietrich
In Marlene Dietrich
…in Der blaue Engel (1930; The Blue Angel), Germany’s first talking film. The film’s success catapulted Dietrich to stardom. Von Sternberg took her to the United States and signed her with Paramount Pictures. With von Sternberg’s help, Dietrich began to develop her legend by cultivating a femme fatale film persona…
Read More
Jannings
In Emil Jannings
…female trapeze artist; and in Der blaue Engel (1930; The Blue Angel), which introduced the sultry leading lady Marlene Dietrich, he was an aging professor hopelessly in love with a young but worldly-wise nightclub singer. Critics acclaimed Jannings as one of the finest actors in the world on the basis…
Read More
Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film (Princeton, 1971, orig. 1947), 215–18; Peter Baxter, “On the Naked Thighs of Miss Dietrich,” Wide Angle (1978): 18–25; John Blair, “Colonialism in Josef von Sternberg’s Der Blaue Engel,” West Virginia University Philological Papers (Fall, 2003): 53–61; Erica Carter, Dietrich’s Ghosts: The Sublime and the Beautiful in Third Reich Film (London, 2004), 136–45; Elisabeth Bronfen, “Seductive Departures of Marlene Dietrich: Exile and Stardom in ‘The Blue Angel,’” New German Critique (Spring/Summer, 2003): 9–31; Stephen Lamb, “Woman’s Nature? Images of Women in The Blue Angel, Pandora’s Box, Kuhle Wampe and Girls in Uniform” in Visions of the “Neue Frau”: Women and the Visual Arts in Weimar Germany, ed. Marsha Meskimmon and Shearer West (Aldershot, 1995), 124–42; Judith Mayne, “Marlene Dietrich, The Blue Angel, and Female Performance” in Seduction and Theory: Readings of Gender, Representation, and Rhetoric, ed. Dianne Hunter (Urbana, 1989), 28–46; Heidi Faletti, “The Doomed Moralist in The Blue Angel and Lola” in National Traditions in Motion Pictures, ed. Douglas Radcliff-Umstead (Kent, 1985), 80–4.Google Scholar
Modris Eksteins, “War, Memory, and Politics: The Fate of the Film All Quiet on the Western Front” Central European History (1980): 60–82; Jerold Simmons, “Film and International Politics: The Banning of All Quiet on the Western Front in Germany and Austria, 1930–1931,” The Historian (1989): 40–60.Google Scholar
Eve Rosenhaft, “Women, Gender, and the Limits of Political History in the Age of ‘Mass Politics’” in Elections, Mass Politics and Social Change in Modern Germany, ed. James Retallack and Larry Eugene Jones (Cambridge, 1992), 149–73.CrossRefGoogle Scholar
Cited in Joseph Horowitz, Artists in Exile: How Refugees from Twentieth-Century War and Revolution Transformed the American Performing Arts (New York, 2008), 298.Google Scholar
Thomas Saunders, Hollywoodin Berlin: American Cinema and Weimar Germany (Berkeley, 1994).Google Scholar
Adelheid von Saldern, “ ‘Kunst für’s Volk’: Vom Kulturkonservatismus zur nationalsozialistischen Kulturpolitik” in Das Gedächtnis der Bilder: Asthetik und Nationalsozialismus, ed. Harald Welzer (Tübingen, 1995), 45–104, and “Massenfreizeitkultur im Visier: Ein Beitrag zu den Deutungs-und Entwirkungsversuchen während der Weimarer Republik,” Archiv für Sozialgeschichte (1993): 21–58.Google Scholar
Bruce Murray, Film and The German Left in the Weimar Republic (Austin, 1990).Google Scholar
Theodore Rippey, “Kuhle Wampe and the Problem of Corporal Culture,” Cinema Journal (2007): 3–25.Google Scholar
John Willet, Art and Politics in the Weimar Period (New York, 1978), 145–9, 206–8.Google Scholar
Paul Monaco, Cinema and Society: France and Germany in the Twenties (New York, 1976), 59.Google Scholar
See Peter Jelavich, Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture (Berkeley, 2006).Google Scholar
Helmut Korte, Der Spielfilm und das Ende der Weimarer Republik (Göttingen, 1998).Google Scholar
Jan-Peter Barbian, “Filme mit Lücken: Die Lichtspielzensur in der Weimarer Republik” in Der deutsche Film: Aspekte seiner Geschichte von den Anfängen bis zur Gegenwart, ed. Uli Jung (Trier, 1993), 51–78.Google Scholar
Gertrud Koch, “Between Two Worlds: Von Sternberg’s The Blue Angel (1930)” in German Film and Literature: Adaptations and Transformations, ed. Eric Rentschler (New York, 1986), 60–72; Bronfen, “Seductive Departures.”.Google Scholar
Josef von Sternberg, Fun in a Chinese Laundry (New York, 1965), 230.Google Scholar
Scholars have used the relationship between Lola and Rath to study this nexus. See David Davidson, “From Virgin to Dynamo: The ‘Amoral Woman’ in European Cinema,” Cinema Journal (Autumn, 1981): 31–49.Google Scholar
Richard McCormick, “From ‘Caligari’ to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film,” Signs (Spring, 1993): 640–68.Google Scholar
Werner Sudendorf, Marlene Dietrich (Berlin, 1980), 68, 71–2.Google Scholar
Bronfen, “Seductive Depatures,” 26–30. See also E. Ann Kaplan, Women and Film (London, 1983), 49–59.CrossRefGoogle Scholar
Sabine Hake, The Cinema’s Third Machine: Writing on Film in Germany, 1907–1933 (Lincoln, 1993), xi.Google Scholar
Throughout the Weimar years, Gottingen boasted four daily newspapers. The Gottinger Tageblatt, which controlled at least a quarter of the town’s circulation, generally espoused a nationalist, right-wing ideology, offering early support for Hitler’s party. The cautiously liberal Göttinger Zeitung captured about 17 percent of local readership. The probusiness Niedersächsische Morgenpost’s reach was somewhere between that of the Tageblatt and Zeitung but paid less attention to culture. The Volksblatt supported the Social Democratic Party and represented a steady oppositional voice with about 20 percent of local circulation. Eckhard Sürig, Göttinger Zeitungen (Göttingen, 1985), 17–20, 39–55.Google Scholar
Adelheid von Saldern, “Göttingen im Kaiserreich” in Gottingen: Geschichte einer Universitätsstadt, Band 3, ed. Rudolf von Thadden and Günter Trittel (Göttingen, 1999), 14–56, and “Zur Entwicklung der Parteien in Göttingen während der Weimarer Republik,” Göttinger Jahrbuch (1971): 171.Google Scholar
Barbara Marshall, “The Political Development of German University Towns in the Weimar Republic: Göttingen and Münster, 1918–1933” (Dissertation, University of London, 1972), 201.Google Scholar
Thomas Childers, The Nazi Voter (Chapel Hill, 1983).Google Scholar
Fritz Hasselhorn, Wie wählte Göttingen: Wahlverhalten und die soziale Basis der Parteien in Göttingen 1924–1933 (Göttingen, 1983).Google Scholar
David Imhoof, “Guns, Opera, and Movies: Local Culture in Interwar Germany, Gottingen 1919–1938” (Dissertation, University of Texas, 2000), 18.Google Scholar
Jeffrey Herf, Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich (Cambridge, 1984).Google Scholar
Patrice Petro, Joyless Streets: Women and Melodramatic Representation in Weimar Germany (Princeton, 1989).Google Scholar
Klaus Theweleit, Male Fantasies, trans. Stephen Conwa (Minneapolis, 1987–1989, two vols.).Google Scholar
Renate Bridenthal, Atina Grossman, and Marion Kaplan, eds., When Biology Became Destiny: Women in Weimar and Nazi Germany (New York, 1984) remain touchstones for studying the ways in which men in Weimar Germany viewed women and female sexuality as threats.Google Scholar
See also Katharina von Ankum, ed., Women in the Metropolis: Gender and Modernity in Weimar Culture (Berkeley, 1997).Google Scholar
Vibeke Petersen, Women and Modernity in Weimar Germany (New York, 2001).Google Scholar
Andreas Huyssen, “Mass Culture as Woman: Modernism’s Other” in Studies in Entertainment, ed. Tania Modelski (Bloomington, 1986), 188–207; Rosen-haft, “Women.”.Google Scholar
David Imhoof, “Culture Wars and the Local Screen: The Meaning of World War I Films in One German City around 1930” in Why We Fought: America’s Wars in Film and History, ed. Peter Rollins and John O’Connor (Lexington, 2008), 175–95.Google Scholar
A number of scholars have critiqued Kracauer’s assumptions, especially his gendered readings. See the New German Critique issue devoted to Kracauer, volume 54 (1991); Mike Budd, ed., The Cabinet of Dr. Caligari: Texts, Contexts, Histories (New Brunswick, 1990); Petro, Joyless Streets.Google Scholar
Julia Sneeringer, Winning Women’s Votes: Propaganda and Politics in Weimar Germany (Chapel Hill, 2002), 119–218.Google Scholar