Evergreens The Place of Heimat in German Film History

• Published in: No Place Like Home p. 21
• Main Author: JOHANNES VON MOLTKE
• Format: Book Chapter
• Language: English
• Published: University of California Press 07.08.2005
• Edition: 1
• Subjects: Aesthetics; Anthropology; Applied anthropology; Armed conflict; Art criticism; Art theory; Arts; Authoritarianism; Axiology; Behavioral sciences; Business; Business administration; Business economics; Cold wars; Commercial music; Commercial production; Corporate communications; Cultural anthropology; Cultural industries; Cultural studies; Entertainment industries; External corporate communications; Fascism; Film criticism; Film music; Film studies; Industrial sectors; Industry; International disputes; International politics; International relations; Marketing; Military science; Motion picture industry; Movies; Music; Music genres; Nazism; Performing arts; Philosophy; Political ideologies; Political philosophy; Political science; Politics; Product labeling; Production engineering; War; War theaters; World wars
• ISBN: 0520244109; 9780520244108

Second only to Nazi cinema, which has recently become the object of sustained critical reevaluations, the 1950s arguably remain the quintessential ″bad object″ of German film historiography. Though the decade is now being reevaluated by cultural historians in particular,¹ the years from 1949 to the Oberhausen Manifesto of 1962 still constitute a gap in the conceptualization of the history of (West) German cinema.² Where the cinema of the 1950s does make an appearance in monographs or anthologies, it tends to function historiographically as a postscript to Nazi cinema or simply as a cinematic wasteland awaiting rebuilding by the pioneers of