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Zusatztext Choe’s insistence on the centrality of ethics to our understanding of film ontology is compelling. the informed engagement with discourses about temporality, movement, and mortality both within the Weimar republic and in current critical works makes the book an excellent choice for graduate classes in film and philosophy. Choe’s approach to film as philosophy nuances and complicates the work that has come before it and is a valuable contribution to Weimar film scholarship. Informationen zum Autor Steve Choe is Associate Professor of Cinema at San Francisco State University, USA. Klappentext Weimar cultural critics and intellectuals have repeatedly linked the dynamic movement of the cinema to discourses of life and animation. Correspondingly, recent film historians and theorists have taken up these discourses to theorize the moving image, both in analog and digital. But, many important issues are overlooked. Combining close readings of individual films with detailed interpretations of philosophical texts, all produced in Weimar Germany immediately following the Great War, Afterlives: Allegories of Film and Mortality in Early Weimar Germany shows how these films teach viewers about living and dying within a modern, mass mediated context. Choe places relatively underanalyzed films such as F. W. Murnau's The Haunted Castle and Arthur Robison's Warning Shadows alongside Martin Heidegger's early seminars on phenomenology, Sigmund Freud's Reflections upon War and Death and Max Scheler's critique of ressentiment . It is the experience of war trauma that underpins these correspondences, and Choe foregrounds life and death in the films by highlighting how they allegorize this opposition through the thematics of animation and stasis. Vorwort Analyzes films and philosophical texts, all produced in the early Weimar period, in order to reflect on the time-based ontology of the film medium. Zusammenfassung Weimar cultural critics and intellectuals have repeatedly linked the dynamic movement of the cinema to discourses of life and animation. Correspondingly, recent film historians and theorists have taken up these discourses to theorize the moving image, both in analog and digital. But, many important issues are overlooked. Combining close readings of individual films with detailed interpretations of philosophical texts, all produced in Weimar Germany immediately following the Great War, Afterlives: Allegories of Film and Mortality in Early Weimar Germany shows how these films teach viewers about living and dying within a modern, mass mediated context. Choe places relatively underanalyzed films such as F. W. Murnau's The Haunted Castle and Arthur Robison's Warning Shadows alongside Martin Heidegger's early seminars on phenomenology, Sigmund Freud's Reflections upon War and Death and Max Scheler's critique of ressentiment . It is the experience of war trauma that underpins these correspondences, and Choe foregrounds life and death in the films by highlighting how they allegorize this opposition through the thematics of animation and stasis. Inhaltsverzeichnis Acknowledgements Introduction Chapter One: Two Postwar Masculinities Robert Reinert’s Nerves (1919)Chapter Two: Melancholy Specters F. W. Murnau’s The Haunted Castle (1921) and Phantom (1922)Chapter Three: The Temporality of Destiny Fritz Lang’s Destiny (1921)Chapter Four: The Cinematic Other Paul Wegener’s The Golem: How He Came Into the World (1920)Chapter Five: Technologies of Vengeance Fritz Lang’s The Nibelungen (1924) and Arthur Robison’s Warning Shadows (1923)Conclusion NotesBibliography Filmography...
