Joyless streets : women and melodramatic representation in Weimar Germany /
Publication details: Princeton, N.J. : Princeton University Press, ©1989.Description: xxiv, 247 pages : illustrations ; 24 cmISBN:- 0691055521
- 9780691055527
- 0691008302
- 9780691008301
- Motion pictures -- Germany -- History
- Silent films -- Germany -- History and criticism
- Motion picture audiences -- Germany -- History
- Photojournalism -- Germany -- History
- Women in mass media -- History
- Sex role in mass media -- History
- Sex role in motion pictures
- Women -- Germany -- History -- 20th century
- Feminist criticism
- PN1993.5.G3 P435 1989
Item type | Current library | Collection | Call number | Copy number | Status | Notes | Date due | Barcode | |
---|---|---|---|---|---|---|---|---|---|
Book | Whitecliffe Library General Shelves | General | PN 1993 PET (Browse shelf(Opens below)) | 1 | Available | Donated by Erich Ranfft, 2018. | 0016334 |
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PN 1993 MAS A short history of the movies / | PN 1993 PAR History of film / | PN 1993 PAR History of film / | PN 1993 PET Joyless streets : | PN 1993 SHI Cinema : the first hundred years / | PN 1993 SPE The spectacle of the real : | PN 1993 STE An encyclopaedia of Australian film / |
Includes bibliographical references (pages 229-241) and index.
On the subject of Weimar film history -- Perceptions of difference -- Weimar photojournalism and the female reader -- Weimar cinema and the female spectator.
Patrice Petro challenges the conventional assessment of German film history, which sees classical films as responding solely to male anxieties and fears. Exploring the address made to women in melodramatic films and in popular illustrated magazines, she shows how Weimar Germany had a commercially viable female audience, fascinated with looking at images that called traditional representations of gender into question. Interdisciplinary in her approach, Petro weaves archival research with recent theoretical debates to offer not merely another view of the Weimar cinema but also another way of looking at Weimar film culture. Women's modernity, she suggests, was not the same as men's modernism, and the image of the city street in film and photojournalism reveals how women responded differently from men to the political, economic, and psychic upheaval of their times.