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online (vgl. BBC Trending 2016a ), die Hollywood-Magazine Variety (vgl. Ryan 2016 ) und Hollywood Reporter (vgl. Snarker 2016 ) sowie Forbes Magazine (vgl. Groves 2016 ) und die Washington Post (vgl. Butler 2016 ) noch Wochen später darüber berichteten. Inzwischen gibt es eine Website mit dem Namen LGBT Fans Deserve Better . Über die Website wurde ein Fund Raiser organisiert, der Spenden für das Trevor-Projekt sammelt. Das Projekt hilft queeren Jugendlichen in Not. Laut dem Trevor-Projekt ist die Wahrscheinlichkeit, Selbstmord zu begehen, bei queeren und

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’s disparate and loosely connected biographies have continued to conjoin these two celebrities. Most recently, historian Karin Wieland (2014) produced a dual biography titled Dietrich und Riefenstahl: Zwei Jahrhundert Frauen ( Dietrich and Riefenstahl: Hollywood, Berlin and a Century in Two Lives, 2015 ). As the title suggests, history is represented through the divergent paths the biographies of these famous women took and the historical contingencies that connect them. The insistent pairing of these 20 th century female icons may be explained if considering their

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Feuchtwanger and Judaism Margrit Frölich 1 Lion Feuchtwanger’s Jewish Historical Consciousness in America abstract The following text explores Feuchtwanger’s essays and public speeches from the 1930s and 1940s until his death in 1958 in light of what they reveal about his relationship to his Jewishness and Judaism. I will also demonstrate how Feuchtwanger’s public commitment to Jewish causes and his efforts to raise public awareness about the political situation in Europe and the entrapment of Jews under Nazi rule became a prominent feature

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and initiated in response to two questions raised by the six-year-old grandson Cenk: ‘What are we then? Turks or Germans?’ and ‘if Grandmother and Grandfather are Turks, then why are they here?’ These questions become the cinematic means to develop the narrative and guide the viewer to the final destination, which is an old country house. After the grandfather dies suddenly, Turkish authorities refuse to allow the Yilmaz family to bury him in a Muslim cemetery because of his German citizenship. This paradox forces the family to take the dead body to his Anatolian

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century that they might have only heard of through Hollywood films and other American popular cultural artifacts. I would like to explore how and to what extent historical and political consciousness can be raised at the beginning levels of college German instruction. For this I report on a workshop conducted in 2014 for graduate student instructors ← 119 | 120 → from various American universities, who all taught German at various beginning and intermediate levels. Several of them were native speakers of German currently enrolled in a PhD program in German Studies. I

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intellectuals’ interrogation of recent German history as spectacle, relating the failure to establish a democratic public sphere in the aftermath of fascism with the spectacle of West German (and, to a certain extent, American) media, most specifically within the context of the continued popularity of traditional cinematic structures based in the UFA and classical Hollywood traditions. 9 For these leftists, the public ← 191 | 192 → sphere was “the factory of politics – its site of production […] the space in which politics [is] first made possible at all and communicable

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to Hollywood and continued to lead prosperous lives; Rühle-Gerstel committed suicide after the death of her husband while in Mexican exile in 1943. Yet all three reflected common sentiments regarding the need for expanded lifestyle, economic and social choices for women. They were writing at the juncture of changing conceptions of woman and her relations to the fields of commerce, industry, art and gender, and the tensions and ambivalence these topics raised for the New Woman. Next, Julian Preece adds needed insight into the little-known life and career of the

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ernsthafte Versuche. Das Kino hat mit Good Bye, Lenin! oder Sonnenallee regelrechte Hits zum Thema abgeliefert, in beiden Fällen in einer parabelhaften, zugespitzten, unterhaltsamen Form. Ein Film wie Das Leben der Anderen von Florian Henckel von Donnersmarck hingegen erhebt einen ernsthafteren Anspruch und wird mittlerweile Schulklassen vorgeführt, um ein wahres Bild von den Zuständen in Ostdeutschland zu zeigen. Dabei hat gerade dieser Film mit der DDR so viel zu tun wie Hollywood mit Hoyerswerda. Die Hauptfigur in Das Leben der Anderen ist ein einsamer Wolf, der

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themes. For each director these represent their most personal films to date, and arguably their best. 2 This chapter proposes that both films counter the prevailing cinematic language of dying, by exploring both the materiality and inevitability of individual death, and the pain of the onlooker. This contrasts with and critiques commercial cinema’s focus on glamour, thrills and excess and avoidance of thoughts of mortality. Both ← 169 | 170 → Dresen and Haneke raise important ethical questions to do with human vulnerability, the meaning of a ‘good death’, and the

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Back to the Future | 1 → MARC SILBERMAN Introduction: Back to the Future “Back to the future” calls to mind a popular, award-winning 1985 Hollywood sci-fi comedy produced by Steven Spielberg, directed by Robert Zemeckis, and starring Michael J. Fox. The intergenerational narrative features an American teenager of the 1980s who is accidentally sent back to 1955 in a “time machine” invented by a slightly mad scientist. During his adventurous trip back in time, the young kid must figure out how his teenage parents-to-be can meet and fall in love so that he will be