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LARISSA SCHÜTZE „Ein unverfälschtes Konzept vom Leben erlangen“: Humanismus und Demokratie in William Dieterles historisch-biografischem Emigrationsfilm Juarez (1939) William Dieterle – eine zentrale Figur der deutschsprachigen Exilkolonie von Los Angeles Der 1893 in Ludwigshafen am Rhein geborene William (urspr. Wilhelm) Dieterle kann sicherlich zu der Gruppe emigrierter deutschsprachiger Filmregisseure in Hollywood gezählt werden, deren Name zumindest außerhalb informierter Fachkreise zunehmend in Vergessenheit gerät. Einer der Gründe dafür liegt

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this point let it suffice to say that it immediately identifies the place where it was written as being in Greater Los Angeles, home of Riverside County. And in 2002, in the course of his ‘Frankfurter Vorlesungen’, published under the title Ins Tal der Schatten, he revealed how he had begun work on a project that was to spawn the trilogy in a location that, after the Hollywood sign, is the most powerful evocation of Hollywood and the movie industry. In the mid-1980s he had finally got to see Pasolini’s The Gospel According To St Matthew (1966) and this

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„Which Great War?“ Alfred Döblin, der Romancier James Hilton und der Propagandafilm Random Harvest Stefan Keppler-Tasaki 1. Propaganda: die „4. Waffe im Krieg“ „Ich arbeitete ein Jahr als Filmschriftsteller“, so sagt Alfred Döblin 1949 von sich in der Exilautobiographie Schicksalsreise.1 Im September 1940 in die USA eingereist, trat er am 8. Oktober seinen Dienst bei MGM an: als einer von etwa 250 ‚movie writers‘, die glücklich genug waren, in Hollywoods Studios fest angestellt zu sein. Ludwig Marcuse erinnert sich an die deut- schen Schriftsteller unter

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und Christopher Hamptons Tales from Hollywood 14 oder die Aufsätze von Hans Wagener: ‘Heinrich Mann im Exil in Amerika’15 und Marje Schuetze-Coburn: ‘Heinrich Manns letztes Jahrzehnt “in einem Lande, das ihn nicht verstand”’16 oder auch Evelyn Juers’ Buch: House of Exile: Life and Times of Heinrich Mann and Nelly Kroeger-Mann.17 Im Jahre 2007 wurde von Heike Klapdor auch eine neue Briefanthologie herausgegeben: Ich bin ein unheilbarer Europäer. Briefe aus dem Exil von Thomas und Heinrich Mann, Alfred Polgar, Max Ophüls u.v.a.18 10 Heinrich Breloer, Die Manns

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of consensus’ that Eric Rentschler identified as the main feature of the previous decade: in stylistic terms, they emulate the audience-friendly, identificatory aesthetics of Hollywood cinema, while their content focuses invariably on aspects of twentieth-century German history which are crucial not only to current German memory and identity politics, but also to the international perception of German identity – National Socialism and the GDR.5 3 See in particular The Collapse of the Conventional: German Film and its Politics at the Turn of the Twenty

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announcement coincides with the day on which he and his wife have received their German citizenship. Although the family initially refuses the grandfather’s invitation, they set off on a road trip during which family secrets and memories are revealed. Set in the present, the narrative continues to unfold through flashback scenes, which are introduced in Canan’s, the granddaughter’s voice over narration 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

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, when available, are referenced within the individual article and/or the bibliography for each chapter. These journalists wrote from vastly different personal, cultural, politi- cal and ideological perspectives, yet all exerted an influence on a media industry and a society that were in continuous flux with respect to women’s role in and relation to German society. It is hoped that the discussion of the journalists here will continue to raise awareness of the wide range of published opinions by German-speaking women in press of the era and thus bring their

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. 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 aus schwer

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social circles and imaginable rare encounters, Riefenstahl’s and Dietrich’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

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regard at Cannes (2011) and the Deutscher Filmpreis (2012); Amour was the second of Haneke’s films (after Das weiße Band / The White Ribbon in 2009) to win the Palme d’Or at Cannes (in 2012); it won numerous other awards and was nominated for five Oscars (2013), winning in the Best Foreign Language Film category. Roger Ebert called Amour ‘an unexpected kind of masterpiece’, <http://www.rogerebert. com/reviews/amour-2013>. 170 BRIGID HAINES Dresen and Haneke raise important ethical questions to do with human vulnerability, the meaning of a ‘good death’, and the