{"id":22984,"date":"2016-12-24T15:55:33","date_gmt":"2016-12-24T14:55:33","guid":{"rendered":"https:\/\/www.limbicnutrition.com\/blog\/?p=22984"},"modified":"2020-09-26T21:55:25","modified_gmt":"2020-09-26T19:55:25","slug":"rubble-films","status":"publish","type":"post","link":"https:\/\/www.limbicnutrition.com\/blog\/rubble-films\/","title":{"rendered":"Rubble films"},"content":{"rendered":"

“Which, then, are these rubble films (Tr\u00fcmmerfilme)?<\/p>\n

…Shandley instead defines \u201crubble films\u201d as a short-lived but important production \u201ccycle.\u201d It is recognizable in recurrent narrative and visual motifs of \u201cthe returning solider\/coming home\u201d theme and settings that register the aftermath of massive war: rubble-strewn streets, collapsed hotels, crumbling apartment houses (all usually studio-constructed sets, as Shandley reveals). He goes on to offer perceptive close readings of the chosen films\u2019 \u201cberubbled mise-en-sc\u00e8ne,\u201d casting, genre conventions, and character construction. One might quibble over the particular film selections or their parameters; for example, the strict and not fully justified insistence on 1949 as an end point precludes discussion of such a striking film as the 1951 German production Der Verlorene [The Lost One], directed by and starring Peter Lorre. But overall Shandley cogently argues the legitimacy and intellectual value of the \u201crubble film\u201d category, taking thereby an approach that many instructors of German film and history may find a useful complement to other media research on the period (much of it available only in German.) Especially Shandley\u2019s careful formal analysis of the films\u2019 visual and audio construction adds a welcome and somewhat rare perspective to nationally-delineated cinema histories. He also provides some details about each film\u2019s production and reception, essentially presenting the selected films as a series of historical\/cultural case studies which, he argues, record rubble films\u2019 \u201cimportant role in the formation of a collective attitude toward the past, one that shaped many public debates in German in the decades thereafter (p. 4).\u201d<\/p><\/blockquote>\n

http:\/\/www.ejumpcut.org\/archive\/jc45.2002\/curry\/index.html<\/a><\/p>\n

Also see:<\/p>\n

Sweeping up the Past: Gender and History in the Postwar German “Rubble Film”<\/a><\/p>\n

Extraordinary footage of destroyed Berlin<\/p>\n

http:\/\/www.archive.org\/details\/PostwarG<\/a>
\nhttp:\/\/www.archive.org\/details\/PostwarG_2<\/a>
\nhttp:\/\/www.archive.org\/details\/PostwarG_3<\/a>
\nhttp:\/\/www.archive.org\/details\/PostwarG_4<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

“Which, then, are these rubble films (Tr\u00fcmmerfilme)? …Shandley instead defines \u201crubble films\u201d as a short-lived but important production \u201ccycle.\u201d It is recognizable in recurrent narrative and visual motifs of \u201cthe returning solider\/coming home\u201d theme and settings that register the aftermath of massive war: rubble-strewn streets, collapsed hotels, crumbling apartment houses (all usually studio-constructed sets, as … Read more<\/a><\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[240,39],"tags":[300,296],"class_list":["post-22984","post","type-post","status-publish","format-standard","hentry","category-film-2","category-history","tag-processed","tag-published"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/prY0k-5YI","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":38652,"url":"https:\/\/www.limbicnutrition.com\/blog\/netflix-categories-codes-find-all-categories-codes\/","url_meta":{"origin":22984,"position":0},"title":"Netflix categories codes – Find all categories codes","author":"Limbic","date":"May 12, 2022","format":false,"excerpt":"Find genres and categories for Netflix films.","rel":"","context":"In "code classification movies netflix recommendations entertainment"","block_context":{"text":"code classification movies netflix recommendations entertainment","link":"https:\/\/www.limbicnutrition.com\/blog\/category\/code-classification-movies-netflix-recommendations-entertainment\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":37639,"url":"https:\/\/www.limbicnutrition.com\/blog\/hard-to-watch-afghans-react-to-6m-australian-film-aimed-at-asylum-seekers-australia-news-the-guardian\/","url_meta":{"origin":22984,"position":1},"title":"‘Hard to watch’: Afghans react to $6m Australian film aimed at asylum seekers | Australia news | The Guardian","author":"Limbic","date":"March 29, 2016","format":false,"excerpt":"Australia has done a Denmark. 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