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Who cares whodunit? Anti-detection i...

Joglekar, Yogini.

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Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie)./
作者:	Joglekar, Yogini.
面頁冊數:	249 p.
附註:	Adviser: John Davidson.
Contained By:	Dissertation Abstracts International63-07A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3059271
ISBN:	0493748040

Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie).
Joglekar, Yogini.

Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie). - 249 p.

Adviser: John Davidson.

Thesis (Ph.D.)--The Ohio State University, 2002.

George Bernard Shaw once quipped that Germans lack talent for two things—a successful revolution and good detective fiction. That sentiment, which has plagued the reception of German detective narratives ever since, may be valid for literature, but it hardly holds true for cinema. Crime films were popular from the beginning in Germany, and serialized detective films featuring Joe Deebs, Harry Piel, or the criminal mastermind Mabuse enthralled audiences in Weimar Germany (1919–1933) and beyond. While scholars have examined Weimar detective film and noted its absence in the Third Reich, the tremendous complexity of this genre in post-1945 Germany has remained unexplored. My study investigates the popularity and prevalence of detective cinema in West Germany, concentrating on anti-detective films that challenge social and generic limits.

ISBN: 0493748040Subjects--Topical Terms:

854529
Cinema.

Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie).
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245 1 0 $a Who cares whodunit? Anti-detection in West German cinema (Robert Siodmak, Fritz Lang, Helmut Kaeutner, Reinhard Hauff, Doris Doerrie).
300 $a 249 p.
500 $a Adviser: John Davidson.
500 $a Source: Dissertation Abstracts International, Volume: 63-07, Section: A, page: 2555.
502 $a Thesis (Ph.D.)--The Ohio State University, 2002.
520 $a George Bernard Shaw once quipped that Germans lack talent for two things—a successful revolution and good detective fiction. That sentiment, which has plagued the reception of German detective narratives ever since, may be valid for literature, but it hardly holds true for cinema. Crime films were popular from the beginning in Germany, and serialized detective films featuring Joe Deebs, Harry Piel, or the criminal mastermind Mabuse enthralled audiences in Weimar Germany (1919–1933) and beyond. While scholars have examined Weimar detective film and noted its absence in the Third Reich, the tremendous complexity of this genre in post-1945 Germany has remained unexplored. My study investigates the popularity and prevalence of detective cinema in West Germany, concentrating on anti-detective films that challenge social and generic limits.
520 $a By anti-detective cinema I mean films in which the detective's investigations lead not to a successful solution, but instead to a core of doubt enhanced by genre-subversive means such as lack of closure and unresolved crimes. The formal idiosyncrasies exhibited by the genre's development in West Germany raise the question, “who cares whodunit?” regarding the mystery format. My study demonstrates that the shift away from happy endings toward anti-detection is not merely a formal innovation, but also a reaction to contemporary political conditions, e.g., to debates about guilt and innocence in coming to terms with the Nazi past and West Germany's troubled status in the postwar world.
520 $a Covering the lifespan of the Federal Republic, this study analyzes the employment of anti-detection in five representative films directed by Helmut Käutner, Robert Siodmak, Fritz Lang, Reinhard Hauff, and Doris Dörrie. My findings indicate that these films achieve an anti-detective effect in two ways: (1) through their transgression of traditional detective film formulae, and (2) through a critical reflection on contemporary social issues. Anti-detective cinema moves away from a predominantly art-cinematic to a more commercial mode between the postwar West German and the post-Wall German context. The concern with political commentary, however, remains constant in West German anti-detective films, giving them a unique critical edge with which they symptomatically register the crises affecting a postwar society.
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790 $a 0168
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