ISBN: 9783932565144

By Heide Schenemann. Author Heide Schenemann. Text in German. For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible tre… Mehr…

By Heide Schenemann. Author Heide Schenemann. Text in German. For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. The Nile on eBay   FREE SHIPPING UK WIDE   Paul Wegener by Heide Schenemann Wegener was one of the most striking actors in the German theatre from 1906 until his death in 1948. At a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many imaginative films. FORMATHardcover LANGUAGEEnglish CONDITIONBrand New Publisher Description Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art.Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism. Author Biography Heide Schonemann, a Potsdam film academic, studied German, but has concerned herself with the border areas of literary criticism, art history and film since her student days. She attracted attention with a work on Fritz Lang, among other things (Fritz Lang - Filmbilder und Vorbilder), which led to a Goethe-Institut exhibition that is still touring the world. Long Description Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art.Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism. Details ISBN3932565142 Author Heide Schenemann Pages 128 Language English ISBN-10 3932565142 ISBN-13 9783932565144 Media Book Format Hardcover Year 2003 Imprint Edition Axel Menges Place of Publication Fellbach Country of Publication Germany Short Title PAUL WEGENER Subtitle Early Modernism in Film DOI 10.1604/9783932565144 UK Release Date 2003-04-20 Publisher Edition Axel Menges Publication Date 2003-04-20 DEWEY 791.43092 Illustrations illustrations Audience Undergraduate We've got thisAt The Nile, if you're looking for it, we've got it.With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! 30 DAY RETURN POLICYNo questions asked, 30 day returns! FREE DELIVERYNo matter where you are in the UK, delivery is free. SECURE PAYMENTPeace of mind by paying through PayPal and eBay Buyer Protection TheNile_Item_ID:148103592; , Neu, Festpreisangebot, [LT: FixedPrice], ISBN-13: 9783932565144, EAN: 9783932565144, Publication Year: 2003, Format: Hardcover, Language: German, Book Title: Paul Wegener: Early Modernism in Film, Item Height: 290mm, Item Width: 241mm, Item Weight: 1003g, Number of Pages: 128 Pages, Edition Axel Menges<

ISBN: 9783932565144

[ED: Buch], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne… Mehr…

[ED: Buch], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence.Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art.Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinaryiconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light.Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively onesided image of Modernism.Heide Schönemann, a Potsdam film academic, studied German, but has concerned herself with the border areas of literary criticism, art history and film since her stude nt days. She attracted attention with a work on Fritz Lang, among other things (Fritz Lang - Filmbilder und Vorbilder), which led to a Goethe-Institut exhibition that is still touring the world., DE, [SC: 0.00], Neuware, gewerbliches Angebot, 285x233x15 mm, 128, [GW: 1008g], Banküberweisung, PayPal, Skrill/Moneybookers, Selbstabholung und Barzahlung, Offene Rechnung (Vorkasse vorbehalten)<

ISBN: 9783932565144

[ED: Buch], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne… Mehr…

[ED: Buch], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence.Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art.Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinaryiconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light.Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively onesided image of Modernism.Heide Schönemann, a Potsdam film academic, studied German, but has concerned herself with the border areas of literary criticism, art history and film since her stude nt days. She attracted attention with a work on Fritz Lang, among other things (Fritz Lang - Filmbilder und Vorbilder), which led to a Goethe-Institut exhibition that is still touring the world., DE, Neuware, gewerbliches Angebot, 285x233x15 mm, 128, [GW: 1008g], Banküberweisung, PayPal, Skrill/Moneybookers, Selbstabholung und Barzahlung, Offene Rechnung (Vorkasse vorbehalten)<

2000, ISBN: 3932565142

[EAN: 9783932565144], Neubuch, [SC: 17.95], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruege… Mehr…

[EAN: 9783932565144], Neubuch, [SC: 17.95], [PU: Edition Axel Menges], Neuware - The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence.Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art.Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinaryiconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light.Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively onesided image of Modernism.Heide Schönemann, a Potsdam film academic, studied German, but has concerned herself with the border areas of literary criticism, art history and film since her stude nt days. She attracted attention with a work on Fritz Lang, among other things (Fritz Lang - Filmbilder und Vorbilder), which led to a Goethe-Institut exhibition that is still touring the world., Books<

2000, ISBN: 9783932565144

[ED: Gebunden], [PU: Edition Axel Menges], The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das … Mehr…

[ED: Gebunden], [PU: Edition Axel Menges], The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his "favourite occupations" throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence.Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films..., DE, [SC: 0.00], Neuware, gewerbliches Angebot, 128, [GW: 1007g], Banküberweisung, PayPal, [CT: Sonstiges / Sonstiges]<