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003			DE-101
005			20260306135302.0
007			tu
008			251216s2026 xxk||||| |||| 00||||eng
020			_a9781041036579
020			_a9781041048107
035			_a(DE-599)KXP1932032363
035			_a1932032363
040			_a1130 _bger _cDE-101 _d1130
041			_aeng
050	1	4	_aPN1995.9.P6 _bP57 2026
100	1		_81\p _aPirro, Robert C. _eVerfasser _4aut
245	1	0	_aGerman wartime memory, American exceptionalism, and post-Cold War blockbuster cinema _cRobert C. Pirro
300			_ax, 186 Seiten _bIllustrationen
336			_aText _btxt _2rdacontent
337			_aohne Hilfsmittel zu benutzen _bn _2rdamedia
338			_aBand _bnc _2rdacarrier
490	0		_aPopular culture and world politics
500			_aIncludes bibliographical references and index
505	8		_aIndependence Day (1996) : processing German memories of the Luftkrieg in Roland Emmerich's alien invasion epic -- Troy (2004) : Wolfgang Petersen's Achilles as the bearer of German wartime trauma -- 2012 (2009) and Anonymous (2011) : Roland Emmerich's dashed political hopes : through the prism of David Caspar Friedrich Motifs -- Valkyrie (2008) and Inglourious Basterds (2009) : Tom Cruise and Quentin Tarantino attempt to master the Nazi past -- In the Line of Fire (1993) and Valkyrie (2008) : November 1963 and July 1944 through a transatlantic lens -- Midway (2019) and Air Force One (1997) : German Hollywood's transatlantic : discourse of geopolitics.
520			_aZusammenfassung: "This book excavates the diverse and mostly unnoticed political meanings made available to American and German audiences by the blockbuster films helmed by transplanted West German directors Roland Emmerich and Wolfgang Petersen. Through formal film analysis, broad consideration of American and German film criticism, and reflection on relevant political developments of the post-Cold War era, the book reveals how traces of Germany’s experience of dictatorship and wartime destruction find inadvertent cinematic expression in ways that helped American and German moviegoers find orientation in the changed political and cultural landscape of a newly globalized world. To complement and deepen the analysis of the Hollywood output of Emmerich and Petersen, the book juxtaposes the creative product of these transplanted directors to examples of a converse cinematic phenomenon considered under the label, American Babelsberg, which encompasses World War Two-themed films shot by American directors in Germany utilizing the production facilities at Babelsberg. Focus here is placed particularly on two high profile cinematic releases of the aughts, Valkyrie (2008), and Inglourious Basterds (2009). The magnetic attraction to, or nettlesome burden of, World War Two memories on these directors of American Babelsberg and German Hollywood is explained in this book by the entwined histories of Germans and Americans, the different challenges of national self-definition and renewal they faced in the post-Cold War world, and their longstanding and ongoing transatlantic discourse of political ideas and cultural ideals. This book will be of great interest to students and scholars of film studies, politics, popular culture, and contemporary history"--Provided by publisher
942			_cBK _2nseq
999			_c27520 _d27520