{"product_id":"gender-and-the-uncanny-in-anjeana-hans-9780814338940","title":"Gender and the Uncanny in Films of the Weimar Republic","description":"\u003cp\u003e \u003cb\u003eExamines how uncanny films of the Weimar Republic engage with and respond to changing gender norms and women's emancipation.\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eThe Weimar period in Germany was a time of radical change, when the traditions and social hierarchies of Imperial Germany crumbled, and a young, deeply conflicted republic emerged. Modernity brought changes that reached deep into the most personal aspects of life, including a loosening of gender roles that opened up new freedoms and opportunities to women. The screen vamps, garçonnes, and New Women in this movie-hungry society came to embody the new image of womanhood: sexually liberated, independent, and--at least to some--deeply threatening. In \u003ci\u003eGender and the Uncanny in Films of the Weimar Republic, \u003c\/i\u003e author Anjeana K. Hans examines largely forgotten films of Weimar cinema through the lens of their historical moment, contemporary concerns and critiques, and modern film theory to give a nuanced understanding of their significance and their complex interplay between gender, subjectivity, and cinema.\u003c\/p\u003e\u003cp\u003e Hans focuses on so-called uncanny films, in which terror lies just under the surface and the emancipated female body becomes the embodiment of a threat repressed. In six chapters she provides a detailed analysis of each film and traces how filmmakers simultaneously celebrate and punish the transgressive women that populate them. Films discussed include \u003ci\u003eThe Eyes of the Mummy\u003c\/i\u003e (\u003ci\u003eDie Augen der Mumie Mâ, \u003c\/i\u003e Ernst Lubitsch, 1918), \u003ci\u003eUncanny Tales \u003c\/i\u003e(\u003ci\u003eUnheimliche Geschichten, \u003c\/i\u003e Richard Oswald, 1919), \u003ci\u003eWarning Shadows\u003c\/i\u003e (\u003ci\u003eSchatten: Eine nächtliche Halluzination, \u003c\/i\u003e Artur Robison, 1923), \u003ci\u003eThe Hands of Orlac\u003c\/i\u003e (\u003ci\u003eOrlacs Hände, \u003c\/i\u003e Robert Wiene, 1924), \u003ci\u003eA Daughter of Destiny\u003c\/i\u003e (\u003ci\u003eAlraune, \u003c\/i\u003e Henrik Galeen,1928), and \u003ci\u003eDaughter of Evil\u003c\/i\u003e (\u003ci\u003eAlraune, \u003c\/i\u003e Richard Oswald, 1930). An introduction contextualizes Weimar cinema within its unique and volatile social setting.\u003c\/p\u003e\u003cp\u003e Hans demonstrates that Weimar Germany's conflicting emotions, hopes, and fears played out in that most modern of media, the cinema. Scholars of film and German history will appreciate the intriguing study of \u003ci\u003eGender and the Uncanny in Films of the Weimar Republic.\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Anjeana Hans\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0814338941\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780814338940\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Wayne State University Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/15\/2014\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 304\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.11lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.15h x 6.04w x 0.79d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eChoice\u003c\/i\u003e 04\/01\/2015 pg. 1320","brand":"Anjeana Hans","offers":[{"title":"Paperback","offer_id":43926428188927,"sku":"9780814338940","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0662\/2982\/9887\/products\/img_c56056d8-83d9-4aa9-8e22-9a2afff55e15.jpg?v=1681083035","url":"https:\/\/www.whiterainbookhouse.com\/products\/gender-and-the-uncanny-in-anjeana-hans-9780814338940","provider":"WR Book House","version":"1.0","type":"link"}