Siegfried Kracauer
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Autobiographical novel
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Concept
Consciousness
Contingency (philosophy)
Critical theory
Criticism
Critique
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Edmund Husserl
Empiricism
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Erich Fromm
Ernst Bloch
Erwin Panofsky
Essay
Existentialism
Film theory
Frankfurt School
Frankfurter Zeitung
From Caligari to Hitler
Georg Simmel
Historicism
Historiography
Ideology
Jacques Derrida
Jean-Paul Sartre
Lecture
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Middle class
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On the Eve
Ontology
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Philosophy of history
Photography
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Reality
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Siegfried Kracauer
Social novel
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Soren Kierkegaard
Soziologie
Subjectivity
The Cabinet of Dr. Caligari
The Hitler Gang
Theodor W. Adorno
Theory
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Transcendental idealism
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Walter Benjamin
War film
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Product details
- ISBN 9780691049922
- Weight: 227g
- Dimensions: 152 x 229mm
- Publication Date: 16 Apr 2000
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Siegfried Kracauer has been misunderstood as a naive realist, appreciated as an astute critic of early German film, and noticed as the interesting exile who exchanged letters with Erwin Panofsky. But he is most widely thought of as the odd uncle of famed Frankfurt School critical theorists Jurgen Habermas, Theodor Adorno, Walter Benjamin, and Max Horkheimer. Recently, however, scholars have rediscovered in Kracauer's writings a philosopher, sociologist, and film theorist important beyond his associations--and perhaps one of the most significant cultural critics of the twentieth century. Gertrud Koch advances this Kracauer renaissance with the first-ever critical assessment of his entire body of work. Koch's analysis, which is concise without sacrificing thoroughness or sophistication, covers both Kracauer's best-known publications (e.g., From Caligari to Hitler, in which he gleans the roots of National Socialism in the films of the Weimar Republic) and previously underexamined texts, including two newly discovered autobiographical novels.
Because Kracauer's wide-ranging works emerge from no rigidly unified approach, instead always remaining open to unusual and highly individual perspectives, Koch resists the temptation to force generalization. She does, however, identify recurring tropes in Kracauer's lifetime effort to perceive the basic posture and composition of particular cultures through their visual surfaces. Koch also finds in Kracauer a surprisingly contemporary cultural commentator, whose ideas speak directly to current discussions on film, urban modernity, feminism, cultural representation, violence, and other themes. This book was long-awaited in Germany, as well as widely and well reviewed. Now translated into English for the first time, it will fuel already growing interest in the United States, where Kracauer lived and wrote from 1941 until his death in 1966. It will attract the attention of students and scholars working in Film Studies, German Studies, Comparative Literature, Critical Theory, Cultural Studies, Philosophy, and History.
Gertrud Koch is Professor of Film and Television at the Ruhr-University in Bochum and author of numerous books and papers on film and visual representation.
