Paul Coates Bücher

This interdisciplinary study of recurrent themes in German cinema as it has developed since the early twentieth century focuses on pertinent films of the pre- and post-World War II eras. The author explores the nature of expressionism, which is generally agreed to have ended with the advent of sound, and its persistence in the styles of such modern masters of film noir as Orson Welles and Ingmar Bergman. In considering the possibility of homologies between the necessary silence of pre-sound cinema and the widespread modernist aspiration to an aesthetic of silence, Coates relates theories of the sublime, the uncanny, and the monstrous to his subject. He also reflects upon problems of representability and the morality of representation of events that took place during the Nazi era.

Exploring the intersection of cinema and spirituality, this book examines how religious themes manifest in film, particularly through the lens of notable European directors like Kieslowski and Godard. It challenges traditional representations of religion in cinema, addressing complex issues of religious representation. Drawing on the works of various theologians and philosophers, the author provides insights into the aesthetic and theological implications of film. This scholarly work is essential for those interested in the nuanced relationships between film, media, and religious studies.

Focusing on endings and 'late style,' this book explores the concept of comparative cinema as a critical endgame, reflecting a shift away from singular traditions. It examines the interplay between literature and film, alongside the relationship between language and visual media. Key figures discussed include Theo Angelopoulos, Ingmar Bergman, and Krzysztof Kieslowski, with recurring motifs of dusk, horizons, labyrinths, and ruins that enrich the analysis. The work invites readers to consider how these themes resonate across various artistic expressions.