By Thomas Elsaesser
German cinema is better identified for its artwork cinema and its lengthy line of remarkable person administrators. The double highlight on those topic has in simple terms deepened the obscurity surrounding the preferred cinema. German Cinema plays one of those archaeology on a interval principally ignored: the 1st 20 years of German cinema. This choice of essays via confirmed authors refocuses the phrases of a debate that would strengthen within the years yet to come about the historic and cultural value of well known cinema in Wilhelmine Germany.
Read or Download A Second Life: German Cinema's First Decades (Amsterdam University Press - Film Culture in Transition) PDF
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Additional info for A Second Life: German Cinema's First Decades (Amsterdam University Press - Film Culture in Transition)
For two reasons, top stories provide a suitable test of whether imitation in news production systematically affects the resulting news stories. First, top stories receive the highest and most careful level of attention from reporters and editors, including the top editorial decision makers, since these stories have an important role in setting the news agenda. Second, consumers devote more attention to reading front-page and homepage material than to stories that appear “inside” the paper or the Web site.
14, emphasis in original). Recent work based on this idea often treats imitation as shorthand for different forms of relational influence. I adopt a more restricted notion of imitation that is conceptualized as the act that occurs when one actor, based on knowledge of another actor’s behavior or output, decides to completely or partially reproduce this behavior or output instead of pursuing a different course of action. As stated in the previous chapter, I look at imitation in work, organizational, and economic activities, with a focus on the media industry and mindful of the potential role of technology.
It is certainly not a perfect mirror and perhaps is better understood as a fun house mirror or a broken mirror. But like the absurd stories of Miguel de Unamuno or the cubist paintings of Pablo Picasso, the exaggeration and reconfiguration of critical elements of the object of inquiry might teach aspects of social life that are more difficult to understand from the location choices that dominate studies of digital-media phenomena and imitation processes in a number of disciplines. In sum, this book offers an account of three separate but interrelated elements that are central to contemporary journalism and its publics: the emergence of the time and place of work as key parameters for the consumption of online news, the substantive rise of imitation in news production, and the unforeseen paradox of a greater volume of news but a less diverse content.