Nietzsche in Hollywood : Images of the Übermensch in Early American Cinema.

Argues that Nietzsche's idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s.

书目详细资料
主要作者:	Rukgaber, Matthew
格式:	Licensed eBooks
语言:	英语
出版:	Albany : State University of New York Press, 2022.
丛编:	SUNY Series, Horizons of Cinema Ser.
在线阅读:	https://www.jstor.org/stable/10.2307/jj.18252373

书本目录:

Intro
Contents
Acknowledgments
Abbreviations of Nietzsche's Works
Introduction: Approaching Film with Nietzsche
1 The Inhuman in the Human: Social Darwinism and the Übermensch in the Silent Era
Introduction
Nietzsche, Darwin, and the Progressive Age on Film
Unnatural Knowledge and the Monsters It Creates
Conclusion
2 The Weakness in Strength: The Übermensch as Degenerate in the Films of Erich von Stroheim
Introduction
Nordau, Norris, and Degeneration
Stroheim Directs the Collapse of Civilization
Madness and the Herd in The Great Gabbo (1929)
Conclusion
3 The Criminal Law: The Übermensch as Gangster and the Will to Power
Introduction
Early Crime Films and the Reform of the Gangster
Underworld (1927) and the Justice of the Gangster
Little Caesar (1931) and the Becoming of the Gangster
Scarface (1932) and the End of the Gangster
Conclusion
4 The Salvation of Sin: The Übermensch as Superwoman and the Role of Gender
Introduction
The Überfrau in American Silent Film
Baby Face (1933) and Red-Headed Woman (1932): The Überfrau and the Circle of Exploitation
Female (1933) and the Single Standard
Conclusion
5 The Truth of Lies: The Übermensch as Genius in the Comedies of Ben Hecht
Introduction
The Genius of Manipulation: The Front Page (1931) and Design for Living (1933)
The Genius of Acting: Twentieth Century (1934)
The Genius of Deception: Nothing Sacred (1937)
Conclusion
6 The Freedom in Fate: The Übermensch as Dionysius in the Films of Josef von Sternberg
Introduction
Morocco (1930) and Blonde Venus (1932): Looking into the Abyss
The Devil Is a Woman (1935): The Abyss Looks Back
Shanghai Express (1932): Faithful to the One
The Scarlet Empress (1934): Blood, Lust, and Madness
Conclusion.
7 The Revealing Mask: The Übermensch as Free Spirit in the Comedies of Ernst Lubitsch
Introduction
Love and Illusion in Lubitsch's Early Musicals
Come Lie with Me: Trouble in Paradise (1932)
Nietzsche's Cinematic Fate
Conclusion: A Nietzschean Philosophy of Film
Nietzschean Films: An Incomplete Historical Picture
Nietzschean Film-Philosophy
Film-Style, Film-Form, and Film-Ontology
A Final Remark
Notes
Bibliography
Index.

Nietzsche in Hollywood : Images of the Übermensch in Early American Cinema.

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