Nietzsche in Hollywood

• Verfasst von: Rukgaber, Matthew [VerfasserIn]
• Titel: Nietzsche in Hollywood
• Titelzusatz: images of the Übermensch in Early American cinema
• Verf.angabe: Matthew Rukgaber
• Verlagsort: Albany
• Verlag: SUNY Press
• E-Jahr: 2022
• Jahr: [2022]
• Umfang: 1 Online-Ressource (xii, 283 Seiten)
• Gesamttitel/Reihe: The SUNY Series, Horizons of Cinema
• Fussnoten: Description based on publisher supplied metadata and other sources
• ISBN: 978-1-4384-9029-8
• Schlagwörter: (p)Nietzsche, Friedrich / (s)Übermensch / (s)Rezeption / (g)Los Angeles- Hollywood / (s)Film / (z)Geschichte 1910-1940
• Datenträger: Online-Ressource
• Sprache: eng
• Bibliogr. Hinweis: Erscheint auch als : Druck-Ausgabe: Rukgaber, Matthew: Nietzsche in Hollywood. - Albany : State University of New York Press, 2022. - XII, 283 Seiten
• Sach-SW: Electronic books
• K10plus-PPN: 1814986588
• K10plus-PPN:
  Universitätsbibliothek
• Lokale URL UB: Zum Volltext

Abstract

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.

Abstract

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