By Thomas Elsaesser
German cinema is better recognized for its artwork cinema and its lengthy line of remarkable person administrators. The double highlight on those topic has in basic terms deepened the obscurity surrounding the preferred cinema. German Cinema plays one of those archaeology on a interval mostly ignored: the 1st 20 years of German cinema. This choice of essays by means of tested authors refocuses the phrases of a debate that would improve within the future years about the old and cultural value of renowned cinema in Wilhelmine Germany.
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Extra resources for A Second Life: German Cinema's First Decades (Amsterdam University Press - Film Culture in Transition)
One of the problems of works on capitals is that there is a relative lack of consideration of the interaction between social and cultural capital. Therefore, Putnam’s work, while recognizing that there are different sources of the idea of social capital, tends to be drawn to a political science focus on the implications Changing ordinary life 33 of the decline in social capital for trust and civic consciousness. This is all well and good, but this is then relatively divorced from understandings of culture and cultural capital as involving a way of life or habitus (although not from the idea of cultural capital as manifested in institutionalized educational qualifications).
As has been argued, there are clear links with Butler’s idea of performativity (see Butler 1997: 127–63; Salih 2002: 113) and the emphasis on performance that I have introduced so far. Changing ordinary life 31 These ideas are further explored in the rest of this book and at present I simply want to emphasize how the habitus is not simply a given, but is produced through modes of social and cultural interaction. The idea of the habitus has already been influential in thinking through the ways in which our positions in the world are structured and lived and I will seek to further develop such arguments in what follows.
The current hyperindividualism of the hypermodern as characterized by fashion is double edged, ‘we’ are both disciplined and free and we constrain ourselves but assert our individualism. In further individualizing and fragmenting, society is not becoming simply atomized, with no connections between people. However, the nature of the connections between the fragments and the hyperindividuals are becoming more contingent and subject to ongoing change and relative lack of constraint. Social capital (see Changing ordinary life 27 later), to adopt a term that Lipovetsky would not use, given his critiques of Bourdieu, is fluid in this sense.
A Second Life: German Cinema's First Decades (Amsterdam University Press - Film Culture in Transition) by Thomas Elsaesser