It's 1989 and, whenever he isn't hanging out in the local bars, Herr Lehmann lives entirely free of responsibility in the bohemian Berlin district of Kreuzberg. Through years of judicious sidestepping and heroic indolence, this barman has successfully avoided the demands of parents, landlords, neighbours and women. But suddenly one unforeseen incident after another seems to threaten his idyllic and rather peaceable existence. He has an encounter with a decidedly unfriendly dog, his parents threaten to descend on Berlin from the provinces, and he meets a dangerously attractive woman who throws his emotional life into confusion. Berlin Blues is a richly entertaining evocation of life in the city and a classic of modern-day decadence.

The legendary CBS news journalist’s selection of iconic World War II radio broadcasts from countries throughout Europe. William L. Shirer was the first journalist hired by CBS to cover World War II in Europe, where he continued to work for over a decade as a news broadcaster. This book compiles two and a half years’ worth of wartime broadcasts from Shirer’s time on the ground during WWII. He was with Nazi forces when Hitler invaded Austria and made it a part of Germany under the Anschluss; he was also the first to report back to the United States on the armistice between France and Nazi forces in June of 1940. His daily roundup of news from Paris, Vienna, Berlin, Rome, and London, which documented Nazi Germany and the conditions of countries under invasion and at war, became famous for its gripping urgency. Shirer brought a sense of immediacy to the war for listeners in the United States and worldwide, and his later books, including the seminal Rise and Fall of the Third Reich, became definitive works on World War II history. This collection of Shirer’s radio broadcasts offers all the original suspense and vivid storytelling of the time, bringing World War II to life for a modern audience.

The essays collected in this book focus on the multi-faceted relationship between German/Austrian literature and the cinema screen. Scholars from Ireland, Great Britain, Germany, Switzerland, Luxembourg, Portugal, USA and Canada present critical readings of a wide range of transpositions of German-language texts to film, while also considering the impact of cinema on German literature, exploring intertextualities as well as intermedialities. The forum of discussion thus created encompasses cinematic narratives based on Goethe’s Faust, Kleist’s Marquise of O..., Kubrick’s film version of Schnitzler’s Dream Story and Caroline Link’s Oscar-winning adaptation of Stefanie Zweig’s novel Nowhere in Africa. The wide-ranging analyses of the complex interaction between literature and film presented here focus on literary works by Anna Seghers, Hans-Magnus Enzensberger, Nicola Rhon, Günter Grass, Heinrich Böll, Elfriede Jelinek, Rolf Dieter Brinkmann, Erich Hackl, Thomas Brussig, Sven Regener, Frank Goosen and Robert Schneider, as well as on adaptations by filmmakers such as Friedrich Wilhelm Murnau, Max Mack, Josef von Sternberg, Max W. Kimmich, Fred Zinnemann, Paul Wegener, Alexander Kluge, Volker Schlöndorff, Hansjürgen Pohland, Hendrik Handloegten, Michael Haneke, Christoph Stark, Karin Brandauer, Joseph Vilsmaier, Leander Haußmann and Doris Dörrie.

Reprint of the original.

When it began, modern Spanish cinema was under strict censorship, forced to conform to the ideological demands of the Nationalist regime. In 1950, the New Spanish Cinema was born as a protest over General Francisco Franco's policies: a new series of directors and films began to move away from the conformist line to offer a bold brand of Spanish realism. In the 1950s and early 1960s, filmmakers such as Juan Antonio Bardem, Luis García Berlanga, and Luis Buñuel expressed a liberal image of Spain to the world in such films as Muerte de un ciclista (Death of a Cyclist), Bienvenido Señor Marshall (Welcome Mr. Marshall), and Viridiana. The emergence of new directors continued into the sixties and seventies with Carlos Saura, José Luis Borau, Víctor Erice, and others. After Franco's death in 1975, censorship was abolished and films openly explored such formerly taboo subjects as sexuality, drugs, the church, the army, and the Civil War. The Spanish cinema was no longer escapist and entertaining but, at long last, mirrored the society it depicted. While established directors like Saura, Bardem, and Berlanga continued to produce distinguished work, the "new wave" of Spanish cinema included brilliant films by the likes of Montxo Armendáriz (Tasio), Fernando Trueba (First Work), Imanol Uribe (The Death of Mikel), and Pedro Almodóvar (Women on the Verge of a Nervous Breakdown). In the last couple of decades, exciting works by established filmmakers and newcomers alike continue to be produced, including Alejandro Amenábar's Thesis, José Luis Garcí's The Grandfather, and Almodóvar's Talk to Her and Volver. In Great Spanish Films Since 1950, Ronald Schwartz presents a compendium of outstanding Spanish films from the pre-Francoist era through the Spanish New Wave of the 80's and 90's and into the present day. Schwartz provides background, plot, and commentaries of key films from six decades of Spanish cinema. In addition to identifying

"Reporting the Nuremburg Trials is steeped in reverence for an era in journalism faintly lit by modern history despite its many parallels to today. Fletcher again and again reveals lessons for today's real-time news cycles, including the perils of misinformation, professional subterfuge and abbreviated ethics." — Jesse Garnier, Journalism Chair and Associate Professor, San Francisco State University For the first time, journalists who shared details about Nazi crimes from the International Military Tribunal, better known as the Nuremberg Trial, have their own story told. As World War II in Europe drew to a close in 1945, the Allies prepared to hold Nazi leaders accountable for crimes against humanity and selected Nuremberg as the site for the trial. The U.S. military took the lead in refurbishing a courtroom and making accommodations for 325 journalists and 23 defendants plus Allied judges, prosecutors, translators and administrative staff. Because publicity was a main consideration, the latest innovations and technology were incorporated into the courtroom to enhance news coverage of the trial. Press passes were in demand worldwide for courtroom seats. A press pool was selected to witness the executions in which 10 criminals were hung on Oct. 16, 1946. Famous war correspondents and young journalists who later became household names were headquartered in a castle, explored bombed ruins and faced dangers as a lingering spirit of Nazism seethed within the city. The lengthy trial became an excruciating endurance test for journalists by the time it ended (far longer than expected) on Oct. 1, 1946, setting a precedent for coverage of subsequent justice at Nuremberg. The author, a long-time journalist and former foreign correspondent, provides an insider’s look at how the news was gathered and conveyed. The book is based on extensive research and insights gathered from Nuremberg, including at the location where the journalists were housed and at the courtroom itself.