Nazisploitation!: The Nazi Image in Low-Brow Cinema and Culture by Daniel H. MagilowNazisploitation!: The Nazi Image in Low-Brow Cinema and Culture by Daniel H. Magilow

Nazisploitation!: The Nazi Image in Low-Brow Cinema and Culture

EditorDaniel H. Magilow, Elizabeth Bridges, Kristin T. Vander Lugt

Paperback | November 24, 2011

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Nazisploitation! examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as Love Camp 7 and

Ilsa, She-Wolf of the SS introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the 'sleaze' film. More recently, Tarantino's Inglourious Basterds, as well as video games such as Call of Duty: World at War, have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the F¿hrer, and Nazi zombies rise from the grave.

The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and 'sleaze' visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.

Elizabeth Bridges is assistant professor of German at Rhodes College in Memphis, Tennessee. Kristin Vander Lugt is Adjunct Instructor of German, George Mason University.
Title:Nazisploitation!: The Nazi Image in Low-Brow Cinema and CultureFormat:PaperbackDimensions:336 pages, 8.97 × 6.03 × 0.86 inPublished:November 24, 2011Publisher:BloomsburyLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1441183590

ISBN - 13:9781441183590

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Table of Contents

"Nazisploitation: An Introduction" by Daniel H. Magilow
Part I. Origins, Histories, and Genealogies
1. Cinema beyond Good and Evil? Nazi Exploitation in the Cinema of the 1970s and its Heritage by Marcus Stiglegger
2. Sexual Deviance and the Naked Body in Cinematic Representations of Nazis by Michael Richardson
3. Ilsa and Elsa: Nazisploitation, Mainstream Film, and Cinematic Transference by Alicia Kozma
4. Reproducing the Fourth Reich: Cloning, Nazisploitation, and Revival of the Repressed by Elizabeth Bridges
5. Utterly without Redeeming Social Value? "Nazi Science" Beyond Exploitation Cinema by James J. Ward
Part II. Bitches, Whores, and Dominatrices
6. The Third Reich as Bordello and Pig Sty: Between Neodecadence and Sexploitation in Tinto Brass's Salon Kitty by Robert von Dassanowsky
7. Revisiting the Cruel Apparatus: Disability, Queerness, and Taste in In a Glass Cage by David Church
8. Eine Armee Gretchen: Nazisploitation Made in Switzerland by Benedikt Eppenberger
9. Meshes of Power: The Concentration Camp as Pulp or Art House in Liliana Cavani's The Night Porter by Elissa Mail¿nder
Part III. Heroes, Villains, and the Undead
10. Digital Nazis: Genre, History and the Displacement of Evil in First-Person Shooters by Jeff Hayton
11. Captain America Lives Again and So Do the Nazis: Nazisploitation in Comics after 9/11 by Craig This
12. A Past that Refuses to Die: Nazi Zombie Film and the Legacy of Occupation by Sven J¿ngerkes and Christiane Wienand
13. Messing Up World War II-Exploitation: The Challenges of Role-Play in Quentin Tarantino's Inglourious Basterds by Mimmi Woisnitza
14. Of Blitzkriege and Endl¿sungen: The Resurrection of a Dead Genre? by Michael Fuchs
Selected Filmography
Notes on Contributors

Editorial Reviews

Here is, finally, a collection brave enough to discuss one of the last remaining taboos in film studies. This collection has prepared with the utmost care by a committed team of international scholars and critics. From revaluations of The Night Porter and Salon Kitty to interrogations of Inglorious Basterds and from underwater Nazi-zombies to Indiana Jones, this is a fascinating book that dares to tackle head-on the nastiness of its subject's implications while alerting the reader to the impact one cycle of films has on all of film culture. --Ernest Mathijs,¿University of British Columbia