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- Author: Otfried Preussler
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- Languages : de
- Pages : 135
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Der Kinderbuchklassiker "Das kleine Gespenst" von Otfried Preußler ist eine lustige Gespenstergeschichte für Jungen und Mädchen ab 6 Jahren zum Vor- und Selbstlesen. E-Book mit vielen witzigen bunten Bildern. Jede Nacht pünktlich zur Geisterstunde erwacht das kleine Gespenst. Vergnügt spukt das harmlose Gespenst durch Burg Eulenstein und besucht seinen Freund, den Uhu Schuhu. Sein größter Wunsch ist es, die Welt einmal bei Tageslicht zu sehen. Doch alle Versuche, nach dem Ende der Geisterstunde wach zu bleiben, schlagen fehl. Als dieser Wunsch unversehens Wirklichkeit wird, beginnt ein spannendes Abenteuer. Vom Sonnenlicht getroffen wird aus dem weißen Nachtgespenst ein schwarzes Tagesgespenst, das in der Stadt Eulenberg für jeden Menge Unheil und Verwirrung sorgt. Zum Glück helfen ihm ein paar Kinder und das Gespenst kann schon bald wieder fröhlich durch die Burg Eulenstein geistern.
This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship.