Douglas seems perpetually fascinated by the often anonymous faces caught up in sweeping events, from the character portraits accompanying his western-murder mystery Klatsassin, 2006, to young Nathanael, the reader who dominates the screen in
Der Sandmann, 1995.
First performed in 1870, Coppelia was originally based on two stories by E T A Hoffmann entitled
Der Sandmann (The Sandman) and Die Puppe (The Doll).
Stop-motion animation is also alive and well in Scopas Medien's bigscreen production "
Der Sandmann und der verlorene Traumsand," based on the beloved Sandman character featured in a hugely popular 50-year-old East German TV series.
Ruprecht then reads two prose works showing how representations of bodily movement give insight into the compulsively relived inner traumas of the characters (Nathanael in
Der Sandmann) but also reflect their ability to reconfigure themselves psychologically (Giglio in Prinzessin Brambilla).
Huyssen does not hesitate to claim that this discourse must lead to the Freudian concept of the uncanny and to the reading of the threat to eyesight as fear of castration, as laid out in Freud's analysis of Hoffmann's
Der Sandmann (34).
Finally, in what Ellison explicitly refers to as the theoretical centre of the book, Freud's essay 'The Uncanny' is viewed through Hoffmann's '
Der Sandmann' as a text resistant to its own attempts at self-totalization and as an anticipation of Modernism in its conflation of aesthetics and the uncanny.
292) and North Africa in the less successfully received novel
Der Sandmann (1991; see WLT 67:2, p.
The toy theme continues in Coppelia, which is once again based upon the work of Hoffman - the stories
Der Sandmann (The Sandman) and Die Puppe (The Doll).
Hoffmann and German agrarian reform (in the split-screen film
Der Sandmann, 1995) to Herman Melville and noir (in the film Journey into Fear, 2001).