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There were virtually no women film directors in germany until the 1970s. today there are proportionally more than in any other film-making country6, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors. Rejecting the traditional auteur approach, she explores the principal characteristics of women’s film-making in the 1970s and 1980s, in particular the role of the women’s movement, the concern with the notion of a ‘feminine aesthetic’, women’s entry into the mainstream, and the emergence of a so-called post-feminist cinema. This timely and comprehensive study will be essential reading for everyone concerned with contemporary cinema and feminism.
This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
The aim of this study of contemporary German cinema is to set the significant films and film-makers in their proper context. The author explains the nature of the German film industry, the cultural inheritance of its film-makers, and the social and political climate within which they work.
This study of New German cinema identifies different styles of historical remembrance in which music participates. It concentrates on how listeners are urged to interact with difference - including Germany's difficult past - rather than try to 'master' or 'get past' it.
Introduction -- CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES. Daniela Berghahn: My big fat Turkish wedding: from culture clash to romcom -- David Gramling: The oblivion of influence: mythical realism in Feo Alada's When we leave -- Marco Abel: The minor cinema of Thomas Arslan: a prolegomenon -- MULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY AND TELEVISION TO INSTALLATION ART. Angelica Fenner: Roots and routes of the diasporic documentarian: a psychogeography of Fatih Akin's We forgot to go back -- Ingeborg Majer-O'Sickey: Gendered kicks: Buket Alakus's and Aysun Bademsoy's soccer films -- Nilgan Bayraktar: Location and mobility in Kutlu Ataman's site-specific video installation Kuba -- Brent Peterson: Turkish for beginners: teaching cosmopolitanism to Germans -- Brad Prager: "Only the wounded honor fights": Zili Alada's rage and the drama of the Turkish German perpetrator -- INSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION. Randall Halle: The German Turkish spectator and Turkish language film programming: Karli Kino, maximum distribution, and the interzone cinema -- Berna Gueneli: Mehmet Kurtulu and Birol Ünel: Sexualized masculinities, normalized ethnicities -- Karolin Machtans: The perception and marketing of Fatih Akin in the German press -- Ayìa Tunì Cox: Hyphenated identities: the reception of Turkish-German cinema in the Turkish daily press -- THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND. Mine Eren: Cosmopolitan filmmaking: Fatih Akin's In July and Head-on -- Roger Hillman and Vivien Silvey: Remixing Hamburg: transnationalism in Fatih Akin's Soul kitchen -- Deniz Gukturk: World cinema goes digital: looking at Europe from the other shore.
Comprising a discussion of 'Alice in the Cities', 'The Bitter Tears of Petra von Kant', 'Heimat' and 'The American Friend', Julia Knight's study examines the American dominance of German film, the framework of European art cinema and how German cinema engages with contemporary German reality.
A historical overview of German film from the silent era to the present, presenting close readings of 14 films from five major historical periods of German cinema. Each chapter analyzes a single film, discussing filmmakers' personal styles, genre, and modes of narration, and looks at the wider contexts of film production and reception including political issues and social change. Films include a Nazi propaganda musical, Ernst Lubitsch's Passion, and Wim Wenders' Paris, Texas. Includes film credits for each film, bandw photos, and extensive notes. Annotation copyright by Book News, Inc., Portland, OR
A dynamic, event-centered exploration of the hundred-year history of German-language film. This dynamic, event-centered anthology offers a new understanding of the hundred-year history of German-language film, from the earliest days of the Kintopp to contemporary productions like The Lives of Others. Eachof the more than eighty essays takes a key date as its starting point and explores its significance for German film history, pursuing its relationship with its social, political, and aesthetic moment. While the essays offer ampletemporal and topical spread, this book emphasizes the juxtaposition of famous and unknown stories, granting attention to a wide range of cinematic events. Brief section introductions provide a larger historical and film-historicalframework that illuminates the essays within it, offering both scholars and the general reader a setting for the individual texts and figures under investigation. Cross-references to other essays in the book are included at the close of each entry, encouraging readers not only to pursue familiar trajectories in the development of German film, but also to trace particular figures and motifs across genres and historical periods. Together, the contributionsoffer a new view of the multiple, intersecting narratives that make up German-language cinema. The constellation that is thus established challenges unidirectional narratives of German film history and charts new ways of thinkingabout film historiography more broadly. Jennifer Kapczynski is Associate Professor of German at Washington University, St. Louis, and Michael Richardson is Associate Professor of German at Ithaca College.
Examining the New German Cinema as a whole, Sandford provides a film-by-film study of seven directors, locating their achievements within a frame of developments in television, drama, documentaries, and the political history of contemporary Germany itself. He also surveys the thematic concerns that dominate--or are notably absent from--these films. --From publisher description.
A Companion to German Cinema A Companion to German Cinema regards the shifting terrain of German filmmaking and film studies against their larger social contexts with twenty-two newly commissioned essays by well-established and younger scholars in the field. While several of these focus on classic topics such as Weimar cinema, Fifties cinema, New German Cinema and its legacy, and Holocaust film, the collection is distinguished by its focus on new developments and the innovative light they may shed on earlier practices. A Companion to German Cinema includes essays on Berlin Film, Neue Heimat Film, New Comedy, post-Wall documentaries, the post-Wende RAF genre, and Rabenmutter imagery, as well as on the persistently overlooked and under-theorized Indianerfilme, post-AIDS documentaries, sexploitation films, and new multicultural and transnational films produced in Germany under the auspices of the European Union. Organized into three “movements” representing the significance of these developments for their aesthetic theorization, A Companion to German Cinema challenges its readers to address critical gaps in the field with the aim of opening it further onto new terrains of intellectual engagement.