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Women and the New German Cinema
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.
New German Cinema and Its Global Contexts
Contributors explore these films' transnational circuits of production, distribution, and exhibition, as well as how the films were made and received, thereby inviting us to reexamine the roots of what New German Cinema was and imagine what it might yet become.
Feminism, Film, Fascism
German society's inability and/or refusal to come to terms with its Nazi past has been analyzed in many cultural works, including the well-known books Society without the Father and The Inability to Mourn. In this pathfinding study, Susan Linville challenges the accepted wisdom of these books by focusing on a cultural realm in which mourning for the Nazi past and opposing the patriarchal and authoritarian nature of postwar German culture are central concerns—namely, women's feminist auto/biographical films of the 1970s and 1980s. After a broad survey of feminist theory, Linville analyzes five important films that reflect back on the Third Reich through the experiences of women of different ages—Marianne Rosenbaum's Peppermint Peace, Helma Sanders-Brahms's Germany, Pale Mother, Jutta Brückner's Hunger Years, Margarethe von Trotta's Marianne and Juliane, and Jeanine Meerapfel's Malou. By juxtaposing these films with the accepted theories on German culture, Linville offers a fresh appraisal not only of the films' importance but especially of their challenge to misogynist interpretations of the German failure to grieve for the horrors of its Nazi past.
Mapping Channels between Ganges and Rhein
From the middle ages to the twenty-first century, India has held a fascination in the German imagination, not only as geographical location, but also as a philosophical and spiritual concept. Similarly, India has long held an interest in German language and culture, including wide recognition of several German authors, philosophers, and Indologists. This cross-cultural interest between the Indian subcontinent and the German-speaking world has manifested itself in literature, linguistics, the performing arts, religion, philosophy, history, politics, and many other fields. Concepts and names that mark some of the channels of exchange and communication between the two cultures include Balthasar...
Celluloid Revolt
Provides new insights into German-language cinema around 1968 and its relationship to the period's epoch-making cultural and political happenings. The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German and Austrian society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insigh...
Christian Petzold
Christian Petzold (b. 1960) is the best-known filmmaker associated with the “Berlin School” of postunification German cinema. Identifying as an intellectual, Petzold self-consciously approaches his work for both the big and the small screen by weaving critical reflection on the very conditions of contemporary filmmaking into his approach. Archeologically reconstructing genre filmmaking in a national film production context that makes the production of genre cinema virtually impossible, he repeatedly draws on plots from classic films, including Alfred Hitchcock’s, in order to provide his viewers with the distinct pleasures only cinema can instill without, however, allowing his audience ...
A Credible Utopia
A Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter's cinematic universe. Many of the films discussed in this book are those upon which Schroeter's worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter's visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, viole...
Distributing Silent Film Serials
Tracing the international consumption, distribution, and cultural importance of silent film serials in the 1910s and 1920s, Canjels provides an exciting new understanding of the cultural dimension and the cultural transformation and circulation of media forms. Specifically, he demonstrates that the serial film form goes far beyond the well-known American two-reel serial—the cliffhanger. Throughout the book, Canjels focuses on the biggest producers of serials, America, France, and Germany, while imported serials, such as those in the Netherlands, are also examined. This research offers new views on the serial work of well known directors as D.W. Griffith, Abel Gance, Erich von Stroheim, and...
Performative Figures of Queer Masculinity
This is a German history of cinema and film from the 1890s to 1945 with a focus on queer masculinity. Using media studies approaches, the study shows how film as a new medium is constituted through performative re-enactments of spectacular elements from the entertainment and knowledge cultures of the 19th century. In it, bodies, desires and identities are constantly remodelled through the formation of difference. Therefore, male queerness here does not mean the representation of male homosexuality. Rather, it is the dynamic result of complex medial processes, affects and (self-)knowledge on and off the screen. Building on Eve K. Sedgwick's queer-feminist concept of queer performativity, the ...
Historical Dictionary of German Cinema
The History of German film is diverse and multi-faceted. This volume can only suggest the richness of a film tradition that includes five distinct German governments [Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany (West Germany), and the German Democratic Republic (East Germany), s well as a reunited Germany], two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as and the natural inclination of artists to rebel and create new styles, allow for construction of a narrative of German film. Disjuncture generates distinc...
