Explores German language cinema's developments since 2000. This title examines just what German language film has to offer, from the evolution of the so-called 'heritage films' which dominate the country's mainstream and which examine Germany's problematic pasts, to those which focus on the contemporary social reality of the Berlin Republic.
Explores German language cinema's developments since 2000. This title examines just what German language film has to offer, from the evolution of the so-called 'heritage films' which dominate the country's mainstream and which examine Germany's problematic pasts, to those which focus on the contemporary social reality of the Berlin Republic.
Paul Cooke is Professor of German Cultural Studies at the University of Leeds. Chris Homewood is Lecturer in German and World Cinema at the University of Leeds.
Inhaltsangabe
Introduction Beyond the Cinema of Consensus? New Directions in German Cinema since 2000 Paul Cooke and Chris Homewood Chapter One 'A Kind of Species Memory': The Time of the Elephants in the Space of Alexander Kluge's Cinematic Principle John E. Davids Chapter Two Downfall (2004): Hitler in the New Millennium and the (Ab)Uses of History Christine Haase Chapter Three 'Wonderfully Courageous'?: The Human Face of a Legend in Sophie Sophie Scholl: The Final Days (2005) Owen Evans Chapter Four Music After Mauthausen: Re-Presenting the Holocaust in Stefan Ruzowitzky's The Counterfeiters (2007) Brad Prager Chapter Five Aiming to Please? Consensus and consciousness-raising in Wolfgang Becker's Good Bye, Lenin! (2003) Nick Hodgin Chapter Six Watching the Stasi: Authenticity, Ostalgie and History in Florian Henckel von Donnersmarck's The Lives of Others (2006) Paul Cooke Chapter Seven From Baader to Prada: Memory and Myth in Uli Edel's The Baader Meinhof Complex (2008) Chris Homewood Chapter Eight The Absent Heimat: Hans-Christian Schmid's Requiem (2006) David Clarke Chapter Nine Play for Today: Situationist Protests and Uncanny Encounters in Hans Weingartner's The Edukators (2004) Rachel Palfreyman Chapter Ten German Autoren Dialogue with Hollywood? Refunctioning the Horror Genre in Christian Petzold's Yella (2007) Jaimey Fisher Chapter Eleven 'A Sharpening of Our Regard': Realism, Affect, and the Redistribution of the Sensible in Valeska Grisebach's Longing (2006) Marco Abel Chapter Twelve Too Late for Love? The Cinema of Andreas Dresen on Cloud 9 (2008) Laura G. McGee Chapter Thirteen 'Seeing Everything with Different Eyes': The Diasporic Optic of Fatih Akin's Head On (2004) Daniela Berghahn Chapter Fourteen No Place Like Heimat: Mediaspaces and moving landscapes in Edgar Reitz's Heimat 3 (2004) Alasdair King References
Introduction Beyond the Cinema of Consensus? New Directions in German Cinema since 2000 Paul Cooke and Chris Homewood Chapter One 'A Kind of Species Memory': The Time of the Elephants in the Space of Alexander Kluge's Cinematic Principle John E. Davids Chapter Two Downfall (2004): Hitler in the New Millennium and the (Ab)Uses of History Christine Haase Chapter Three 'Wonderfully Courageous'?: The Human Face of a Legend in Sophie Sophie Scholl: The Final Days (2005) Owen Evans Chapter Four Music After Mauthausen: Re-Presenting the Holocaust in Stefan Ruzowitzky's The Counterfeiters (2007) Brad Prager Chapter Five Aiming to Please? Consensus and consciousness-raising in Wolfgang Becker's Good Bye, Lenin! (2003) Nick Hodgin Chapter Six Watching the Stasi: Authenticity, Ostalgie and History in Florian Henckel von Donnersmarck's The Lives of Others (2006) Paul Cooke Chapter Seven From Baader to Prada: Memory and Myth in Uli Edel's The Baader Meinhof Complex (2008) Chris Homewood Chapter Eight The Absent Heimat: Hans-Christian Schmid's Requiem (2006) David Clarke Chapter Nine Play for Today: Situationist Protests and Uncanny Encounters in Hans Weingartner's The Edukators (2004) Rachel Palfreyman Chapter Ten German Autoren Dialogue with Hollywood? Refunctioning the Horror Genre in Christian Petzold's Yella (2007) Jaimey Fisher Chapter Eleven 'A Sharpening of Our Regard': Realism, Affect, and the Redistribution of the Sensible in Valeska Grisebach's Longing (2006) Marco Abel Chapter Twelve Too Late for Love? The Cinema of Andreas Dresen on Cloud 9 (2008) Laura G. McGee Chapter Thirteen 'Seeing Everything with Different Eyes': The Diasporic Optic of Fatih Akin's Head On (2004) Daniela Berghahn Chapter Fourteen No Place Like Heimat: Mediaspaces and moving landscapes in Edgar Reitz's Heimat 3 (2004) Alasdair King References
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