Triangulated Visions

Ingeborg Majer O'Sickey is Assistant Professor at the State University of New York at Binghamton. Ingeborg von Zadow is a playwright and lives in Heidelberg, Germany. Among her works currently performed on stage are Pompinien and Ich und du.

"This is a book which really needs to be read, on the work of some of the most important artists working in cinema today." — Gwendolyn Foster, University of Nebraska–Lincoln"The theories, films, and directors discussed here have been too seldom treated but are very important to film studies, German studies, and cultural studies in general. This book does a valuable service in redressing this neglect." — Barton Byg, University of Massachusetts–Amherst"The topic of women in German cinema is undeniably significant in itself, and also of interest as an aspect of cinema studies and German literary/cultural studies. The inclusion of material on filmmaking in the former GDR and on documentary, along with more standard fictional films, as well as the filmmaker interviews and essays discussing a number of recent films, all make this volume particularly valuable." — Ramona Curry, University of Illinois at Urbana–Champaign

• AcknowledgmentsIntroductionIngeborg Majer O'SickeyPart I. Genre and Other Border Crossings1. Triangulating Performances: Looking After Genre, After FeatureNora M. Alter2. Fassbinder, Women, and Melodrama: Critical InterrogationsDouglas Kellner3. Behind the Curtains of a State-Owned Film Industry: Women-Filmakers at the DEFAMargrit Frolich4. The Queer and Unqueer Spaces of Monika Treut's FilmsMarcia KlotzPart II. Triangulations of Ethnicity, Gender, and Class5. "It Takes Three to Tango" or Romanace Revisited: Jutta Bruckner's One Glance and Love Breaks OutBarbara Kosta6. Interview with Jutta Bruckner: Feminist Filmmaking in Germany TodayIngeborg von Zadow7. Observing Rituals: Ulrike Ottinger's Johanna d'Arc of MongoliaJulia Knight8. Community and Its Contents: Race and Film History in Percy Adlon's Bagdad CafeDavid J. Levin9. Interview with Seyhan Derin: ben annemin kiziyim (I Am My Mother's Daughter)Henriette LowischPart III. Images of Power and Pleasure10. Narcissism: The Impossible LoveKaja Silverman11. Wanda's Whip: Recasting Masochism's Fantasy—Monika Treut's Seduction: The Cruel WomanBarbara Mennel12. Why Drag the Diva Into It? Werner Schroeter's Gay Representation of FemininityUlrike Sieglohr13. Interview with Doris Dorrie: Filmmaker, Writer, TeacherKlaus PhillipsPart IV. Images of Women as Social Ciphers14. Commodified Body: Helga Redemeister's Mit starrem Blick aufs Geld (Blank Stares and Hard Cash)Magda Mueller15. Interview: Women, Film, and Writing in the GDR: Helga Schubert and the DEFAUte Lischke-McNab16. Models or Misfits? The Role of Screen Heroines in GDR CinemaAndrea Rinke17. Wenders' Genders: From the End of the Wall to the End of the WorldScott SpectorPart V. Recovering (from) History: Memory and Film18. "The Robber Bridegroom" in Helma Sanders-Brahms's Deutschland, bleiche Mutter: Erzahltes Marchen und erlebtes GreuelmarchenRosmarie Thee Morewedge19. Fairy Tales and Reflexivity in Marianne Rosenbaum's Peppermint PeaceSusan E. Linville20. Interview with Helke Sander: Reception of Liberators Take Liberties: I would have hoped for a different discussion...Sabine Smith21. Helke Sander's Liberators Take Liberties and the Politics of HistoryMarie-Luise GattensAppendixA New Home for the EIFF-European Institute for Women and FilmUte Lischke-McNab talks with Jutta BrucknerContributorsSubject IndexAuthor Index