New Directions in German Cinema

Häftad, Engelska, 2011

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Beskrivning

Germany's national film industry has been undergoing a remarkable resurgence since the beginning of the new millennium. German language films have been receiving Oscar nominations, the likes of "Downfall" and "The Lives of Others" have been winning Oscars, and all the main international festivals, from Berlin to Cannes, have been showcasing these films. German language cinema is again attracting attention at home and abroad and "New Directions in German Cinema" explores its developments since 2000. An international group of specialists on German film, society, culture, and politics together provide a wide-ranging study of this remarkable turn of fortunes. They examine just what German language film now has to offer, from the evolution of the so-called 'heritage films' which now dominate the country's mainstream and which examine Germany's problematic pasts - the Nazi, East German and terrorist legacies - to those which focus on the contemporary social reality of the Berlin Republic.

Produktinformation

Utgivningsdatum:2011-09-29
Mått:152 x 232 x 22 mm
Vikt:1 000 g
Format:Häftad
Språk:Engelska
Serie:World Cinema
Antal sidor:320
Förlag:Bloomsbury Publishing PLC
ISBN:9781848859074

Utforska kategorier

Film inom Kultur

Mer om författaren

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.

Innehållsförteckning

IntroductionBeyond the Cinema of Consensus? New Directions in German Cinema since 2000Paul Cooke and Chris Homewood Chapter One ‘A Kind of Species Memory’: The Time of the Elephants in the Space of Alexander Kluge’s Cinematic PrincipleJohn E. DavidsChapter TwoDownfall (2004): Hitler in the New Millennium and the (Ab)Uses of HistoryChristine HaaseChapter Three‘Wonderfully Courageous’?: The Human Face of a Legend in Sophie Sophie Scholl: The Final Days (2005)Owen EvansChapter Four Music After Mauthausen: Re-Presenting the Holocaust in Stefan Ruzowitzky’s The Counterfeiters (2007)Brad PragerChapter FiveAiming to Please? Consensus and consciousness-raising in Wolfgang Becker’s Good Bye, Lenin! (2003)Nick HodginChapter SixWatching the Stasi: Authenticity, Ostalgie and History in Florian Henckel von Donnersmarck’s The Lives of Others (2006)Paul CookeChapter Seven From Baader to Prada: Memory and Myth in Uli Edel’s The Baader Meinhof Complex (2008)Chris HomewoodChapter EightThe Absent Heimat: Hans-Christian Schmid’s Requiem (2006)David ClarkeChapter NinePlay for Today: Situationist Protests and Uncanny Encounters in Hans Weingartner’s The Edukators (2004)Rachel PalfreymanChapter TenGerman Autoren Dialogue with Hollywood? Refunctioning the Horror Genre in Christian Petzold’s Yella (2007)Jaimey FisherChapter Eleven‘A Sharpening of Our Regard’: Realism, Affect, and the Redistribution of the Sensible in Valeska Grisebach’s Longing (2006)Marco AbelChapter TwelveToo Late for Love? The Cinema of Andreas Dresen on Cloud 9 (2008)Laura G. McGeeChapter Thirteen ‘Seeing Everything with Different Eyes’: The Diasporic Optic of Fatih Akin’s Head On (2004)Daniela BerghahnChapter FourteenNo Place Like Heimat: Mediaspaces and moving landscapes in Edgar Reitz’s Heimat 3 (2004)Alasdair KingReferences