Contemporary German Cinema
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Course Outline
Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N. -
FLM302 Reading German Film 3 Module Outline 2019-20
FLM302: READING GERMAN FILM 3: CONTEMPORARY GERMAN CINEMA Course Outline, 2019-2020 Semester A 15 credits Course Organiser Dr Alasdair King [email protected] Arts 1: 2.08 Office hours: Wednesday 11-1 Timetable Screenings: Tuesday 10-12, Arts 1 G.34 Lectures: Tuesday 1-2, Bancroft G.07 Seminars: Thursday 2-3, Arts 2 3.17 Course Description This module will allow students to analyse various aspects of German film culture in the new millennium. It explores developments in recent German filmmaking in the context of the increasing globalisation of media industries and images and in the context of contemporary cinema’s relationship to other media forms. Stu- dents will explore the dynamics of recent German cinema, including its successes at major award ceremonies and at film festivals, its relationship to Hollywood and to other international cinemas, its distinct approach to questions of the audience, of auteurism and of production, and to transnational images, particularly con- cerning the emergence of Turkish-German filmmaking. Students will also address the representation of politics, terrorism, history, heritage and the national past, the engagement with issues of performance, gender and sexuality, the use of genre and popular commercial film styles, and the re-emergence of a ‘counter cinema’ in the work of the ‘Berlin School’ and after. Seminar work on current trends will allow students to work independently to research an individual case study of a chosen film and its significance to contemporary German cinema. Recommended Reading Abel, M (2013) The Counter-Cinema of the Berlin School. Rochester, NY: Camden House. -
FM 201 Introduction to Film Studies: German Cinema
FM 201 Introduction to Film Studies: German Cinema Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Tuesday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description In this introductory class basic knowledge of film history and theory, film aesthetics and cinematic language will be provided; central topics are the characteristics of film as visual form of representation, the development of film language since the beginning of the 20th century, styles of filmic discourse, film analysis and different approaches to film interpretation. The thematic focus will be on German cinema with classical films by Friedrich Wilhelm Murnau, Fritz Lang, Leni Riefenstahl, Wim Wenders, Volker Schlöndorff, Rainer Werner Fassbinder, Margarethe von Trotta, Tom Tykwer and others, reflecting historical and cultural experiences and changes in German history and society as well as developments in aesthetics and cinematic style. Foundational module: Approaching Arts Through Theory Credits: 8 ECTS, 4 U.S. credits Requirements No prerequisites. Attendance is mandatory for all seminars and film screenings. Students are expected to come to seminars and film screenings punctually and prepared, to participate actively in the class discussions and to do all the course assignments on time. * Please, do not use cell phones, smart phones or similar electronic devices during seminars and screenings! Academic Integrity Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. Instances in which students fail to meet the expected standards of academic integrity will be dealt with under the Code of Student Conduct, Section III Academic Misconduct. -
GN375 Revi Sed _____ Title of Course: the History of German Film New X__
Southeast Missouri State University Depar tment of Foreign Languages Course No. GN375 Revi sed _____ Title of Course: The History of German Film New _ X__ I. Catalog Descr iption and Cr edit Hour s of Cour se: A study of the history of German film from 1919 to the present, including the Weimar Republic, the Third Reich, Post War East and West Germany, and contemporary developments. 3 credit hours II. Pr er equi si t es: German 220 (German Literature) or equivalent or consent of the instructor. III. Cour se Obj ect i ves: A. To introduce the students to the major German film directors and films of the twentieth- century. B. To develop an approach to interpret these films as an outgrowth of their cultural, political, and soci o-economic milieu. C. To gain an understanding of Germany and appreciation of the German-speaki ng world based on their films. IV. Expectations of Students: A. Assignments: Students ar e exp ected to attend al l cl asses, compl ete al l assi gned r eadi ngs, and see al l r equi r ed f i lms. All films shown are in German with English subtitles. Students will see them outside of class. Only short subjects, clips etc. will be shown in class. B. Resear ch Pr oj ect: Students will select one film director or film for their semester project. They pr esent thei r pr oj ect i n Ger man dur i ng the l ast week of cl ass. C. In-Cl ass Repor ts: Students ar e exp ected to compl ete i n-class reports on events in the German- speaki ng world, the assigned readings, and related assignments. -
German Films Quarterly 2 · 2004
German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS. -
The Couch and the Silver Screen, Chapter 5 – Psychoanalytic
The Couch and the Silver Screen The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors,including leading cinema historians and theorists, psychoanalysts with a specific expertise in the interpretation of films, as well as the filmmakers themselves.This com- posite approach offers a fascinating insight into the world of cinema. The Couch and the Silver Screen is illustrated with stills throughout and Andrea Sabbadini’s introduction provides a theoretical and historical context for the current state of psychoanalytic studies of films.The book is organized into four clear sections – Set and Stage,Working Through Trauma, Horror Perspectives and Documenting Internal Worlds – which form the basis for engaging chapters including: • Easily readable and jargon-free film reviews. • Essays on specific subjects such as perspectives on the horror film genre and adolescent development. • Transcripts of live debates among film directors, actors, critics and psycho- analysts. The cultural richness of the material presented, combined with the originality of multidisciplinary dialogues on European cinema, makes this book appealing not only to film buffs,but also to professionals,academics and students interested in the application of psychoanalytic ideas to the arts. Andrea Sabbadini is a psychoanalyst in private practice in London and a lecturer at UCL. He is founding editor of Psychoanalysis and History and book review editor of The International Journal of Psychoanalysis.He chairs the European Psychoanalytic Film Festival and a series of film events at the ICA. THE NEW LIBRARY OF PSYCHOANALYSIS General Editor Dana Birksted-Breen Advisory Board Catalina Bronstein, Sara Flanders, John Keene and Mary Target The New Library of Psychoanalysis was launched in 1987 in association with the Institute of Psycho-Analysis, London. -
Titel Kino 2-2000
EXPORT-UNION OF GERMAN CINEMA 2/2000 At the Cannes International Film Festival: THE FAREWELL by Jan Schütte LOST KILLERS by Dito Tsintsadze NO PLACE TO GO by Oskar Roehler VASILISA by Elena Shatalova THE TIN DRUM – A LONE VICTOR On the History of the German Candidates for the Academy Award »SUCCESS IS IN THE DETAILS« A Portrait of Producer Kino Andrea Willson Scene from “THE FAREWELL” Scene from Studio Babelsberg Studios Art Department Production Postproduction Studio Babelsberg GmbH August-Bebel-Str. 26-53 D-14482 Potsdam Tel +49 331 72-0 Fax +49 331 72-12135 [email protected] www.studiobabelsberg.com TV SPIELFILM unterstützt die Aktion Shooting Stars der European Filmpromotion www.tvspielfilm.de KINO 2/2000 German Films at the 6 The Tin Drum – A Lone Victor 28 Cannes Festival On the history of the German candidates for the Academy Award 28 Abschied for Best Foreign Language Film THE FAREWELL Jan Schütte 11 Stations Of The Crossing 29 Lost Killers Portrait of Ulrike Ottinger Dito Tsintsadze 30 Die Unberührbare 12 Souls At The Lost-And-Found NO PLACE TO GO Portrait of Jan Schütte Oskar Roehler 31 Vasilisa 14 Success Is In The Details Elena Shatalova Portrait of Producer Andrea Willson 16 Bavarians At The Gate Bavaria Film International 17 An International Force Atlas International 18 KINO news 22 In Production 22 Die Blutgräfin 34 German Classics Ulrike Ottinger 22 Commercial Men 34 Es geschah am 20. Juli Lars Kraume – Aufstand gegen Adolf Hitler 23 Edelweisspiraten IT HAPPENED ON JULY 20TH Niko von Glasow-Brücher G. W. -
Absurd Black Humour As Social Criticism in Contemporary European Cinema
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Absurd Black Humour as Social Criticism in Contemporary European Cinema Eszter Simor Doctor of Philosophy The University of Edinburgh 2019 Submitted in satisfaction of the requirements for the degree of PhD in Film Studies at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (PhD) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. -
Introduction
INTRODUCTION People don’t want to see a German film made by a German any more, not unless it’s some trash.1 German film is gathering speed. The age of the rom-coms is over, the auteur film has finally given up. With courage, passion, irreverence and imagination, a new generation of actors, directors and scriptwriters has given German cinema a creative boost. 2 By the final decade of the last century, German cinema, once regarded as a serious challenger to Hollywood and later associated with exciting, oppo- sitional filmmaking, had, as the quotation from Werner Herzog indicates, been reduced to banality. Herzog’s reputation as Germany’s ‘visionary’ di- rector seemed justified: the 1990s saw the release of a series of trite, for- mulaic comedies, whose debt to Hollywood was obvious. These popular mainstream films are, according to Eric Rentschler, part of the ‘cinema of consensus’, which shuns the perceived obscurantism of the New German Cinema and, instead, ‘cultivates familiar genres and caters to public tastes’.3 The satisfaction derived through recognition and anticipation, familiarity breeding contentment, as it were, was one that Adorno and Horkheimer had previously described: Pleasure hardens into boredom because, if it is to remain pleasure, it must not demand any effort and therefore moves rigorously in the worn grooves of association. No independent thinking must be expected from the audience … Any logical connection calling for mental effort is painstakingly avoided.4 This is not to say that German filmmakers have avoided making films re- quiring mental effort. In terms of box-office success, the 1990s may be as- sociated with hackneyed genre filmmaking, but the decade produced some critical and inventive works, even if the public was seldom swayed by the films’ success at international film festivals or by enthusiastic reviews. -
German Videos Use the Find Function to Search This List
German Videos Use the Find function to search this list Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness.LLC Library CALL NO. GR 009 Aimée and Jaguar DVD CALL NO. GR 132 Ali: Fear Eats the Soul Director: Rainer Werner Fassbinder. with Brigitte Mira, El Edi Ben Salem. 1974, 94 minutes, German with English subtitles. A widowed German cleaning lady in her 60s, over the objections of her friends and family, marries an Arab mechanic half her age in this engrossing drama. LLC Library CALL NO. GR 077 All Quiet on the Western Front DVD CALL NO. GR 134 A/B Alles Gute (chapters 1 – 4) CALL NO. GR 034-1 Alles Gute (chapters 13 – 16) CALL NO. GR 034-4 Alles Gute (chapters 17 – 20) CALL NO. GR 034-5 Alles Gute (chapters 21 – 24) CALL NO. GR 034-6 Alles Gute (chapters 25 – 26) CALL NO. GR 034-7 Alles Gute (chapters 9 – 12) CALL NO. GR 034-3 Alpen – see Berlin see Berlin Deutsche Welle – Schauplatz Deutschland, 10-08-91. [ Opening missing ], German with English subtitles. LLC Library Alpine Austria – The Power of Tradition LLC Library CALL NO. GR 044 Amerikaner, Ein – see Was heißt heir Deutsch? LLC Library Annette von Droste-Hülshoff CALL NO. GR 120 Art of the Middle Ages 1992 Studio Quart, about 30 minutes. Masterpieces of the Hermitage – Museum of St. -
Berlinâ•Ž Movies in Post-Wende Berlin and Germany
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2004 Berlin’ Movies in Post-Wende Berlin and Germany Alissa Hope Nesbitt University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the German Language and Literature Commons Recommended Citation Nesbitt, Alissa Hope, "Berlin’ Movies in Post-Wende Berlin and Germany. " Master's Thesis, University of Tennessee, 2004. https://trace.tennessee.edu/utk_gradthes/2317 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Alissa Hope Nesbitt entitled "Berlin’ Movies in Post- Wende Berlin and Germany." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in German. Peter Höyng, Major Professor We have read this thesis and recommend its acceptance: David Lee, Charles Maland Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Alissa Hope Nesbitt entitled “‘Berlin’ Movies in Post-Wende Berlin and Germany.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in German. -
Laurier's Free Film Series Presents “A World of Leading Ladies”
NEWS RELEASE CONTACT Philippa Gates, Professor Department of English and Film Studies 519-884-0710 ext. 2476 or [email protected] Kevin Crowley, Director Communications & Public Affairs, Wilfrid Laurier University 519-884-0710 ext. 3070 or [email protected] SEPT 9, 2016 | 176-16 Laurier’s free film series presents “A World of Leading Ladies” WATERLOO – Wilfrid Laurier University’s free film series presents “A World of Leading Ladies.” The six-part film series is open to the community and begins Sept. 15 at 7 p.m. in the Bricker Academic Building, room 102, on Laurier’s Waterloo campus. This fall’s series offers strong and interesting women in leading roles in films from different genres and different countries. Each film corresponds to one of the programs offered in Laurier’s Department of Languages and Literature; namely, French, German, Spanish, Arabic and Italian. The series is presented by Laurier’s Department of English and Film Studies, in partnership with the WLU Film Society and with funding from the dean of Arts. Each screening includes an informative introduction by a Laurier faculty member. All films in the series are free and take place at 7 p.m. in the Bricker Academic Building, room 102. They include: Sept. 15: Associate Professor Milo Sweedler presents Amélie (France 2001, Jean-Pierre Jeunet). With its whimsical depiction of The Fabulous Life of Amélie Poulain (French title translation), this romantic comedy captured critical acclaim, international attention and box-office success and came to be the highest-grossing French-language film released in the US. The film centres on the charming and captivating performance of French actress and model Audrey Tautou, who achieved international recognition and stardom as a result.