DOCSLIB.ORG

Contemporary German Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary German Cinema Contemporary German Cinema (3 credits) From Weimar to Wall and Beyond Fall 2011 01:470:349:01 Index: 36006 Cross-listed with Comparative Literature 01:195:398:01 T 6 4:30 pm - 5:50 pm SC 219 Th 6 4:30 pm - 5:50 pm MU 213 Salvatore Pappalardo German House 172 College Avenue 732-932-7201 [email protected] Office Hours: Mondays 11.30 am – 12.30 pm or by appointment Course description: With innovative films by directors like Rainer Werner Fassbinder, Volker Schlöndorff, Helma Sanders-Brahms and others, postwar German cinema garnered the attention of the international community. This course examines this development, which began with a manifesto proclaiming a “New German Cinema.” To fully appreciate the wave of innovation in German film we will briefly consider the cinema at the end of the Weimar Republic and then follow the trajectory through the postwar years, the post-unification period and present-day multi-cultural Germany. Screenings will take place within the context of the Leupp Hall special interest housing film nights, but copies of the film (in either DVD or VHS format) will be available on reserve at the Alexander Library. The objective of this course is to familiarize students with theoretical approaches to film and the historical development of German cinematography. Over the course of the semester, students will learn how to analyze and interpret films by learning about technical production (sound, shots, montage etc.) and by placing films against the background of transformations in German society. Taught in English Film screenings in German with English subtitles Required texts: James Monaco. How to Read a Film: The World of Movies, Media, Multimedia: Language, History, Theory (ISBN-13: 978-0195321050) Stephen Brockmann. A Critical History of German Film (ISBN-13: 978-1571134684) Anton Kaes. From Hitler to Heimat: The Return of History as Film (ISBN-13: 978- 0674324565) Books are available at the Rutgers bookstore. All other readings will be available on the Sakai website for this class. Requirements: Midterm paper (5-7 pages) 40 % Final paper (10-12 pages) 50 % Class participation 10 % A=90-100%; B+=85-89; B=80-84; C+=75-79; C=70-74; D=65-69; F=64 and below All written assignments must be printed in black ink on one side of white paper. Pages must be numbered sequentially in the bottom right hand corner. All papers must be written in Times New Roman size 12 (size and font used here). No other font and size will be accepted. All papers must have standard 1-inch margins on the top, bottom, left and right sides. Do not justify the margins of your paper – left alignment only. All papers must have a title, preferably a relevant one free of cliché and sentiment. All papers must be double-spaced. Papers not in compliance with the regulations will not be read and will not receive a grade. Learning goals: II.C.I This course satisfies the Core Curriculum Learning Goal II. C. I Attendance: All students must attend regularly and arrive prepared; if you expect to miss one or two classes, please use the University absence reporting website https://sims.rutgers.edu/ssra/ to indicate the date and reason for your absence. An email is automatically sent to me. Those who miss more than two class sessions without a compelling excuse (a doctor’s note, for instance) should expect a one-step reduction in the course grade (i.e. an A becomes a B+, a B+ becomes a B). Three late arrivals count as one absence. Note: It is the responsibility of students who have been absent (for any reason) to find out what they have missed and obtain materials that may have been handed out. Photocopies Disability Support Services: Students who may be requesting accommodations due to disabilities are encouraged to familiarize themselves with procedures and policies regarding disability support services at the following website: http://disabilityservices.rutgers.edu/ . It is recommended that students seeking accommodations begin filing paperwork as soon as possible as the documentation review process may take up to 30 business days. Students are encouraged to speak with teachers about these issues at the beginning of the term. All such conversations will be kept strictly confidential. Photocopies: Department photocopying fees add up quickly and impressively; we will therefore need to collect from each student 5 cents per page toward the cost of handouts other than the syllabus, quizzes and tests. Plagiarism: Plagiarism is an extremely serious matter, and can lead to a student’s failing the course and being referred to his or her dean for disciplinary action. When referring to ideas other than your own, always acknowledge your sources clearly and completely, whether you are quoting or paraphrasing. Please see the University’s policies on academic integrity at http://teachx.rutgers.edu/integrity/policy.html, and discuss with your instructor any questions you may have about this and related issues. Class schedule: Date Film Reading 9/1/2011 Introduction to content and format of the course. Siegfried Kracauer, From Caligari to Hitler (excerpts) 9/6/2011 James Monaco, pp. 1-43 Stephen Brockmann, pp.1-12 and pp. 43-58 Siegfried Kracauer, “The Little Shopgirls Go to the Movies” 9/8/2011 Josef von Sternberg: James Monaco, pp. 44-70 The Blue Angel / Der blaue Stephen Brockmann, pp. 97-112 Engel (1930) Béla Balázs, The Visible Human (excerpts) 9/13/2011 Anton Kaes, 1-36 James Monaco, pp. 71-98 Horkheimer/Adorno, “The Culture Industry: Enlightenment as Mass Deception” (excerpts) 9/15/2011 Fritz Lang: James Monaco: pp. 99-136 M / M – Eine Stadt sucht Stephen Brockmann. pp. 113-130 einen Mörder (1931) Horst Lange, “Nazis vs. The Rule of Law: Allegory and Narrative Structure in Fritz Lang’s M” 9/20/2011 James Monaco: pp. 137-155 Stephen Brockmann: pp. 285-302 Anton Kaes: 37-72 9/22/2011 Volker Schlöndorff: Young Das Oberhausen Manifesto (1962) Törless / Der junge Törless Alexander Kluge, “What do the ‘Oberhauseners’ (1966) Want?” Stephen Brockmann: pp. 315-328 Adorno, “Transparencies on Film” (excerpts) 9/27/2011 James Monaco: pp.156-190 Thomas Elsaesser, New German Cinema, A History (excerpts) Christopher Dietrich. “A Closet Full of Brutality: Volker Schlöndorff’s Young Törless ” 9/29/2011 Rainer Werner Fassbinder: James Monaco: pp. 191-234 The Marriage of Maria Anton Kaes: 73-136 Braun / Die Ehe der Maria Elsaesser, Fassbinder’s Germany pp. 13-44 Braun (1979) 10/4/2011 James Monaco: pp.235-288 Stephen Brockmann: pp.357-370 Thomas Elsaesser, NGC (excerpts) 10/6/2011 Volker Schlöndorff: James Monaco: pp.289-335 The Tin Drum / Stephen Brockmann: pp. 371-382 Die Blechtrommel (1979) Carol Hall. “A Different Drummer: The Tin Drum Film and Novel” 10/11/2011 James Monaco: pp.336-391 Thomas Elsaesser, NGC (excerpts) 10/13/2011 Werner Herzog: James Monaco: pp.392-420 Aguirre, the Wrath of God / Stephen Brockmann: 329-342 Aguirre, der Zorn Gottes John Davidson, De-territorializing the New (1972) German Cinema (excerpts) 10/18/2011 James Monaco: pp.421-440 Thomas Elsaesser, NGC John Davidson, “As Others Put Plays Upon the Stage: Aguirre , Neocolonialism, and the New German Cinema” Midterm paper due 10/20/2011 Wim Wenders: James Monaco: pp.441-479 Wings of Desire / Der Stephen Brockmann: 399-412 Himmel über Berlin (1987) Thomas Martinec: “Some Kind of Film-Poem” 10/25/2011 James Monaco: pp.480-512 Stephen Brockmann: 413-436 10/27/2011 Tom Tykwer: James Monaco: pp.513-577 Run Lola Run / Lola rennt Stephen Brockmann:457-468 (1998) Ingeborg M. Sickley. “Time and Desire in Tom Tykwer’s Run Lola Run ” 11/1/2011 James Monaco: pp.578-607 Robert Lauer. “ Run Lola Run and the Dawn of Postmodernity” 11/3/2011 Heiner Carow: James Monaco: pp.608-639 Legend of Paul and Paula / Stephen Brockmann: pp. 213- 234 and 259-276 Die Legende von Paul und Irene Dölling. “We all Love Paula but Paul is Paula (1973) More Important to Us” 11/8/2011 James Monaco: pp.640-676 Gertrud Koch: “Uneasy Pleasing: Film as Mass Art” 11/10/2011 Helma Sanders-Brahms: James Monaco: pp.677-691 Germany, Pale Mother / Susan Linville. “The Mother-Daughter Plot in Deutschland bleiche Mutter History: Helma Sanders-Brahms’s Germany Pale (1980) Mother ” 11/15/2011 Anton Kaes: 136-192 Gertrud Koch: “Ex-Changing the Gaze: Re- Visioning Feminist Film Theory” 11/17/2011 Michael Haneke: Garret Stewart: “Pre-War Trauma: Haneke’s The The White Ribbon / Das White Ribbon ” weisse Band (2009) Oliver Speck: “Self/Aggression: Violence in Films by Michael Haneke” 11/22/2011 Rosalind Galt. “The Functionary of Mankind. Haneke and Europe” Fatima Naqvi. “A Melancholy Labor of Love, or Film Adaptation as Translation: Michael Haneke’s Drei Wege zum See ” 11/23 – 11/27 Thanksgiving Recess No class 11/29/2011 Florian Henckel von Stephen Brockmann: pp. 489-500 Donnersmarck: Gary Schmidt. “Between Authors and Agents: The Life of Others / Das Gender and Affirmative Culture in Das Leben der Leben der Anderen (2006) Anderen ” 12/1/2011 Wolfgang Becker: Stephen Brockmann: pp. 469-478 Good Bye, Lenin (2003) Joseph Jozwiak and Elizabeth Mermann: “The Wall in Our Minds? Colonization, Integration and Nostalgia” 12/6/2011 Jennifer Creech: “A Few Good Men: Gender, Ideology, and Narrative Politics in The Lives of Others and Good Bye, Lenin! ” Anthony Enns: “The Politics of Ostalgie : Post- Socialist Nostalgia in Recent German Film” 12/8/2011 Fatih Akın: Stephen Brockmann: pp. 479-488 Gegen die Wand / Head On Schindler/Koepnick: The Cosmopolitan Screen (1998) pp.1-24 12/13/2011 David Gramling: “On the Other Side of Monolingualism: Fatih Akın’s Linguistic Turn(s)” Final Discussion 12/18/2011 Final Paper Due .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]