THE POLITICAL IS PERSONAL: MARGARETHE VON TROTTA'S MARIANNE AND JULIANE Author(s): ELLEN SEITER Reviewed work(s): Source: Journal of Film and Video, Vol. 37, No. 2, SEXUAL DIFFERENCE (Spring 1985), pp. 41- 46, 39 Published by: University of Illinois Press on behalf of the University Film & Video Association Stable URL: http://www.jstor.org/stable/20687660 . Accessed: 27/03/2012 16:23 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of Illinois Press and University Film & Video Association are collaborating with JSTOR to digitize, preserve and extend access to Journal of Film and Video. http://www.jstor.org THE POLITICAL IS PERSONAL: MARGARETHE VON TROTTA'S MARIANNE AND JULIANE ELLEN SEITER "IfMarianne and Juliane were really exemplifies the problems of interpreting what it claims to be itwould not have the New German Cinema outside the gotten any support, distribution or context of German history and culture. exhibition." -Charlotte Frauen und Film' DeLorme, Margarethe von Trotta is one of a handful of women directors making narrative von Trotta's 1981 film Margarethe feature films to gain an international Marianne and Juliane Bleierne (Die Zeit) reputation on the art film circuit; she is raises critical questions about feminist also thewoman director most often iden filmmaking, political narrative film, and tified in theUnited States with theNew the of German films in the interpretation German Cinema.2 While there are many United States.