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FLM302 Reading German Film 3 Module Outline 2019-20

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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. Abel, M and Fisher, J. (eds) (2018) The Berlin School and Its Global Contexts: A Transnational Art Cinema. De- troit: Wayne State University Press. Bergfelder, T. et al. (eds) (2002/2018) The German Cinema Book. London: BFI Publishing. Second edition. Cooke, P (2012) Contemporary German Cinema. Manchester: Manchester University Press. Cooke, P and Homewood, C (eds) (2011) New Directions in German Cinema. London and New York: I. B. Tauris. Fisher, J and Prager, B (eds) (2010) The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century. Detroit: Wayne State University Press. Fisher, J (ed) (2013) Generic Histories of German Cinema. Rochester, NY: Camden House. Hake, S. (2008) German National Cinema. London: Routledge. 2nd edition. Landry, O (2018) Movement and Performance in Berlin School Cinema. Bloomington: Indiana University Press. Mueller, G and Skidmore, J (eds) (2011) Cinema and Social Change in Germany and Austria. Waterloo, Canada: Wilfried Laurier University Press. Rentschler, E (2000) ‘From New German Cinema to the postwall cinema of consensus’, in Hjort, M and MacKenzie, S. (eds) Cinema and Nation, London: Routledge. Roy, R and Leweke, A (2013) The Berlin School: Films from the Berliner Schule. NY: MOMA. General Reading List Amend, H and Bütow, M (eds) (1997) Der bewegte Film: Aufbruch zu neuen deutschen Erfolgen. Berlin:Vistas. Becker, W and Lichtenberg, B (2003) Good Bye, Lenin! Ein Film von Wolfgang Becker. Berlin: Bergfelder, T (2005) ‘National, transnational or supranational cinema? Rethinking European film studies’, Media, Culture and Society, 27(3), pp. 315-331. Berghahn, D (2005) Hollywood Behind the Wall: The Cinema of East Germany. Manchester and New York: Manchester University Press. Berghahn, D (ed) (2009) ‘Turkish-German dialogues onscreen’, Special Issue, New Cinemas: Journal of Contemporary Film, 7:1. Berghahn, D and Sternberg, C (eds) (2010) European Cinema in Motion: Migrant and Diasporic Film in Contem porary Europe. London: Palgrave Macmillan. Birgel, F and Phillips, K (eds.) (2004) Straight through the Heart: Doris Dörrie, German Filmmaker and Author. Lanham, Maryland: Scarecrow Press. Brockmann, S. (2013) A Critical History of German Film. Rochester, New York: Camden House. Castendyk, O (2006) Die deutsche Filmförderung: Eine Evaluation. Potsdam: Erich Pommer Institut. Clarke, D (ed) (2006) German Cinema after Unification. London and New York: Continuum. Cook, R, Koepnick, L, Kopp, K, and Prager, B, (2013) Berlin School Glossary: An ABC of the New Wave in German Cinema. Bristol and Chicago: Intellect. Cooke, P (2005) Representing East Germany since Unification: from colonization to nostalgia. Oxford: Berg. (2004) 'Whatever happened to Veronica Voss? Rehabilitating the “68ers” and the problem of Westalgie in Oskar Roehler’s Die Unberührbare (2000)', German Studies Review, 27, 33-44. (2003) ‘Performing Ostalgie: Leander Haußmann’s Sonnenallee’, German Life and Letters, 56, 156-167. Cooke, P (ed) (2013) The Lives of Others and Contemporary German Film. Berlin and Boston: De Gruyter. Elsaesser, T (2005) European Cinema: Face to Face with Hollywood. Chicago: University of Chicago Press. Elsaesser, T. (2014) German Cinema: Terror and Trauma. Cultural Memory since 1945. NY: Routledge. Evans, O (2004) ‘Tom Tykwer’s Run Lola Run: Postmodern, posthuman or “post-theory”?’ Studies in Euro pean Cinema 1.2, 105-115. Ezra, E and Rowden, T (eds) (2005) Transnational Cinema: The Film Reader. London: Routledge. Finney, A (1996) The State of European Cinema: A New Dose of Reality. London: Cassell. Fisher, J (2013) Christian Petzold. Urbana: University of Illinois Press. Frey, M (2014) Postwall German Cinema. History, Film History and Cinephilia. Oxford and NY: Berghahn. Gersch, W (2006) Szenen eines Landes: Die DDR und ihre Filme. Berlin: Aufbau. GFL (German as a Foreign Language ): http://www.gfl-journal.de/current/index.html. See 2006(1), 2006(3), 2008(1). Haase, C (2007) When Heimat meets Hollywood. German Filmmakers in America 1985-2005. Rochester, New York: Camden House Hake, S and Mennel, B (eds) (2014) Turkish German Cinema in the New Millenium. Oxford and NY: Berghahn. Halle, R and McCarthy M (eds) (2003) Light Motives: German Popular Film in Perspective. Detroit: Wayne State UP. Halle, R (2008) German Film after Germany: Towards a Transnational Aesthetic. Urbana and Chicago: University of Illinois Press. Hennig-Thurau, T and Henning, V (eds.) (2009) Guru-Talk: Die deutsche Filmindustrie im 21. Jahrhundert. Marburg: Schüren. Hjort, M and MacKenzie, S (eds) (2000) Cinema and Nation. London: Routledge. Hodgin, N (2011) Screening the East: Heimat, Memory and Nostalgia in German Film since 1989. Oxford and New York: Berghahn. Jäckel, A (2003) European Film Industries. London: BFI. Jacobsen, W. et al (eds) (1993/2004) Geschichte des deutschen Films. 2nd Edition. Stuttgart: Metzler. Kapczynski, J and Richardson, M. (eds) (2012) A New History of German Cinema. Camden House. Keil, K et al. (2006) Demografie und Filmwirtschaft: Studie zum demografischen Wandel und seinen Auswirkungen auf Kinopublikum und Filminhalte in Deutschland. Potsdam: Erich Pommer Institut. Majer O’Sickey, I and von Zadow I (eds) (1998) Triangulated Visions: Women in Recent German Cinema. Albany: State University of New York P. Meik, O (2002) Lola rennt - aber wohin? Analyse, Interpretation und theologische Kritik eines postmodernen Films über den Menschen und seine Möglichkeiten. Frankfurt/M: Peter Lang. Miller, T et al (eds.) (2001) Global Hollywood. London: BFI. Moles Kaupp, C (2003) Good Bye, Lenin! Bonn: Bundeszentrale für politische Bildung. Naughton, L (2002) That Was the Wild East: Film Culture, Unification and the ‘New’ Germany. Ann Arbor: U Michigan P. Nowell-Smith, G and Ricci, S (eds) (1998) Hollywood and Europe: Economics, Culture and National Identity 1945-1995. London: BFI. Post-Wall German Cinema. (2000) Special issue of Camera Obscura, 44. Post-Wall German Cinema (2002) Special issue of New German Critique, 87. Prager, B (2007) The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth. London: Wallflower. Schäffler, S (2002) Neun Interviews. Munich: Belleville. Schick, T and T. Ebbrecht (eds) (2011) Kino in Bewegung: Perspektiven des deutschen Gegenwartsfilm. Wiesbaden: VS Verlag. Schindler, S and Koepnick, L (2007) The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present. Ann Arbor: University of Michigan Press. Schuppach, S (2004) Tom Tykwer. Mainz: Steiner, F (2003) Stepping Out: Von der Filmhochschule zum Spielfilm: Junge Regisseure erzählen. Marburg: Schüren. Töteberg, M (ed) (1999) Szenenwechsel: Momentaufnahmen des jungen deutschen Films. Hamburg: Rowohlt. Töteberg, M (1998) Lola Rennt. Berlin Vogt, G and Sanke, P (2001) Die Stadt im Kino. Marburg: FILMPORTAL.DE The website at http://www.filmportal.de/df/index.html offers very useful information, particularly on the most recent German releases, which will be useful for your essay plan. If you use information from this website in your assessed critical essay, please remember to cite it appropriately and to provide full ref- erence details. Failure to provide full references to material taken from secondary sources may count as plagiarism. Further reading on specific films will be provided on seminar handouts and posted on QM+. Outline of lecture and seminar sessions Week 1: Tuesday 24 September Introduction: Description of course aims, structure, methods of assessment. Introduction to contemporary German cinema: the key debates and issues. Financing cinema in Germany: art, entertainment or commerce? Key reading: Cooke (2012) pp. 22-52, 253-258. J Fisher and B Prager (2010) pp. 1-38. Key film: Das weiße Band: Eine deutsche Kindergeschichte/ The White Ribbon (Haneke, 2009) The Dreamed Path (Schanelec, 2017) – see also Berlin School Global Context pp. 17- 22. Week 2: Tuesday 1 October The
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