FLM302 Reading German Film 3 Module Outline 2019-20

Home , Labyrinth of Lies, Run Lola Run, Winter Sleepers

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 concerning 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 reference 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 German Comedy Boom and the ‘Cinema of Consensus’

Key reading: A Anscheid in Fisher ed 2013 pp. 243-260. D Copsey (2006) in Clarke (ed) pp. 181-206. P. Cooke (2012) pp. 164-170. T Elsaesser with M Wedel (1999) pp. 3-7. M Hagener (2002) in Bergfelder et al (eds) pp. 98-105. S Hake (2008) pp. 183-185, 199-208. J-C Horak (2002) in Bergfelder et al (eds) pp. 29-38. A Kilb (1997) in Amend and Bütow (eds) pp. 25-34. E Rentschler (2000) in Hjort and MacKenzie (eds) pp. 260-277. K Phillips (1997) in I Majer O`Sickey and I von Zadow (eds) pp. 173-182. Key film: Der bewegte Mann/The Most Desired Man (Wortmann, 1996)

Week 3: Tuesday 8 October X-Filme Creative Pool and Producing German Films

Key reading: D Clarke (2006) in GFL 1/2006 pp. 7-21. P. Cooke (2012) pp. pp. 217-221. T Elsaesser with M Wedel (1999) pp. 11-16. I Garwood (2002) in Bergfelder et al (eds) pp. 202-210. C Haase (2003) in R Halle and M McCarthy (eds) pp. 395-415. S Hake (2008) pp. 192-199, 206-208. A Jäckel (2003) pp. 31-33, 121-3. S Schäffler (2002) pp. 241-266. M Töteberg (ed) (1999) pp. 17-34, 35-39, 40-44, 45-50.

Key film: Lola Rennt!/Run, Lola, Run (Tykwer, 1999)

Week 4: Tuesday 15 October The German Heritage Film: Representing Hitler

Key reading: M Brady (2006) GFL 1/2006 pp. 94-114. P. Cooke (2012) pp. 88-110. J Davidson (2006) in Clarke (ed) pp. 43-77. C Haase (2006) Studies in European Cinema 3 (3) pp. 189-199. S Hake (2008) pp. 208-216. S Hake (2006) ‘Leaving the Bunker’ www.unm.edu online. L Koepnick (2002) in NGC 87, pp. 47-82. K Kopp (2002) in NGC 87, pp. 106-132.

Key film: Downfall/Der Untergang (Hirschbiegel, 2004)

Week 5: Tuesday 22 October Ostalgie: Unification and the German Cinema:

Key reading: S Allen (2006) in Clarke (ed) pp. 105-126. S Allen (2006) GFL 1/2006 pp. 46-59 R Cook (2007) seminar 43(2), May, pp. 206-219. P Cooke (2005) pp. 103-140. P. Cooke (2012) pp. 245-251. A Coulson (1995) Handout S Hake (2008) pp. 208-210. N Hodgin (2011) Screening the East L Naughton (2002) pp. 206-234. A Rinke (2006) GFL 1/2006 pp. 24-45.

Key film: Good Bye Lenin (Becker, 2003)

Week 6: Tuesday 29 October Westalgie: The Legacy of 1968 and West German terrorism

Key reading: Roger F Cook (2010) in Fisher and Prager pp. 309-332. P Cooke (2011) Screen 52 (3) pp. 327-341. S Hake (2008) pp. 210-212. J Leal (2006) GFL 1/2006 pp. 76-89. R Palfreyman (2006) in Clarke (ed) pp. 11-42. E Scheufler (2011) seminar 47 (1) pp. 103-120.

Key film: Die fetten Jahre sind vorbei/The Edukators (Weingartner, 2004)

Week 7: READING WEEK 4-8 November

Week 8: Tuesday 12 November

Transnational and transcultural cinema: Turkish-German filmmaking

Key reading: R Burns (2006) in Clarke (ed) pp. 127-149. P. Cooke (2012) pp. 137-147. D Göktürk (2002) in Bergfelder et al (eds) pp. 248-256. S Hake (2008) pp. 216-219. B Mennel (2002) in NGC 87, pp. 133- G Rendi (2006) in GFL 1/2006 pp. 78-93. F Zaimoglu (1999) in M Töteberg (ed) pp. 207-218. Various in GFL 1/2008 Various in Berghahn (2009) ‘Turkish-German Dialogues onscreen’ Key film: Gegen die Wand/Head On (Akin, 2004)

Week 9: Tuesday 19 November Berlin School

Key reading:

M Abel (2010) in Fisher and Prager pp. 258-284 M Abel (2013) 1-28, 69-110. A Biendarra (2011) seminar 47 (4) pp. 465-479. P. Cooke (2012) pp. 71-87. J Fisher (2011) seminar 47 (4) pp. 447-464. J Fisher (2013) 97-118. K Kopp (2010) in Fisher and Prager pp. 285-308.

Key film: Yella (Petzold, 2007) Week 10: Tuesday 26 November

Berlin School and Beyond Key Reading

M Abel (2013) 249-273 R Cook et al (2013) 87-91 L Haegele (2018) in Abel and Fisher (eds) 59-75 O Landry 52-77 R Roy & A Leweke (2014) 88-97

I Stevens (2017) Sight and Sound March 30-34

Key film: Alle Anderen/ Everyone Else (Ade, 2009)

Week 11: Tuesday 4 December Contemporary German Cinema Workshop Return of essay plan

Session to include presentations on work-in-progress.

Week 12: No set classes or screening – please use this week to work on your critical essay. You may book an individual tutorial to discuss your essay plan.

Students are recommended to consult Timothy Corrigan’s book A Short Guide to Writing about Film (2014, 9th ed. or earlier editions), New York: Pearson for useful advice on writing essays on film.

Viewing Students are reminded to attend the weekly film screenings on Tuesday at 10 in Arts 1, G 34; this is essential preparation for the following lecture and seminar. For subsequent viewings, mul- tiple copies of the films will be available in the College Library, which has DVD viewing facilities.

Reading Students are required to prepare for seminars by reading the `Key Reading’ specified on the weekly reading list. Students are advised to access their own copies of Cooke, Contemporary Ger- man Cinema, but copies of other essential reading will normally be provided through QMPlus for students to download and print out. Students should take careful notes as they read this material and be prepared to discuss it thoroughly in seminars. A good strategy is to come to seminars prepared with two or three written questions about the reading and key film.

The weekly reading lists also offer suggestions for ‘Further Reading’, so that students can follow up areas of particular interest. Both the ‘Further Reading’ and the General Reading List can act as valuable starting points for research for coursework essays.

In addition to the College Library, students are strongly encouraged to use the British Film Insti- tute (BFI) Library on the South Bank, an invaluable resource for Film studies generally. Cards for free entry can be obtained from the College Library. It is possible to search some of the BFI collections online.

Students are also advised to use the facilities at the Goethe-Institut (nearest tube, South Kensing- ton). The Goethe-Institut has an excellent library on German cinema, as well as holding copies of many German films on VHS and DVD, which may be borrowed. The Goethe-Institut also arranges frequent screenings of recent German films, as well as organising lectures, screenings and programmes related to past German cinema.

Assessment Assessment is based on an essay plan (25%) and a coursework essay (75%). The essay plan should be approximately 600 words in length and will constitute 25% of the final mark, and the coursework essay should be of approximately 3400 words in length (including footnotes but ex- cluding bibliography) and will constitute 75% of the final mark.

Essay plan: Sunday 24 November 2019 (Week 9, Semester A)

Critical Essay: Sunday 22 December 2019 (Week 12, Semester A)

Assessment

This module is assessed through the submission of an essay plan (600 words/25%) and the subsequent writing of a long critical essay (3400 words/75%). Your essay will focus on, and make detailed reference to, one contemporary German film of your choice.

An extensive list of possible case studies is given below. The list includes a small number of films which call into question narrow definitions of German national cinema: in some cases they are made in English or incorporate other languages and non-German actors, and/or are made outside Germany and/or are made with funding from other countries. This is one of many tensions that you may wish to address in the course of your essay.

Essay plan: to be submitted by 23.55 on Sunday 24 November 2019 (Week 9, Se- mester A)

• Please start off with the title of the film in both German and English (unless inap- propriate, eg Good Bye Lenin! or Soul Kitchen). • Please include a short plot synopsis of around 200 words. This should describe the plot, the key events in the film in the order in which they happen, but not analyse or interpret them. You may draw on or amend a pre-existing plot synopsis, or write your own from scratch. • Please set out the credits: you’ll need to include the names of the director, pro- ducers, writers, cinematographers/DoP, editors, and also the key actors in the cast. You may want to include brief details of music/sound and location/studio in compiling your credits list. IMDB is a valuable resource for this, as is filmportal.de. • Please include any available audience figures for your chosen film, and any prize nominations or awards. This information is usually available on filmportal.de. • Please set out an initial critical bibliography of four to six items that you intend to consult in writing your essay. The critical bibliography may include books that help you understand the theme or context of your chosen film, for example books on the Stasi or on the Baader Meinhof group, both of which will be grouped in the Library within the sections on contemporary German history and/or politics of Germany. If your chosen film is a literary or theatrical adapta- tion, you will need to look in the section on (German) literature. • Please set out a short filmography of at least three other films that will help you to understand the context and also what is unique about your chosen film. Give the film titles and a sentence or two about each, setting out why they are useful in the context of your proposed essay. These ‘contextual’ films may be linked to your chosen film for example either by sharing a genre, sharing a theme, by sharing a director or production company. If you want to comment in detail in your essay on sound, cinematography, the use of stars etc., you may want to watch films that deepen your understanding of these areas. • Please set out at least three bullet points of key areas you think you will cover when writing your critical essay. For example, you may want to highlight a production issue (is the film a co-production? how is it financed? is it an auteur-led project? is it driven by an emerging (regional) production company?). You may want to address the central theme of your chosen film, and set it in the context of key trends in German cinema over the past 25 years or so. You could foreground any key issues of film form or aesthetics, genre or casting, that interest you. • Remember that this assignment can be in plan form, using bullet points where appropriate, and please ensure that your plan adheres to the 600-word format.

Critical Essay: to be submitted by 23.55 on Sunday 22 December 2019 (Week 12, Se- mester A)

• Please use your essay plan and the feedback you receive to help you to structure your critical analysis of the chosen film. • Make a case for why this film is particularly interesting for our understanding of the scope of contemporary German cinema. Does it challenge traditional definitions of ‘national’ cinema? What is its relationship to Hollywood, to trends in Eu- ropean cinema, to questions of transnational or cosmopolitan cinema? Does it foreground a particular region or city? • Does it help to understand it as an ‘auteur’ piece? As a ‘genre film’? As the work of a particular production company? • Which trend(s) in contemporary German cinema does it fit into, or perhaps at- tempt to resist? • Which issues in contemporary (German) society or politics does it pick up or evade? How? Why? • How does it address questions of film form and aesthetics? Think about key ele- ments of its film form (e.g. mise-en-scène, editing, cinematography, sound, light- ing, use of stars, use of generic conventions, use of diverse visual material and/or special effects, narrative structure etc.). • How does it relate to other, similar, films, in Germany (or in other national cinemas)? If appropriate, how does it relate to older traditions of filmmaking in Ger- many: to Weimar cinema, to the National Socialist period, to DEFA, to West German filmmaking, to the New German Cinema? • How was the film received at the box office, at festivals, by critics, by academics, in Germany and/or abroad?

You are welcome to propose a more precise title as long as it follows the guidelines set out above.

Your critical essay must be properly referenced, and include a bibliography set out appropriately. Your answer will be expected to draw on at least four to six appropriate sources. Please consult Timothy Corrigan’s book A Short Guide to Writing About Film (2014, 9th ed. or earlier editions), New York: Pearson for useful advice on writing essays on film.

Please note the criteria used in the School to assess coursework and examinations as set out in the Handbook for Undergraduate Students, especially concerning plagiarism, referencing and acknowledging the work of others.

Possible case studies: If you propose to work on a film not on this list – and there are any number of interesting films made between 2000 and 2019 that I haven’t listed - please contact me in advance to check whether it would make a suitable choice. The films are allocated below roughly to the area of the course most immediately relevant: many films could be grouped in two or even more categories. Some previous case studies can be seen on the FLM603 MAPPING CONTEMPORARY CIN- EMA website (http://www.mcc.sllf.qmul.ac.uk/). You are strongly advised NOT to choose as a case study a film already covered in MAPPING CONTEMPORARY CINEMA, namely Der Räu- ber/The Robber (2009), Der Untergang/Downfall (2004) Lola rennt/Run Lola Run (1998) Yella (2007) and Die fetten Jahre sind vorbei/The Edukators (2004).

You may also consider choosing a German-language contemporary film narrative in the form of long-form TV, a documentary, or artists’ moving image film - PLEASE CHECK WITH ME FIRST ABOUT SUITABILITY AND APPROPRIATENESS FOR THIS MODULE.

Introduction Das weisse Band: Eine deutsche Kindergeschichte/ The White Ribbon (Haneke, 2009)

The German Comedy Boom and the ‘Cinema of Consensus’ Der bewegte Mann/The Most Desired Man (Wortmann, 1996) Abgeschminkt/ Making Up, (Von Garnier, 1993) Stadtgespräch/ Talk of the Town (Kaufmann, 1995) Männer/Men (Dörrie, 1986) Keiner Liebt Mich/Nobody Loves Me (Dörrie, 1994) Bin ich schoen?/ Am I Beautiful (Dörrie, 1998)

X-Filme Creative Pool and Producing German Films Lola Rennt/Run Lola Run (Tykwer, 1998) Winterschlaefer/Winter Sleepers (Tykwer, 1997) Der Krieger und die Kaiserin/The Princess and the Warrior (Tykwer, 2000) Heaven (Tykwer, 2002) Perfume – the Story of a Murderer (Tykwer, 2006) The International (Tykwer, 2009) Drei/ Three (Tykwer, 2010) Cloud Atlas (Tykwer et al., 2012) Ein Hologram für den König/ A Hologram for the King (Tykwer, 2015) Das Leben ist eine Baustelle/Life is All You Get (Becker, 1997)

The German Heritage Film Downfall/Der Untergang (Hirschbiegel, 2004) Aimee und Jaguar/Aimée and Jaguar (Färberböck, 1999) Nirgendwo in Afrika/ Nowhere in Africa (Link, 2001) Napola/ Before the Fall (Gansel, 2004) Stalingrad (Vilsmaier, 1993) Comedian Harmonists/ The Harmonists (Vilsmaier, 1997) Das Wunder von Bern/The Miracle of Bern (Wortmann, 2003) Das Leben der Anderen/ The Lives of Others (Von Donnersmarck, 2006) Die Fälscher/ The Counterfeiters (Rutzowitzky, 2007) Sophie Scholl – Die letzten Tage/ Sophie Scholl – The Final Days (Rothemund, 2005) Anonyma/ A Woman in Berlin (Färberböck, 2008) Nordwand / North Face (Stölzl, 2008)

Unification and the German Cinema : Ostalgie and the DEFA legacy Good Bye Lenin (Becker, 2003) Sonnenallee/ Sun Alley (Haussmann, 1999) Verlorene Landschaft/ Lost Landscape (Kleinert, 1992) Stilles Land/ Silent Country (Dresen, 1992) Nachtgestalten/ Nightshapes (Dresen, 1999) Halbe Treppe/ Grill Point (Dresen, 2002) Sommer vorm Balkon/ Summer in Berlin (Dresen, 2005) Wolke Neun/ Cloud Nine (Dresen, 2008) Halt auf freier Strecke/Stopped on Track (Dresen, 2011) Als wir träumten/ As We Were Dreaming (Dresen, 2014) Timm Thaler (2016)

Westalgie: The Legacy of 1968 and West German terrorism Die fetten Jahre sind vorbei/The Edukators (Weingartner, 2004) Die innere Sicherheit/ The State I Am In (Petzold, 2000) Black Box BRD (Veiel, 2001) Die Stille nach dem Schuss/ The Legend of Rita (Schlöndorff, 2000) Der Baader Meinhof Komplex/ The Baader Meinhof Complex (Edel, 2008) Die Unberührbare/ No Place To Go (Roehler, 2000) Deutschland 09 (Akin, Becker, Tykwer et al., 2009) Die kommenden Tage / The Days to Come (Kraume, 2010)

Transnational and transcultural cinema: Turkish-German filmmaking Gegen die Wand/Head On (Akin, 2004) Kurz und Schmerzlos/Short Sharp Shock (Akin, 1998) Auf der anderen Seite/The Edge of Heaven (Akin, 2006) Im Juli/In July (Akin, 2000) Soul Kitchen (Akin, 2009) Dealer (Arslan, 1999) Lola & Bilidikid (Ataman, 1999)

Berlin School Yella (Petzold, 2007) Gespenster/Ghosts (Petzold, 2005) Jerichow (Petzold, 2009) Barbara (Pet- zold, 2011) Dreileben (Petzold et al., 2011) Phoenix (Petzold, 2014), Transit (Petzold, 2018) Im Schatten (Arslan, 2010) Milchwald/This Very Moment (Hochhäusler, 2002) Der Raüber/The Rob- ber (Heisenberg, 2009) Falscher Bekenner/Low Profile (Hochhäusler, 2005) Unter Dir die Stadt/The City Below (Hochhäusler, 2010) Sehnsucht/Longing (Grisebach, 2006) Klassenfahrt/School Trip (Winckler, 2002) Der Wald vor lauter Bauemen/The Forest for the Trees (Ade, 2003) Alle Anderen/ Eve- ryone Else (Ade, 2009), Toni Erdmann (Ade, 2015), Montag Kommen die Fenster/Windows on Monday (Koehler, 2006) Bungalow (Koehler, 2002), Marseille (Schanelec, 2004) Mein langsames Leben/Passing Summer (Schanelec, 2001) Nachmittag/Afternoon (Schanelec, 2007) Orly (Schanelec, 2010) Die Lü- gen der Sieger/ The Lies of the Victors (Hochhäusler, 2014) Über-Ich und Du/ Superegos (Heisenberg, 2014), Der traumhafte Weg/ The Dreamed Path (Schanelec, 2016), Western (Grisebach, 2017),

Recent trends Tore Tanzt / Nothing Bad Can Happen (Gebbe, 2013), Kriegerin/ Combat Girls (Wnendt, 2011), Im Labyrinth des Schweigens/ Labyrinth of Lies (Ricciarelli, 2014), Victoria (Schipper, 2015), Toni Erdmann (Ade, 2016), 24 Wochen/24 Weeks (Berrached, 2016, Der traumhafte Weg/ The Dreamed Path (Schanelec, 2016), Wild (Krebitz, 2016), Western (Grisebach, 2017), Aus dem Nichts/In the Fade (Akin, 2017), Transit (Petzold, 2018), 3 Tage in Quiberon/3 Days in Quiberon (Atef, 2017).

Checklist for Essay Writing

Do you want to do well in your essay writing?

Your university grades are largely based on the quality of your writing. You need therefore to give your written work your very best effort. A great deal of (free) support to help you with your writing is available at QMUL: it is open to any student at any point of their undergraduate career. Many of the students who come along to talk about their writing are already skilled writers; they are interested in developing their strengths further. So please don’t be put off from coming along by thinking that your work is either too ‘bad’ or ‘good enough’ – we are all able to deepen our understanding of how we use language. Do make sure to make the most of what is on offer while you are here.

Resources a. The SLLF Writing Centre in Bancroft Building 1.32 is specifically de- signed to support SLLF students on Languages, Linguistics, Comparative Literature and Film programmes – sessions are advertised by email/LCD screens; b. www.learningdevelopment.qmul.ac.uk provides information on writing support services available in the QM Library throughout the year (drop-in and one-to-one); c. The Royal Literary Fund Fellows can be consulted throughout the year as well.

Advice

You are the author of your essay which means that you have the final re- sponsibility for all aspects of it (content, presentation, editing). You need to leave plenty of time to plan it, to write it and to edit it. Writing an essay is an exercise in sustained concentration; precision matters. This is a training for life, not just for university. Employers have made it clear that they value graduates who can write accurately and expressively.

Practical preparation

Please make sure that you have read the sections on ‘Essay Writing’ and on ‘Marking Criteria’ in the SLLF Undergraduate Handbook (http://qmplus.qmul.ac.uk/mod/book/view.php?id=314648) before you start writing. Any available guidance materials for a specific assignment or module should of course also be consulted.

SLLF WRITING SUPPORT CENTRE:

ALL STUDENT WRITERS WELCOME!

The School of Languages, Linguistics and Film recognises how closely writing is linked to thinking; and how important writing skills are both in the academic and pro- fessional worlds. A large part of your assessment, for example, while you are at university is based on your academic writing. We wish to support all our students, therefore, in developing their writing skills throughout their university career.

The School runs a Writing Support Centre, coordinated by Dr Kirsteen Anderson, in addition to the QMUL Learning Development services in the Library. They share the same goals: to help you become a more confident and effective writer.

The SLLF Writing Centre is situated in Francis Bancroft Building, Room 1.32. It offers free weekly workshops at fixed times in Semesters 1 and 2 to any SLLF student (on a languages, linguistics, comparative literature or film programme) who would like to develop their university writing further.

You are welcome to come along to these sessions at any point in the academic year, on a drop-in basis or more regularly. You can also arrange an individual, half-hour session at other times in Semesters 1, 2, and 3 by emailing Kirsteen Anderson at [email protected]

Both workshops and individual sessions are informal, non-judgmental and friendly. This is not remedial work but a chance to enhance your skills - we are all learners at whatever stage we find ourselves. You can bring along essays or other coursework that you are drafting, or essays that have already been marked and commented on by a tutor, or simply aspects of your work that you would like to discuss and explore. Some of the areas that we cover are how to structure an argument clearly, how to use the SLLF referencing conventions accurately, how to re-read one’s own work criti- cally, how to interpret what an essay title is asking you to do; and if necessary, we can also do some refresher work on grammar, sentence structure and appropriate vocabu- lary.

For workshop times, look out for a weekly email prompt, check the LCD screens in the Arts One Building or email Kirsteen Anderson on [email protected].