By Jennifer M. Kapczynski, Michael D. Richardson
This dynamic, event-centered anthology deals a brand new realizing of the hundred-year background of German-language movie, from the earliest days of the "Kintopp" to modern productions like "The Lives of Others". all of the greater than 80 essays takes a key date as its start line and explores its value for German movie heritage, pursuing its courting with its social, political, and aesthetic second. whereas the essays provide abundant temporal and topical unfold, this e-book emphasizes the juxtaposition of well-known and unknown tales, granting cognizance to quite a lot of cinematic occasions. short part introductions supply a bigger old and film-historical framework that illuminates the essays inside it, supplying either students and the overall reader a environment for the person texts and figures less than research. Cross-references to different essays within the publication are integrated on the shut of every access, encouraging readers not just to pursue common trajectories within the improvement of German movie, but in addition to track specific figures and motifs throughout genres and historic sessions. jointly, the contributions supply a brand new view of the a number of, intersecting narratives that make up German-language cinema. The constellation that's hence proven demanding situations unidirectional narratives of German movie background and charts new methods of pondering movie historiography extra largely. Jennifer Kapczynski is affiliate Professor of German at Washington college, St. Louis, and Michael Richardson is affiliate Professor of German at Ithaca collage.
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Additional resources for A New History of German Cinema
I argue that imaging practices make three key interventions in the representational practices of Serbian nationalism: first, artists such as Marina Abramovi´c and Milica Tomi´c critically interrogate the mythical structure employed by the Miloševi´c regime to make women stand in for the nation in wartime propaganda, exposing how the violence of rhetoric depends on the projection of ethnic tensions and historical wrongs onto women. Second, the art works under consideration in this study highlight the close connections between the ideological structures of the nation and the social structures of the family—particularly, in the case of videos by Abramovi´c and Elahe Massumi, through the figure of the father—and observe how this structural similarity is responsible for gender-based violence and nationalism.
59 The distinction is emphasized in Hamid Naficy’s observations regarding the reception of Third Cinema, noting somewhat playfully that all Third Cinema is received by international audiences as documentary film, seen to re-present social reality authentically rather than strategically. His emphasis on “accented cinema” (marked by the filmmakers’ interstitial location in society and the film industry) marks the negotiation and bending of Third Cinema aesthetics across dominant and diasporic cultural traditions, and thus the complication of visions of authentic cultural transmission.
Although the historical record does not bear this out, Boose notes that Serbian mythical, cultural and national traditions drew repeatedly from the image of Serb peasant heroes who resisted the Turkish occupation and were publicly impaled.
A New History of German Cinema by Jennifer M. Kapczynski, Michael D. Richardson