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Margarethe von Trotta

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Journal Article
Camera Obscura (2019) 34 (2): 103–131.
Published: 01 September 2019
... ago. This article discusses why Arendt remains such a divisive figure and why her intellectual legacy is still so unsettling, particularly for Zionists. The essay examines how these issues are represented, negotiated, and problematized in Margarethe von Trotta’s film Hannah Arendt (Germany/ Luxembourg...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 122–152.
Published: 01 December 1980
... Doerrie 11. Helke Sander 4. Claudia Holldack 12. Heha Sanders-Brahms 5. Elfie Mikesch 13. U1a Stoeckl 6. Dorothea Neunlurchen 14. Margarethe von Trotta 7. Ulrike Ottinger Distributors The existence of feminist filmmakers in West Germany may be sus...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
..., and Christel Buschmann, Helke Sander, Helma Sanders-Brahms, and Margarethe von Trotta’s Felix, the women are all falling apart. These women on the verge, however, are no longer the art cinema ideal, the disembodied image, Monica Vitti against a wall. Now, they’ve not only got...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 99–125.
Published: 01 September 2021
... of gender relations transformed by the historical context of the Final Solution and the vital role of women in the Jewish resistance to the Nazi-orchestrated genocide. 55. Yosefa Loshitzky, “A Tale of Two Feminists? Hannah Arendt Revisited by Margarethe von Trotta,” Camera Obscura , no. 101 (2019): 108...
Journal Article
Camera Obscura (1983) 4 (2 (11)): 132–145.
Published: 01 September 1983
... with Bettina Schaffer). MARGARETHE VON TROTTA (See Camera Obscura, no. 6.) FILMS 1981 Die bieierne Zeit [The Leaden Time; also, The German Sisters; also, Mantmne andJulianne], 106 min., 35mm, color; distributor: Filmverlag der Autoren...
Journal Article
Camera Obscura (1989) 7 (1 (19)): 54–85.
Published: 01 January 1989
... one-way visual transactions, is another film in which the look circulates independently of the usual sexual boundaries, and without any power to subordinate. Babs (Margarethe Von Trotta) and the makeup “girl” watch two men absorbed in conversation; Eddie Con- stantine watches...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
..., Marisa Sistach, Moufida Tlatli, Monika Treut, Margarethe von Trotta, and Tizuka Yamasaki. These filmmakers became directors in art, documentary, ethnographic, experimental, and industrial cinema. Unlike their predecessors’, this postwar generation’s birth coincided with the birth and rise...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 195–214.
Published: 01 September 1985
.... In addition Kaplan discusses two precursors of the feminist film movement -GGermaine Dulac and Maya Deren-and their influence on several lesbian filmmakers working in the experimental mode, the work of Euro- pean women directors, Marguerite Duras and Margarethe von Trotta, and Cuban filmmaker Sara...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 147–182.
Published: 01 May 2006
...) by Margarethe von Trotta (Germany, 1981): all are symbols and inscriptions on the body. Bulimia, facial paralysis, and the insertion of the feeding tube are inscribed on the body in a way that Elizabeth Grosz calls “counterstrategic reinscription.” In her words, “[the body,] as well as being the site...