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Berlinale
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Journal Article
New German Critique (2019) 46 (3 (138)): 79–101.
Published: 01 November 2019
...Anne Röhrborn Abstract Stephan Geene’s film Umsonst premiered in the Forum program at the 2014 Berlinale. A portrait of postmillennial Berlin-Kreuzberg, the film in crucial ways takes its inspiration from the French New Wave and the Situationist International. It focuses on members of a young...
FIGURES
Journal Article
New German Critique (2019) 46 (3 (138)): 207–233.
Published: 01 November 2019
..., the endeavors of outsiders working in isolation. Jumping ahead four decades to the historical moment out of which Doomed Love emerged, we encounter energetic renewed discussion about the state of genre film in Germany. At a podium exchange held in the Cinema Babylon during the 2015 Berlinale, panelists...
Journal Article
New German Critique (2020) 47 (3 (141)): 33–44.
Published: 01 November 2020
... Report , 1991) shows the young Althen in taxis on the way to airports en route to and returning from the 1991 Berlinale, speaking first about his expectations and then his experiences after having watched more than fifty features in ten days. The competition entries that stood out for him that year were...
Journal Article
New German Critique (2020) 47 (3 (141)): 59–71.
Published: 01 November 2020
..., if not extraordinary, example of the career changes some film critics undergo these days. She left the taz for a position with the Goethe Institute Brussels, where she was in charge of the Cultural Program for Southwestern Europe. In the spring of 2019 she became head programmer for the Berlinale’s “Forum” section...
Journal Article
New German Critique (2019) 46 (3 (138)): 1–9.
Published: 01 November 2019
... Schanelec the director’s prize at the 2019 Berlinale. Florian Henckel von Donnersmarck’s historical melodrama Werk ohne Autor ( Never Look Away , 2018), a three-hour feature about an artist who closely resembles Gerhard Richter, is undoubtedly more widely known than any of these other titles...
Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
...) could not rely on the backing of the school’s administration. Indeed, they met with the resistance of the dffb leadership. 41. Jaeger, “Wunder von Oberhausen.” 42. Proctor, “Berlinale #3.” 43. Das, “New Wave of Political Satire.” In November 2018 Radlmaier was awarded €550,000...
FIGURES
Journal Article
New German Critique (2020) 47 (3 (141)): iii–xiv.
Published: 01 November 2020
... emeritus party there he continued for years to digitize and create the Cornell archive of Alexander Kluge’s TV interviews, a treasure for researchers in the intellectual life of Germany. An indefatigable cinephile, David attended the Berlinale every year and took pleasure in watching four or five features...
Journal Article
New German Critique (2024) 51 (1 (151)): 77–107.
Published: 01 February 2024
... eludes writing. Only the camera can express it completely.” 86 And the Berlinale review of Die Rote cited above was also attentive in this regard when it termed the adaptation a “ Lichthörspiel .” 87 The same goes for Die Brandung von Hossegor , Andersch’s last attempt to fuse film...
FIGURES
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Journal Article
New German Critique (2007) 34 (2 (101)): 1–26.
Published: 01 August 2007
... attempts may be. Schlöndorff’s Leg
end of Rita (1999/2000), Christian Petzold’s The State I Am In (2000), and
Black Box BRD all attracted considerable attention. Christopher Roth’s film
Baader (2002) enjoyed less commercial success, though it dominated press
coverage of the 2002 Berlinale, where he...
