Search Results for Dominik Graf

...Eric Rentschler Abstract The film essays Verfluchte Liebe deutscher Film (2016) and Offene Wunde deutscher Film (2017), coscripted and codirected by Dominik Graf and Johannes F. Sievert, survey the postwar history of genre cinema in the Federal Republic of Germany and take stock of the present...

...Laura A. Frahm Abstract This article sheds light on Dominik Graf’s long-standing and often-overlooked engagement with the essay film since the mid-1990s. The article contends that his urban essays, his cinema and television essays, and his commemorative essays are driven by a reconstructive impetus...

... existentialists cultivated a highly personalized, indeed rarefied form of poetic empiricism. This study analyzes their sensibility and rhetoric, their emphases and oversights. It focuses on Dominik Graf’s essay film, Was heißt hier Ende? ( Then Is It the End? , 2015), a tribute to Althen and the cohort of young...

..., Rentschler observes, speak to the dramatic changes in film production, evaluation, distribution, and consumption and to the role criticism assumes in that process. Rentschler provides a trenchant critique of Dominik Graf’s posthumous portrait of Althen, Was heißt hier Ende? ( Then Is It the End? , 2015...

... the mid- to late 1960s—and has forgotten (i.e., virtually written off) the estimable contemporaneous endeavors of Rudolf Thome, Klaus Lemke, and Roland Klick, each of whom is discussed in Dominik Graf and Johannes F. Sievert’s Offene Wunde deutscher Film ( Open Wounds: A Journey through German Genre...

... . Detroit : Wayne State University Press , 2018 . Rentschler Eric . “ An Elegy for German Cinema: Dominik Graf’s Doomed Loves and Open Wounds .” New German Critique , no. 138 ( 2019 ): 207 – 33 . Schenk Irmbert . “ ‘Politische Linke’ versus ‘Ästhetische Linke’: Zum Richtungsstreit...

... the digital-age explosion of content and computational tools. Copyright © 2020 by New German Critique, Inc. 2020 German film criticism empirical audience research media change in the digital age recommender systems video on demand (VOD) The most striking feature of Dominik Graf’s Was heißt...

... reflected his conversance with the caustic commentary of his close friend, the renowned director Dominik Graf, who railed against what he deemed the blindly subsidized German film industry. They both conceive of cinema as a search for lost time—Althen in a rather restrained mode, Graf at times in a more...