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1
Journal Article
New German Critique (2013) 40 (3 (120)): 85–110.
Published: 01 November 2013
..., French) devel-
opments. New trends in European film culture provided approaches, vocabu-
laries, and inspiration for a transition in the style, perspective, and function of
German film criticism, and a way for domestic writers to conceive of and posi-
tion their own national cinema.
Establishing...
Journal Article
New German Critique (2020) 47 (3 (141)): 7–20.
Published: 01 November 2020
... , 2002 . Elsaesser Thomas . “ Between Erlebnis and Erfahrung : Cinema Experience with Benjamin .” Paragraph 32 , no. 3 ( 2009 ): 292 – 312 . Elsaesser Thomas . “ Double Occupancy: Space, Place, and Identity in European Cinema of the 1990s .” Third Text 20 , no. 6 ( 2006...
Journal Article
New German Critique (2019) 46 (3 (138)): 11–34.
Published: 01 November 2019
... and their enduring contemporary relevance. Copyright © 2019 by New German Critique, Inc. 2019 European cinema film genre western Berlin School Taking stock of contemporary Hollywood genre films, a commentator in the Hollywood Reporter concludes that the western has remained inordinately...
Journal Article
New German Critique (2016) 43 (1 (127)): 59–89.
Published: 01 February 2016
... as a determining and dialectical influence on “the spirit”
and, as a result, on anatomy. For Balázs, any shift in the psyche of the masses
would cause bodies to change as a result: non-European cinema spectators
would become not only culturally—but also physically—more European.
Balázs’s insistence...
Journal Article
New German Critique (2020) 47 (1 (139)): 173–195.
Published: 01 February 2020
... in Phoenix , Wolfsburg , and Barbara .” Studies in European Cinema 13 , no. 3 ( 2016 ): 185 – 99 . Steinhoff Hannah . “ Ich mag keine Nazis ins Bild setzen .” Planet Interview , September 29 , 2014 . www.planet-interview.de/interviews/christian-petzold/46231 . Steinke Ronen...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
... has dubbed
“pictures as instruments of knowledge.”23 Indeed, the very conceit of the cut or
19. John Grierson, “First Principles of Documentary” (1932), in The European Cinema Reader, ed.
Catherine Fowler (London: Routledge, 2002), 41. Grierson saw Ruttmann’s Berlin and Flaherty’s
Nanook...
Journal Article
New German Critique (2014) 41 (2 (122)): 6–8.
Published: 01 August 2014
....
Miriam was part of a generation of diasporic intellectuals who, rather
than retreat to a homeland, provided for us bridges across space and time,
so that her work now illuminates the most current conditions of globaliza -
tion. Weimar culture was for her never a narrowly German or European
thing...
Journal Article
New German Critique (2014) 41 (2 (122)): 47–65.
Published: 01 August 2014
...-
ing. To crack the code of cutting fast, Kuleshov explained, he and his friends
“divided the cinema into three basic types: the Russian film, the European,
and the American.” Then Kuleshov’s group of researchers did something
similar to what Stockton had done in New York in August 1912, though...
Journal Article
New German Critique (2020) 47 (3 (141)): 21–31.
Published: 01 November 2020
... is about Austrian cinema’s viability at the turn of the millennium. For Schlemmer, changed sociopolitical, cultural, and economic circumstances (especially Austrian accession to the European Union in 1995) need a revitalized film criticism to go hand in hand with new films. Such criticism has to facilitate...
Journal Article
New German Critique (2014) 41 (2 (122)): 111–124.
Published: 01 August 2014
... of boomerang effect
in which the condition of possibility of European enlightenment and dis-
courses on modernity is the colonial project, which revealed populations of
“others” who could be positioned as primitive and unenlightened. Barlow
claims that “what the universalizing gaze of the European...
Journal Article
New German Critique (2011) 38 (2 (113)): 129–157.
Published: 01 August 2011
... are, Malick’s
vision and his style, which frame these narratives in every possible way, are
often seen as the by-products of a distinctly European influence. As the great
cinematographer Nestor Almendros, who worked on Days of Heaven, put it,
“Though Malick is very much an American, his culture...
Journal Article
New German Critique (2020) 47 (1 (139)): 81–103.
Published: 01 February 2020
... and consumption, agriculture and urbanism, high and low culture is precisely the point. Elsewhere Kluge has understood Chicago as particularly aggressive, a quality he understands as non-European (at some point he compares Chicago to São Paulo). 31 The film’s image of the great metropolis of the Midwest allows...
FIGURES
Journal Article
New German Critique (2010) 37 (2 (110)): 9–30.
Published: 01 August 2010
... without Heroes: Reconstructing Female and National Identities in European
Cinema, 1945–1951, ed. Ulrike Sieglohr (London: Cassell, 2000), 102.
26 Rubble in the Trümmerfilm
shadow briefly merges with that of his former officer, and Hans too almost
becomes a murderer. Interrupting the attempt...
Journal Article
New German Critique (2020) 47 (1 (139)): 105–140.
Published: 01 February 2020
... that preserve moribund processes of unique importance to the psychological understanding of European festivals.” 22 Given Warburg’s long-standing interest in the interrelationship of festivals, serpents, and dance (which dates to his 1895 essay “The Theatrical Costumes for the Intermedi of 1589...
Journal Article
The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture
New German Critique (2020) 47 (3 (141)): 45–57.
Published: 01 November 2020
...). 27. See, e.g., Farchy’s overview of French cinema audience questionnaires since the 1950s, “Le role de l’information dans la demande culturelle” ; Faber, O’Guinn, and Hardy, “Art Films in the Suburbs” ; Chakravarty, Liu, and Mazumdar, “Differential Effects” ; and European Commission, Profile...
Journal Article
New German Critique (2014) 41 (3 (123)): 113–134.
Published: 01 November 2014
...
In “What Does Coming to Terms with the Past Mean his classic essay about
the relationship between postwar West Germans and their Holocaust history,
Theodor W. Adorno expresses incredulity about what he sees as a widespread
willingness on the part of Germans to believe that the millions of European...
Journal Article
New German Critique (2014) 41 (2 (122)): 20–28.
Published: 01 August 2014
... he has written a
really fine book on experience Songs[ of Experience: Modern American and
European Variations on a Universal Theme, 2004].
Martin Jay: In my talk tomorrow . . .
Rodowick: To pose the question of experience is to ask, how does experi -
ence happen, to what kind of subject...
Journal Article
New German Critique (2017) 44 (3 (132)): 83–103.
Published: 01 November 2017
... . ———. 1991 . “The Curious Realist.” New German Critique , no. 3 : 172 . ———. 1998 . “Scientific Experiences of a European Scholar in America.” In Critical Models: Interventions and Catchwords , translated by Pickford Henry W. , 215 – 42 . New York : Columbia University Press...
Journal Article
New German Critique (2014) 41 (2 (122)): 159–169.
Published: 01 August 2014
... threatened extinction. Although
Hansen imaginatively labored to rescue more hopeful signs of a regenerated
experience in cinema, at least during certain periods of its development, she
19. Martin Jay, Songs of Experience: Modern American and European Variations on a Univer-
sal Theme (Berkeley...
Journal Article
New German Critique (2019) 46 (3 (138)): 125–155.
Published: 01 November 2019
.... Abendland ( Occident , 2011) represents the outer perimeter of the European Union in relation to the European parliament and the various temples of pleasure in the West. Donauspital—SMZ Ost ( Danube Hospital—SMZ East , 2012) highlights our “corridic” modernity as it homes in on the medical-industrial...
FIGURES
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