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Max Linz
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Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
...Volker Pantenburg Abstract This article examines the work of Max Linz and Julian Radlmaier, two German directors born in the mid-1980s. It traces their academic and practical training in film studies and film directing and highlights their aesthetic and political approach as an attempt to counter...
FIGURES
Image
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in Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz
> New German Critique
Published: 01 November 2019
Figure 1. The two filmmakers, Julian Radlmaier (left) and Max Linz, as Frédéric Moreau and Deslauriers in A Specter Is Haunting Europe (2013), directed by Julian Radlmaier.
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Image
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in Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz
> New German Critique
Published: 01 November 2019
Figure 2. One of the rigidly composed office tableaux in Asta Upset (2014), directed by Max Linz.
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Journal Article
New German Critique (2019) 46 (3 (138)): 1–9.
Published: 01 November 2019
... from those of Berlin School filmmakers. Volker Pantenburg discusses films by Julian Radlmaier and Max Linz, who are also products of the Deutsche Film- und Fernsehakademie Berlin (dffb). Their self-reflexive stylization as well as their anarchic humor might well be understood as a break...
Journal Article
New German Critique (2017) 44 (1 (130)): 35–55.
Published: 01 February 2017
... available to Ernst Ludwig Kirchner (1880–
1938), Erich Heckel (1883–1970), Karl Schmidt-Rottluff (1884–1976), and
Max Pechstein (1881–1958) to present their first artworks to the public. Hil-
debrand, then eleven years old, visited the exhibition with his mother.3
1. Herrmann, “Die Gurlitts...
Journal Article
New German Critique (2019) 46 (3 (138)): 79–101.
Published: 01 November 2019
...—and cinema—as a catalyst for social change. As the film exposes its diegetic reality as fictitious, it also invites the viewer to question the reality of capitalism’s immutable all-encompassing presence. Similarly, Max Linz’s Ich will mich nicht künstlich aufregen ( Asta Upset , 2014) never misses...
FIGURES
Journal Article
New German Critique (2017) 44 (1 (130)): 57–73.
Published: 01 February 2017
... of the Sonderauftrag Linz, the monumental museum project, for
which Gurlitt later become one of the most important buying agents.
In November, during the pogroms, art collections were plundered
throughout the entire German Reich. Among the thousands of Jewish citizens
who lost their lives were...
Journal Article
New German Critique (2007) 34 (2 (101)): 95–114.
Published: 01 August 2007
... Hitler22 at the
Linz Landestheater can hardly be exaggerated.23 The first indication of the
opera’s impact may be seen in Hitler’s admiration in Mein Kampf for Karl
Lueger, the charismatic mayor of Vienna (1897–1910) and the epitome of a
modern populist leader. It seems safe to assume that through...
Journal Article
New German Critique (2017) 44 (1 (130)): 125–142.
Published: 01 February 2017
... the war became an agent for Adolf Hitler as the latter amassed works for the
Führermuseum he planned for the city of Linz on the Danube River. While the
Americans secured several hundred artworks in Gurlitt’s possession at Schloss
Pölnitz near Bamberg, they also lost at least six paintings from...
