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1
Journal Article
New German Critique (2019) 46 (3 (138)): 35–51.
Published: 01 November 2019
...), and it becomes even more so in her third, Toni Erdmann (2016), which generated a furor among audiences and critics. Taking Sigmund Freud’s reflections on ambivalence and overdetermination as its starting point, this article examines Ade’s film as a synthetic tragicomedy in which comedy and tragedy do...
FIGURES
Journal Article
New German Critique (2009) 36 (3 (108)): 73–83.
Published: 01 November 2009
...
of the self as they appear in the medium of fi lm in its various forms, from art
fi lm to popular musical comedies.
In a televised discussion recorded and broadcast by Hessischer Rund-
funk in 1968 after a program of a staging of Samuel Beckett’s Play and his
Film, Adorno interpreted the latter...
Journal Article
New German Critique (2008) 35 (1 (103)): 27–49.
Published: 01 February 2008
... the equivalent of popular
media, but expressions of popular culture are scarce; where they do exist (e.g.,
in the broad farce of Roman comedy or in graffi ti), we must account for con-
vention as well as exceptionality.
Yet these select sources do allow us to glimpse something of conspira-
cism...
Journal Article
New German Critique (2010) 37 (2 (110)): 31–47.
Published: 01 August 2010
...-
sciously or unconsciously, a virtual antidote to his edited version of the twenty-
two-minute atrocities documentary. Rather than mutilated bodies and shrunken
heads, Wilder proposed a romantic comedy that would tell “a very simple story
of an American G.I. stationed here [in Berlin...
Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
..., the title of Linz’s film has an optimistic ring to it: Weitermachen Sanssouci . 45 As this article was being written, in the spring of 2018, the next feature films of both filmmakers were in preparation or postproduction. Radlmaier is developing an “anti-fascist beach comedy about a Soviet actor...
FIGURES
Journal Article
New German Critique (2015) 42 (1 (124)): 189–201.
Published: 01 February 2015
... everything in the form of
arguments, television in the form of entertainment26—the difference between,
say, politics, comedy, and sports is clear. The effortless browsing across differ-
ent formats on the Internet—websites of political organizations, Facebook
messages, and tweets—breaks down...
Journal Article
New German Critique (2019) 46 (3 (138)): 207–233.
Published: 01 November 2019
... in Germany. At a podium exchange held in the Cinema Babylon during the 2015 Berlinale, panelists (directors and producers, all male) argued that genre film is doing well in Germany if you consider the successful comedies with Til Schweiger and the cop shows ( Krimis ) aired on television every Sunday evening...
Journal Article
New German Critique (2014) 41 (2 (122)): 47–65.
Published: 01 August 2014
..., and slapstick comedies that, Tsivian argues, were actually more
influential during the transitional years. If the former kind of Americanism aspired to formal stan-
dards of narrative efficiency, coherence, and motivation, the latter was concerned with external
appearance, the sensual, material surface...
Journal Article
New German Critique (2015) 42 (1 (124)): 1–22.
Published: 01 February 2015
... they create, also somehow
appear ridiculous. The cabaret artist Serdar Somuncu, who performed read-
ings of Mein Kampf in the 1990s, commented on this: “Hitler plus power is
cruel, but Hitler minus power is a comedy.”38 One could thus conclude that the
terror is a necessary way to prevent the secret...
Journal Article
New German Critique (2011) 38 (3 (114)): 35–50.
Published: 01 November 2011
... is needed to turn antipathy into outright revolt. Machiavelli
made Lucretia the heroine of his comedy La Mandragola, set in contemporary
Florence, distancing himself from the moral or ideological exploitation of the
historical figure of Lucretia. In the play, the raped Lucretia has been trans-
formed...
Journal Article
New German Critique (2006) 33 (2 (98)): 101–133.
Published: 01 August 2006
... to Manhood in Nazi Film Comedies: Glueckskinder and Quax, der
Bruchpilot,” in Cultural History through a National Socialist Lens: Essays on the Cinema of the
Third Reich, ed. Robert C. Reimer (Rochester, NY: Camden House, 2000), 84–108. On Del Ruthʼs
and Zerlettʼs fi lms see, e.g., Michaela Haibl...
Journal Article
New German Critique (2007) 34 (1 (100)): 141–163.
Published: 01 February 2007
..., the manifest absurdity of the circus—Why the effort?—is in
nuce the aesthetic enigma” (AT, 185–86). The purposelessness of circus acts
fi gures in the purposelessness of art, which becomes its comic element.
Adorno reads the “primitive” subject as participating in this very comedy in
the realm of myth...
Journal Article
New German Critique (2010) 37 (2 (110)): 1–7.
Published: 01 August 2010
... ones who made rubble films in
Berlin. The German-born American director Billy Wilder made a love comedy
situated in the rubble of Berlin. David Bathrick’s contribution examines three
films that Wilder was involved in making during the early postwar period. The
first,Death Mills (1945...
Journal Article
New German Critique (2012) 39 (3 (117)): 25–32.
Published: 01 November 2012
... in hand, to examine the height of the waves.
By describing the obsessions of practical reason ironically and with a
grain of comedy, Measuring the World still remains ambiguous on the press-
ing requests of modernity. However, the novel’s spectacular success resolves
its intrinsic ambivalence...
Journal Article
New German Critique (2016) 43 (3 (129)): 27–52.
Published: 01 November 2016
..., but entirely
amateur, Wagnerians singing badly, although suitably, from the Pilgrims’ cho-
rus of Tannhäuser, an opera that has itself been construed in the tradition
of Wagnerian satire as a parody of devotion and fidelity in matters of love
and marriage. In a typical comedy of errors...
Journal Article
New German Critique (2020) 47 (3 (141)): 73–91.
Published: 01 November 2020
.... The serial’s full title was The Detective Adventures of Stuart Webbs ; it ran from 1913 to 1918. 7. Jimmy Aubrey (1887–1983) was a British-born American film comedian who appeared in countless films of the slapstick era. The exact film from Aubrey’s own series of comedies to which Kracauer is here...
Journal Article
New German Critique (2018) 45 (3 (135)): 155–174.
Published: 01 November 2018
... the while refraining from a comprehensive and thorough critique of the social system. In this case, satire sheds its ferocity and radicality and tends to slide into the gentler genre of comedy. Or authors do continue to feel the pressure of systemic problems, yet they abstain from condemning the social...
Journal Article
New German Critique (2021) 48 (1 (142)): 103–123.
Published: 01 February 2021
..., Benjamin highlighted the deeply profane nature of his comedies and observed how they were characterized by reflection and play. For Benjamin, these features were ways of coming to terms with the metaphysical question and the lack of a “way out” in Calderón’s plays. See Benjamin, Origin of German Tragic...
Journal Article
New German Critique (2007) 34 (3 (102)): 75–86.
Published: 01 November 2007
... would be willing to give back the plot
because he considers the place sacred, the incident has a certain involuntary
comedy. He hardly need fear that anyone will take him up on the offer, since
the descendants of the few Jewish survivors live abroad, and no one local is
at all interested...
Journal Article
New German Critique (2018) 45 (1 (133)): 111–154.
Published: 01 February 2018
..., or better yet, the gural
pair—for example, Adam and Christ, or the historical Cato and the literary
Cato who appears in Dante’s Divine Comedy, to name two of Auerbach’s par-
adigmatic cases—can be attributed to the way in which the gure remains
suspended between, on the one hand, literal sense...
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