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Journal Article

Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz

Volker Pantenburg
New German Critique (2019) 46 (3 (138)): 53–78.
DOI: https://doi.org/10.1215/0094033X-7727413
Published: 01 November 2019
... as director, festival successes such as Linz’s Finances of the Grand Duke Radicant Film or Ramon Zürcher’s Das merkwürdige Kätzchen ( The Curious Kitten , 2013) could not rely on the backing of the school’s administration. Indeed, they met with the resistance of the dffb leadership. 41. Jaeger...
FIGURES
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Journal Article

Introduction: New Prospects—After the Berlin School?

Brad Prager, Eric Rentschler
New German Critique (2019) 46 (3 (138)): 1–9.
DOI: https://doi.org/10.1215/0094033X-7727371
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...
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Journal Article

An Elegy for German Cinema: Dominik Graf’s Doomed Loves and Open Wounds

Eric Rentschler
New German Critique (2019) 46 (3 (138)): 207–233.
DOI: https://doi.org/10.1215/0094033X-7727497
Published: 01 November 2019
... of postwar Germany a new Heimat . Wolfgang Petersen talks of his fascination with all things American, recalling his experience as an outsider at the dffb, the highly politicized West Berlin film academy, describing how his militant peers shunned him as a “cake-maker filmmaker” (“Kuchenfilmer”) because he...
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