Search Results for heritage cinema

...Olivia Landry Post-Holocaust German cinema is rife with the figure of the Jewish victim and accompanying portrayals of Jewish German and non-Jewish German reconciliation. Instrumental in this tradition, heritage filmmaking of the 1990s manufactured undemanding and sentimental historical tales...

... heritage cinema of the 1990s and early 2000s is similar to its late twentieth-century   8. As Knut Hickethier writes about film and television in postwar West Germany, “Resistance as aid to persecuted Jews was depicted frequently, and in hindsight it can almost appear as if the Germans hadn’t...

... and assumes firmer contours.” 4 To be sure, many of the films that received attention in this second round of taking stock returned to the Nazi past in the form of latter-day retro films that became known, not unproblematically, as German heritage cinema. Other films, though, offered encouraging signs...

...Tom Gunning Relating Sigmund Freud's essay “Mourning and Melancholia” and Walter Benjamin's work on the Trauerspiel as well as his discussion of cinema in “The Work of Art in the Age of Its Technological Reproducibility,” Gunning discusses the idea of testing as part of cinema's relation...

... “most prominent extension” in German heritage cinema. 14 Given that Petzold’s films, like the work of the Berlin School more broadly, resist this “cinema of consensus,” 15 it is no surprise that Phoenix opposes their simple chronology, presenting archive work as a more temporally complicated...

...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...

... to materialize memory. Memory, he famously claimed, “is not an instrument for exploring the past, but rather a medium . . . a medium of that which is experienced, just as the earth is the medium in which ancient cities lie buried.” 29 In Benjamin’s view, this medium was perfectly embodied by early cinema...

... Yuri Tsivian Miriam Hansen wrote two books with three-word main titles: Babel and Babylon in 1991 and Cinema and Experience in 2011.1 Those who knew Miriam and her work know how important that middle word, and, was for her. For grammarians, and is but an auxiliary word, but not for Miriam...

... ( Brussig, “‘Zum Reporter muß man geboren sein,’” 12 ). 88. Hammerthaler, “Die Position des Theaters,” 261 . 89. Wagner, “Not a Bad Heritage,” 18 . References Abel Marco . “ ‘There Is No Authenticity in the Cinema!’: An Interview with Andreas Dresen .” Senses of Cinema...

... to visualize the expansion and intensification of urban capitalism. David Lavery has explained how early theorists of cinema delighted in the ability to animate the nonhuman world. In 1920 the French writer (Sidonie-Gabrielle) Colette reported on a child at a cinema watching a plant grow over obstacles in time...

...: Early German Thinking about Film Katharina Loew Cinema’s emergence as a mass culture phenomenon in the early 1900s trig- gered intense public discussions all over Europe. Gauging the new medium’s social and aesthetic implications, commentators...

... and a critical dialogue with commentaries on both the mountain film and discussions of Maddin’s oeuvre. Putting to use transnational perspectives, this analysis of a Canadian director’s appropriation of a hallmark German genre problematizes previous constructions of national identity and national cinema as well...

..., Cinema in Democratizing Germany: Reconstructing National Identity after Hitler (Chapel Hill: University of North Carolina Press, 1995), 150. 5. Maiken Umbach, German Cities and Bourgeois Modernism, 1890–1924 (Oxford: Oxford Uni- versity Press, 2009), 64–68; Thomas Lekan, Imagining the Nation...

...Ido Ramati The article explores the phenomenon of return to Germany in contemporary Israeli cinema and argues that this return encodes a therapeutic construct for cultural healing from the traumas of forced migration and the Holocaust. Trauma studies supplies a theoretical framework...

... . Genre and Hollywood . London : Routledge , 2000 . Pollmann Inga . “ The Forces of the Milieu: Angela Schanelec’s Marseille and the Heritage of Michelangelo Antonioni .” In The Berlin School and Its Global Contexts: A Transnational Art Cinema , edited by Abel Marco and Fisher...

... the cinema of the Berlin School. Amalgamating various German and international influences, from Christoph Schlingensief, Alexander Kluge, and Rainer Werner Fassbinder (Linz) to Roberto Rossellini, Pier Paolo Pasolini, and the classical avant-gardes of the 1920s (Radlmaier), their student shorts and feature...

... heritage. Just as abstract expressionism in painting was promoted as a countermodel to socialist realism at the beginning of the Cold War, so the musical avant-garde received generous funding for concert series, festivals, special radio programs, and electronic studios, without which it could...

... that it is not identical with the experience of being in the place. As it draws on the noncinematic world, cinema itself produces a world shaped by its own means of compression, expansion, refiguration, and expression. To expose the medium’s role in creating its depicted place, Umsonst employs methods of self-conscious...

... Heritage Film,” in German Pop Culture: How American Is It? ed. Agnes C. Mueller [Ann Arbor: University of Michi- gan Press, 2004], 96). In envisioning Hollywood as a monolithic national cinema with indoctrina- tion as its modus operandi, they, too, revealed their own investment in authenticity...

... of aggression, claimed one reviewer, clearly took as its ideal the Sensationsfi lm, a form of early cinema that offered carnivalesque performances and sensa- tional optical tricks.11 But can a Dadaist participate in unnerving performance pieces by night and direct actual propaganda fi lms for his...