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Published: 01 February 2019
Figure 12. “Im Gebälk des Springturms” (“In the Timberwork of the High-Diving Board”), photo page, UHU , June 1930, 65. More
Journal Article
New German Critique (2009) 36 (3 (108)): 73–83.
Published: 01 November 2009
.... Adorno's more than skeptical position toward film relies on notions of self-reflexivity usually on reserve for high art. When Stanley Cavell situates film as a reflective form of skepticism that binds camera, spectator, and image together, it comes neatly to this position. Adorno at this point does...
Journal Article
New German Critique (2015) 42 (2 (125)): 31–48.
Published: 01 August 2015
...Anne Fuchs As the flip side of acceleration, lateness and slowness disrupt the relentless logic of the modernizing project by critiquing the harnessing of attention that is a hallmark of modernity's high-speed society. This article debates three prominent modes of lateness around 1900...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... propaganda films for the German High Command. However, he shunned live-action film sequences of the war, which were subject to heavy censorship, and instead drew on American-style cinematic animation to convey a subversive message about the war's violence and horror. Although he later became famous for his...
Journal Article
New German Critique (2019) 46 (3 (138)): 157–179.
Published: 01 November 2019
...Brad Prager Abstract The Austrian director Ulrich Seidl often films interview subjects as though they were posing for portrait photographs, and Seidl maintains that one of his major influences is the photographer Diane Arbus. This article examines how this high level of control over a film’s frames...
FIGURES | View All (4)
Journal Article
New German Critique (2023) 50 (3 (150)): 163–174.
Published: 01 November 2023
...Jessica Nitsche One aspect of Walter Benjamin’s approach that can undoubtedly be described as visionary is the high value he accorded film among the arts. Today time-based, audiovisual media is viewed as an integral and extraordinarily important part of the art system, but when Benjamin’s essay...
Journal Article
New German Critique (2007) 34 (1 (100)): 189–207.
Published: 01 February 2007
... the question in a different key, not least because of developments in modernism itself such as the rise of new media and the expansion of the high-cultural notion of “literariness” to the more- encompassing notion of textuality. What Adorno in the late essay “Kunst und die Künste” (“Art and the Arts...
Journal Article
New German Critique (2021) 48 (3 (144)): 65–98.
Published: 01 November 2021
... flourishing now, ruling the world once more. We spent a million years escaping him, Frink thought, and now he’s back. And not merely as the adversary . . . but as the master.” 1 This comparison of Nazis (“near-men”) and cannibals from The Man in the High Castle , by Philip K. Dick (1962), is voiced...
Journal Article
New German Critique (2016) 43 (3 (129)): 113–137.
Published: 01 November 2016
... are particulars who act universally.9 One stands for all. With the radio transmitting this message, you get the particular, but not the universal; the phenomenon but not the noumenon. As far as Adorno is concerned, with a symphony on the radio there is no high fidelity to the subject. So when Adorno...
Journal Article
New German Critique (2010) 37 (2 (110)): 49–72.
Published: 01 August 2010
... London and Berlin in the early 1940s: the for- mer savaged by unmanned rockets, the latter by high-explosive and incendi- ary bombs dropped out of airplanes. This backward glance foregrounds bal- listic technologies that would pave the way for a nuclear bomb that could, and would, wipe out tens...
Journal Article
New German Critique (2006) 33 (3 (99)): 83–119.
Published: 01 November 2006
... For alas, we know better, we know otherwise. A winterʼs day is upon us, and we live high up in the mountains, dangerously and in poverty” (EH, 198; trans. rev Kafkaʼs fi rst hero, the nar- rator of the “Description,” is not an example of Nietzscheʼs “solitary animal of prey”; he is not a “lion...
Journal Article
New German Critique (2012) 39 (3 (117)): 47–59.
Published: 01 November 2012
... of) its “average” intelligence. Given the American political climate of the mid-1990s, one can under- stand why the Herrnstein and Murray book has attracted much attention in its evocation of the myth of permanent underclass (read: of African Americans) whose high rate of reproduction, low...
Journal Article
New German Critique (2020) 47 (3 (141)): 21–31.
Published: 01 November 2020
...-gardist and first head of the Diagonale Festival Peter Tscherkassky. 7 The ten- to fifteen-page articles expressly approach the films from an aesthetic viewpoint. They offer close readings of individual works that orient themselves toward European high culture. But there are also interpretations...
Journal Article
New German Critique (2007) 34 (3 (102)): 1–16.
Published: 01 November 2007
... it broke box-offi ce records for the small repertory movie theater Film Forum, grossing $24,220, despite its consider- able length, some two and a half hours, and the fact that it was shown in the original with subtitles. Nationally, audience attendance remained unusually high for the following...
Journal Article
New German Critique (2009) 36 (2 (107)): 1–4.
Published: 01 August 2009
... techniques across geographic borders and across media, high and low. This special issue of New German Critique is dedicated to practices of photomontage in the era between the world wars. Not surprisingly, John Heartfi eld is a key fi gure whose work was infl uential far beyond the Weimar Republic...
Journal Article
New German Critique (2023) 50 (3 (150)): 93–107.
Published: 01 November 2023
... rooms (anything less than one room per person would trigger psychopathological symptoms); bigger apartments were unpopular because having more space lacked prestige (and not because they were unaffordable); and suicides in high-rises were nothing to worry about (people must get used to life in tall...
Journal Article
New German Critique (2021) 48 (2 (143)): 1–4.
Published: 01 August 2021
... the fact that Adorno’s own aesthetic sensibility inclined him to embrace only a rather narrow canon of art, chiefly musical but also literary, confined mostly to the European tradition of high modernism. His interests and also his knowledge of art beyond the European sphere remained limited, and his...
Journal Article
New German Critique (2006) 33 (1 (97)): 1–3.
Published: 01 February 2006
... Gerhardt reached a high point in 2003 with conferences, biographies, and other publica- tions commemorating the centenary of his birth.9 A thorough engagement with the ethical merits of Adorno’s thinking, however, has been strikingly absent. Some forays had been made into this area...
Journal Article
New German Critique (2019) 46 (1 (136)): 197–228.
Published: 01 February 2019
...Figure 12. “Im Gebälk des Springturms” (“In the Timberwork of the High-Diving Board”), photo page, UHU , June 1930, 65. ...
FIGURES | View All (12)
Journal Article
New German Critique (2014) 41 (2 (122)): 67–82.
Published: 01 August 2014
... essay, “The Mass Production of the Senses,” she had two main polemical targets. The first was a tradition of high modernism, exemplified by the later writings of Clement Greenberg, in which modernist art was explicitly separated from mass culture on grounds of artistic autonomy, reflexive...