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karmakar

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Journal Article
New German Critique (2007) 34 (3 (102)): 75–86.
Published: 01 November 2007
...Margrit Frölich Perpetrator Research through the Camera Lens: Nazis and Their Crimes in the Films of Romuald Karmakar Margrit Frölich Talking to Merten Worthmann of Die Zeit, Romuald Karmakar stated that “dealing intensively...
Journal Article
New German Critique (2014) 41 (3 (123)): 57–73.
Published: 01 November 2014
...Manuel Köppen Claude Lanzmann's Sobibor (2001) and Romuald Karmakar's Land of Annihilation (2004) are contrasting cinematic documentaries that return the viewer to German concentration camps in Poland. While Lanzmann insists on the pathos of the primary witness, whose words, like the places...
Journal Article
New German Critique (2014) 41 (3 (123)): 75–93.
Published: 01 November 2014
...Alexandra Tacke In abstract and sometimes deliberately alienating treatments of archival material, Eyal Sivan and Rony Brauman's Specialist (1999) and Romuald Karmakar's Himmler Project (2000) engage in impressive reconcretizations of Hannah Arendt's concept of the “banality of evil.” Both...
Journal Article
New German Critique (2019) 46 (2 (137)): 171–195.
Published: 01 August 2019
..., empathetic, and ethical engagement with the past. This makes them a particularly provocative means of engaging with the figure of the perpetrator and with questions of guilt, responsibility, and agency. This article reads reenactments by Romuald Karmakar and Milo Rau as challenges to a teleological...
FIGURES
Journal Article
New German Critique (2020) 47 (3 (141)): 45–57.
Published: 01 November 2020
... levels of credibility to sources, which tended to serve distinct roles in users’ individualized decision-making processes. For example, advertising and publicity-like reviewing, the points of ridicule for Karmakar, Pauli, James, Wenders, and many others over the years, yield much different uses...
Image
Published: 01 August 2019
Figure 2. The actor Manfred Zapatka reading Heinrich Himmler’s Posen speech in 1999. Still from Das Himmler-Projekt , directed by Romuald Karmakar. Photograph © 2000 Pantera Film GmbH. Figure 2. The actor Manfred Zapatka reading Heinrich Himmler’s Posen speech in 1999. Still from Das Himmler More
Journal Article
New German Critique (2014) 41 (3 (123)): 95–112.
Published: 01 November 2014
... and is nearly expressionless; his sobriety—his Sachlichkeit— feels emphatic. The performance strategy to some extent recalls Romuald Karmakar’s film Das Himmler-Projekt (2000), although its form is not quite so radical.38 In Karmakar’s film the actor Manfred Zapatka stands at a desk in front of a neutral...
Journal Article
New German Critique (2020) 47 (3 (141)): 33–44.
Published: 01 November 2020
...-regarded member of this group, often talked about growing up and not feeling at home with German cinema, especially New German Cinema, which in his retrospective assessment had robbed him of his youth. 9 Romuald Karmakar’s penetrating documentary short, Keine Festivalberichterstattung ( No Festival...
Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
... takes recourse to diverse models, often uncompromising ones such as those of Schlingensief, Romuald Karmakar, or the angry first generation of dffb students from the late 1960s. At the same time it also seeks to follow Rainer Werner Fassbinder’s attempt to act politically and reach a broad audience...
FIGURES
Journal Article
New German Critique (2014) 41 (3 (123)): 9–34.
Published: 01 November 2014
... the signs of their pastness. Krzemiński is performing the wrong sort of “fixing”—repairing the suitcase rather than capturing the traces 14. Tobias Ebbrecht, “Begegnungen und Unterbrechungen: Europäische Gedächtnisräume in Romuald Karmakars Land der Vernichtung und Robert Thalheims Am Ende...