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Journal Article
Perpetrator Research through the Camera Lens: Nazis and Their Crimes in the Films of Romuald Karmakar
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New German Critique (2007) 34 (3 (102)): 75–86.
Published: 01 November 2007
...Margrit Frölich New German Critique, Inc. 2007 Translated from the German by Rachel Leah MagShamhráin Perpetrator Research through the Camera Lens:
Nazis and Their Crimes in the Films of
Romuald Karmakar
Margrit Frölich
Talking...
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Journal Article
Searching for Evidence between Generations: Claude Lanzmann's Sobibor and Romuald Karmakar's Land of Annihilation
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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...
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Journal Article
The Desk Murderer and the Corporate Executive: (Re)concretizing the “Banality of Evil” in The Specialist and The Himmler Project
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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...
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Journal Article
Memory and Repetition: Reenactment as an Affirmative Critical Practice
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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
The Ends of (German) Film Criticism: On Recurring Doomsday Scenarios and the New Algorithmic Culture
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New German Critique (2020) 47 (3 (141)): 45–57.
Published: 01 November 2020
... of individual films, but they never doubted the importance of cinema and certainly never disengaged altogether. Other parties submit their own grievances. Complaining about PR copy being thoughtlessly recycled in regional newspapers via news services and syndication, the arthouse filmmaker Romuald Karmakar...
Journal Article
In the Image: The Transformation of Cinematic Shoah Representations in Michael Glawogger's Kill Daddy Goodnight
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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...
Image
The actor Manfred Zapatka reading Heinrich Himmler’s Posen speech in 1999. ...
Available to PurchasePublished: 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.
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Journal Article
A Certain Tendency in German Film Criticism of the Postwall Era
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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
Past Lessons: Holocaust Conservation and Education in Robert Thalheim's And Along Come Tourists
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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...
Journal Article
Class Relations: Diagnoses of the Present in the Films of Julian Radlmaier and Max Linz
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New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
... of “power that is not legitimized by processes, no longer needing to develop concepts with which to justify itself; it distributes no ideas, at most it distributes money.” 39 His work takes recourse to diverse models, often uncompromising ones such as those of Schlingensief, Romuald Karmakar...
FIGURES
