...Jamie H. Trnka New German Critique, Inc. 2007 “The Struggle Is Over, the Wounds Are Open”: Cinematic Tropes, History, and the RAF in Recent German Film Jamie H. Trnka Recent German films have taken up questions of terrorist violence...

...Eric Kligerman Despite critics' attempts to read a work of mourning unfolding in films about the Red Army Faction (RAF) with respect to two traumatic histories (the National Socialist [NS] past and the German Autumn), this article examines how such films as Germany in Autumn, The Patriot...

... of Germany (KPD) in the 1950s. The labeling of political violence as terrorism was central to the political, juridical, and police campaign against the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, in the 1970s. Finally, protest was delegitimated in the state’s repressive policing...

... in postwar Germany. Richter’s work resonates with the concerns of the postwar generation, namely, memory and representation, the affi nity of art with death or violence, and issues surrounding the postmodern visual arts. Thus most scholars have viewed his cycle on the Red Army Faction (RAF), October...

..., “Armed Innocence” ; Kraushaar, “Hitler’s Children?” ; Kraushaar, “Antizionismus als Trojanisches Pferd” ; Kraushaar, Die blinden Flecken der RAF ; Gerber, “‘Schalom und Napalm.’” 7. For a recent critical approach to the entangled history of East Germany, militant parts of the West German...

... 2007 New German Critique Number 101  •  Summer 2007 “The Struggle Is Over, the Wounds Are Open”: Cinematic Tropes, History, and the RAF in Recent German Film . . . . . . . . . 1 Jamie H. Trnka Carl Schmitt and the Question of the Aesthetic...

... find interesting as he prepared to write Gravity’s Rainbow. In retaliation for the March 1942 attack of the Royal Air Force (RAF) on Lübeck, a German city of little strategic importance, Germany unleashed a series of aerial raids on unfortified towns in England. General Gustav von Sturm...

... East caused a deep division in the Left and led, in revolt against the official philo-Semitism of the German establishment, to often self-serving identification with the plight of Palestinians as victims of the broader Middle Eastern conflict. The trajectory of the Red Army Faction (RAF...

... expressed his critique of antisemitism against those who were blind to it (or thought it justified), namely, the radical Left in the 1970s. While Weiss was writing The Aesthetics , a descent by some of the radical ’68ers into the terrorism of the Red Army Faction (RAF) took place. The FRG had supposedly...

... as “theoretical practice,” theory defined itself as a genre opposed to academic philosophy and became the indispensable legiti- mation for all sorts of political activity—at least in the eyes of those who believed in it.6 Even the West German Red Army Faction (RAF) took pains to devise a “revolutionary...

..., Rudi Dutschke, Andreas Baader und die RAF ; Kundnani, Utopia or Auschwitz? ; Thierbach, Wie Rudi Dutschke zum Mythos wurde ; Cornils, Writing the Revolution ; and Renaud, “German New Lefts.” One of the few scholarly publications that offers a detailed overview of Dutschke’s intellectual...

..., is engaged to an up-and- coming surgeon, Alexander (Benjamin Stadler). But she falls in love with the British bomber pilot Robert (John Light), who is hiding in the city after para- chuting behind enemy lines. Together Anna and Robert survive the air raid flown by his fellow Royal Air Force (RAF...

... 27, no. 6 (1986): 6–22; and Linda Williams, “Film Bodies: Gender, Genre, and Excess,” Film Quarterly 44, no. 4 (1991): 2–13. 7. It certainly defi nes the emergence of Popliteratur as a phenomenon, but it can also be traced in the shifting representations of RAF terrorism in recent cultural...

... analogy with the event of West German terrorism, the moment that opened up the possibility of a different future before its reterritorialization as crimi- nality: “Bahro is for East Germany what Baader-Meinhof was for West Ger- many, before they became criminals as the RAF [Red Army Faction...

... in Dresden, three fine prints by Dürer and Jacob Cornelisz van Amsterdam for the Wall- raf-Richartz-Museum in Cologne, and two landscape paintings for the City Art Hall in Hamburg. Gurlitt charged the propaganda museum 12,700 reichs- marks for these works and received in return forty-two masterworks...

... in different materi- als. Machines such as W. Ross Ashby’s homeostat—a device assembled from RAF surplus electronics in Ashby’s home and able to attain an equilibrium against (or adapt itself to, as Ashby saw it) random changes in its input—were going to yield a “design for a brain.”46...

... monologic blocks, and the whole thing shrank to this text. Even the theme 24. Müller, “I Donʼt Know Whatʼs Avant-Garde,” 235. Michael D. Richardson 89 of Budapest in 1956 produced no dialogue, and the history of the RAF [Red Army Faction], also material...

... and not in theory. Yet they help explain Améry’s views on political counterviolence in the 1960s, when he endorsed certain aspects of the 1968 student movement and cautiously supported for a time the Red Army Faction (RAF), while criticizing organizations like the Maoist Gauche Prolétarienne in France for enacting...

..., “Of States and Their Terrorists.” Kittler’s description is based on the Red Army Faction’s nomadic terrorism within the highway systems and faceless high-rises of 1970s West Germany, though he disregards television, which the RAF likewise mobilized in their offensives. 36. The presence of the Nazi...