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1
Journal Article
New German Critique (2024) 51 (1 (151)): 77–107.
Published: 01 February 2024
... literary debate on the medium. His screenplays for the adaptations of his novels Die Rote and Die Entwaffnung are used to examine the conclusions Andersch drew regarding film aesthetics in his own poetics of screenwriting. In sum, the essay reconstructs Andersch’s attempt at a literary response...
FIGURES
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Journal Article
New German Critique (2007) 34 (3 (102)): 1–16.
Published: 01 November 2007
... Schirrmacher in the Frankfurter
Allgemeine Zeitung, Eichinger summarized the entire production process of
the screenplay—which reads like an awakening—in very revealing terms:
At some point, my interest focused more and more on the person [Hitler]
and shifted away from the systems of terror...
Journal Article
New German Critique (2010) 37 (2 (110)): 73–94.
Published: 01 August 2010
... metaphorics to challenge the Manichaean meta-
physical division of Cold War ideology as early as Carol Reed’s 1949 thriller,
The Third Man, based on a screenplay by Graham Greene composed with
firsthand experience not only of the intelligence community but also of condi-
tions in postwar Vienna...
Journal Article
New German Critique (2010) 37 (2 (110)): 107–124.
Published: 01 August 2010
... from this screenplay. Translations, some-
times modified, are based on the English subtitles.
21. In contrast to their filming colleagues, the musicians are not even aware that their own alma
mater—the Munich School of Music—was the site at which the Munich Agreement was ratified.
22. See...
Journal Article
New German Critique (2007) 34 (3 (102)): 45–60.
Published: 01 November 2007
...
Erich Maria Remarque, author of All Quiet on the Western Front, to write
the screenplay. Remarque introduced yet another fi ctional fi gure, the young
Captain Wüst (a name suggesting desolation). While Richard undergoes a
radical process of disillusionment, Wüst (Oskar Werner) already knows...
Journal Article
New German Critique (2007) 34 (3 (102)): 87–100.
Published: 01 November 2007
..., develops this into a motif of
considerable importance.
92 Schlöndorff’s Ninth Day
which his testimony merely inspired the screenplay.9 Schlöndorff himself
described the screenplay as a “nine-round fi ght,” a description that emphasizes
the dramaturgical character of the fi lm and its borrowings...
Journal Article
New German Critique (2010) 37 (2 (110)): 31–47.
Published: 01 August 2010
... Biberkopf, then in 1980 by Rainer Fassbinder simply as Berlin
Alexanderplatz.
David Bathrick 39
Samuel) Wilder wrote the screenplay for an award-winning semidocumen-
tary film,People on Sunday (Menschen am Sonntag), that pursues the lives of
a group...
Journal Article
New German Critique (2022) 49 (2 (146)): 133–160.
Published: 01 August 2022
... Maddin’s film influence our understanding of the mountain film? Careful is Maddin’s third feature film, released in 1992 to considerable critical acclaim. The screenplay was written by George Toles, a professor of film studies at the University of Manitoba, who is one of Maddin’s favorite...
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Journal Article
New German Critique (2019) 46 (3 (138)): 53–78.
Published: 01 November 2019
... Linz explains to one actor that rather than follow the screenplay, he should just sit there and gaze over at the supermarket, and we realize that, once more, the desire is to emancipate the film from its script and explore how gestures and actions might capture everyday life on film during a summer’s...
FIGURES
Journal Article
New German Critique (2020) 47 (3 (141)): 21–31.
Published: 01 November 2020
... Kitano, and Wong Kar-wai.) Meteor’ s modus operandi was to both like and dislike in the same issue. It mixed excerpts from screenplays, dossiers about specific directors, interviews, essays, and film theory. The page layout was unusual when books were excerpted and reprinted, with the margin offering...
Journal Article
New German Critique (2007) 34 (3 (102)): 61–74.
Published: 01 November 2007
... and Hitler from other com-
parable depictions, are undoubtedly linked to the status of Breloer and the
coauthor of the screenplay, Horst Königstein: both are proven experts in the
docudrama genre and are important television writers.14 Thus Breloer can step
in front of the camera with authority...
Journal Article
New German Critique (2020) 47 (3 (141)): 7–20.
Published: 01 November 2020
... reviews and articles too numerous to mention in the trade, daily, technical, political, and popular press; penning screenplays, plays, fairy tales, and other fictions; and lecturing in film associations, including most regularly the Klub der Kameraleute Deutschlands (German Cinematographers’ Club...
Journal Article
New German Critique (2006) 33 (1 (97)): 73–118.
Published: 01 February 2006
...; Metaphysik, 159.
2. See La Notte (dir. Michelangelo Antonioni, screenplay by Antonioni, Ennio Flaiano, and
Tonino Guerra; 1961); for the braiding of Adorno with the film’s primary, almost immediately
projected concerns see the screenplay text in Antonioni, Sei film: Le amiche, Il grido, L’avventura...
Journal Article
New German Critique (2020) 47 (3 (141)): 73–91.
Published: 01 November 2020
... the spectacle? Their purpose is a private tragedy that, in this version, is of no real concern to anyone, let alone these days. The decisive problem is not that the film abuses Heinrich Mann’s novel but that one chose this prewar book as the basis for a screenplay in the first place. What interests steered...
Journal Article
New German Critique (2014) 41 (3 (123)): 159–178.
Published: 01 November 2014
... Exposures
attracting sixty-two thousand viewers, a comparatively large number for a doc-
umentary. Junge’s testimony became known to an even broader public when
the producer Bernd Eichinger used it as a source for his screenplay for Der
Untergang (Downfall, 2004) about Hitler’s last days...
Journal Article
New German Critique (2020) 47 (1 (139)): 173–195.
Published: 01 February 2020
... for Phoenix might reveal the influence of Harun Farocki, with whom Petzold wrote the screenplay for Phoenix . In Bilder der Welt und Inschrift des Krieges (1988), Farocki considers what it means to see something initially overlooked on closer, later inspection. Petzold evokes the same language in his...
Journal Article
New German Critique (2014) 41 (3 (123)): 113–134.
Published: 01 November 2014
... with the music,
which now emanates from the actual piano, one hears the ambient noise of the
streetscape on the other side of the window, including the sound of American
police car sirens. Indeed, according to the screenplay, this scene of elderly men
playing the piano takes place in contemporary New...
Journal Article
New German Critique (2015) 42 (3 (126)): 69–90.
Published: 01 November 2015
..., at considerable expense, in the mid-1950s and directed by the late
Kurt Maetzig, one of the GDR’s most distinguished filmmakers. The films—
with screenplays in part by Bredel himself, the author of the Verwandte und
Bekannte trilogy—told a story of struggle and heroism during the Weimar
Republic...
Journal Article
New German Critique (2013) 40 (3 (120)): 85–110.
Published: 01 November 2013
... from screenplays, interviews with the filmmakers (and their letters to
the editor), and both in-house notices and write-ups of these films from abroad.
The positive coverage of the Young German Film allied the movement
with Filmkritik as joint participants in an “internationalist” national...
Journal Article
New German Critique (2012) 39 (1 (115)): 139–167.
Published: 01 February 2012
... many hours in discussion with Hasselbach before Hasselbach
left the movement; was central to the television broadcast in which Hasselbach declared his depar-
ture; coauthored Hasselbach’s first book, Die Abrechnung (1993), and an expanded version of it
(2001); and coauthored the screenplay...
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