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tykwer
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Journal Article
New German Critique (2010) 37 (1 (109)): 53–74.
Published: 01 February 2010
..., the film's director, Tom Tykwer, clinically atomizes his own characters' phlegmatic tendencies and reveals a morose and immobilized German identity. Filmic allusions to Wim Wenders's films from the 1970s and Steven Spielberg's Close Encounters of the Third Kind (1977) contextualize Tykwer's characters across...
Journal Article
New German Critique (2019) 46 (3 (138)): 1–9.
Published: 01 November 2019
... conspicuously undernarrated and modestly attended film while attacking Tom Tykwer’s well-crafted and financially lucrative production Das Parfum ( Perfume , 2006). Such critics, in Rohrbach’s assessment, steadfastly remain in their own circles, forging alliances with difficult filmmakers while neglecting...
Journal Article
New German Critique (2020) 47 (3 (141)): 59–71.
Published: 01 November 2020
... low-budget Sehnsucht ( Longing , 2006), a love story among villagers filmed with amateur actors, had received enthusiastic reviews, while Tom Tykwer’s historical tapestry Das Parfüm ( Perfume , 2007) had not. His claim that film critics must also appreciate the production of universal genre films...
Journal Article
New German Critique (2012) 39 (2 (116)): 63–86.
Published: 01 August 2012
..., Longing, and Tom Tykwer, Wintersleepers,” in Revisiting Space: Space and Place
in European Cinema, ed. Wendy Everett and Axel Goodbody [Oxford: Lang, 2005], 79–98). For a
critical take on the negative view of Ostalgie (nostalgia for the East German state) as a dangerous
form of selective memory, see...
Journal Article
New German Critique (2010) 37 (1 (109)): 75–98.
Published: 01 February 2010
.... Oliver
Hirschbiegel, 2004), Das Parfum—Die Geschichte eines Mörders (dir. Tom Tykwer, 2006), and Der
Baader Meinhof Komplex (dir. Uli Edel, 2008). Many German critics suggested that the main reason
for what they perceive as a toothless adaptation of Houellebecq’s novel is that he worked...