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wender

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Journal Article
New German Critique (2015) 42 (2 (125)): 81–95.
Published: 01 August 2015
...George Kouvaros To look at something as if it were for the last time, as if the thing looked at were disappearing: this article considers what this attitude reveals about Wim Wenders's work in film and photography. For Wenders, photography has several overlapping functions: it is a medium with its...
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 (2007) 34 (3 (102)): 1–16.
Published: 01 November 2007
... and other information from the Inter- 2. Eric Hansen, “Downfall,” Hollywood Reporter, September 16, 2005. David Bathrick 3 net. For example, Julie Salamon quoted extensively from the scathing review in Die Zeit in which Wim Wenders had written...
Journal Article
New German Critique (2007) 34 (3 (102)): 17–44.
Published: 01 November 2007
... in the spectator. As Wim Wenders points out, this is a cinematic con- struct befi tting any number of “classic” beginnings. Wenders, who (much to his credit) has entered into a lasting feud with Fest, provides a good description of the fi lm’s opening: “Die Kandidatinnen kommen bei Nacht und Nebel an, klar...
Journal Article
New German Critique (2020) 47 (3 (141)): 45–57.
Published: 01 November 2020
... and publicity-like reviewing, the points of ridicule for Karmakar, Pauli, James, Wenders, and many others over the years, yield much different uses and values than “real critics” among actual audiences: interviewees spoke of the former sources as initial “triggers” that create awareness and help initiate...
Journal Article
New German Critique (2019) 46 (3 (138)): 207–233.
Published: 01 November 2019
..., potboilers, exercises in sexploitation, curiosities of various sorts, and items from off the beaten track. Here one finds nothing by Kluge, Rainer Werner Fassbinder, Wim Wenders, or Margarethe von Trotta, and not a single Berlin School feature. Harun Farocki’s Leben BRD (1990) and Werner Nekes’s Johnny...
Journal Article
New German Critique (2020) 47 (3 (141)): 33–44.
Published: 01 November 2020
..., apolitical and for the most anti-intellectual, resembled in many ways the so-called Sensibilisten of the 1960s, writers like Siegfried Schober and Wolf-Eckart Bühler and writer-filmmakers like Rudolf Thome and Wim Wenders, who were more interested in describing their feelings about films rather than making...
Journal Article
New German Critique (2019) 46 (3 (138)): 35–51.
Published: 01 November 2019
... coverage that Ade’s film set in motion was overwhelming, and that too was foreseeable. After all, Toni Erdmann celebrated its premiere at the Cannes Film Festival, in competition for the Golden Palm. The last time a German director was in the running for this honor was 2008, when Wim Wenders entered...
FIGURES
Journal Article
New German Critique (2011) 38 (3 (114)): 95–114.
Published: 01 November 2011
... a text written by Fest and sprinkled with quotes from his best-selling biography. This unabashed reen- actment of Nazi propaganda, featuring lengthy excerpts of Hitler’s speeches, parades, footage from the 1936 Olympic Games, and so forth, was deemed utterly naive. The filmmaker Wim Wenders wrote...
Journal Article
New German Critique (2023) 50 (3 (150)): 205–215.
Published: 01 November 2023
... and the early Wim Wenders in the 1970s. Today we can watch Babylon Berlin (2017–), a Netflix series on the Weimar Republic, whose main purpose is to prove that Germany can compete with Hollywood in megaproductions. To be honest, however, there was no trickery. No one had announced miracles. After three...
Journal Article
New German Critique (2014) 41 (2 (122)): 189–202.
Published: 01 August 2014
... by adapting a promiscuous methodology. Such a meth- odology becomes even more important in the age of proliferating media 1. Panel at the MLA conference in Houston, Texas, December 27–30, 1980. See “Beyond the Triumvirate Fassbinder-Herzog-Wenders: New Directions in West German Cinema,” PMLA 95...
Journal Article
New German Critique (2010) 37 (2 (110)): 209–227.
Published: 01 August 2010
... of antiaircraft flak over burning cities—had overwhelmed and exhausted the German visual imagination, both East and West. Many years later, the filmmaker Werner Herzog lamented this visual deprivation of the German postwar; indeed, the New German cinema of Herzog, Wim Wenders, Rainer Werner Fassbinder...
Journal Article
New German Critique (2014) 41 (3 (123)): 135–157.
Published: 01 November 2014
... to conclude that they are being exposed to recorded testimony. Our attention is drawn only to the fact that this is an illusion when we recognize the performer’s mature face—shown in fragments—as that of the famous German actor Rüdiger Vogler, a readily identifiable member of Wim Wenders’s...
Journal Article
New German Critique (2013) 40 (3 (120)): 85–110.
Published: 01 November 2013
... Filmkritik editors did not have pro- duction in their personal purview. (Critics with serious filmmaking experiences or aspirations joined the ranks much later: most notably Wim Wenders, Harun Farocki, and Hartmut Bitomsky.)84 Nevertheless, there was a sense—at least from the side of the German...
Journal Article
New German Critique (2007) 34 (2 (101)): 157–185.
Published: 01 August 2007
... constituting elements of the text within its con- temporary context. But the issue of resistance to a perceived cultural inva- 55. The German director Wim Wenders proves this point again and again with his movies. See Gerd Gmünden, Framed Visions: Popular Culture, Americanization, and the Contemporary...
Journal Article
New German Critique (2015) 42 (2 (125)): 1–29.
Published: 01 August 2015
.... Shifting to the realm of film and photography, George Kouvaros fore- grounds the idea of belatedness in Wim Wenders with reference to the image. Using the idea of looking at something “as if it were for the last time,” he sets out how the “allure of photography” aligns our existence with the existence...