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Topic: New German Cinema


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  New German Cinema; The Images of a Generation; Julia Knight
New German Cinema: The Images of a Generation explores the context from which the films made by Fassbinder, Wenders, Herzog, von Trotta and others emerged during the late 1960s through to the mid-1980s.
It examines the American dominance of the German market place, the development of a film subsidy system, the notion and politics of an Autorenkino, the framework of European art cinema, and distribution and exhibition initiatives that helped facilitate the birth of and shape a new national cinema.
Although the new cinema was internationally acclaimed, critics were virtually unanimous in declaring its demise in the early 1980s and this study concludes with a consideration of a number of factors that contributed to such a perception.
www.columbia.edu /cu/cup/catalog/data/190336/1903364280.HTM   (204 words)

  
  New German cinema
New German Cinema explores the context from which the films made by Fassbinder, Wenders, Herzog and others emerged during the late 1960s through to the mid-1980s.
New German Cinema: The Images of a Generation explores the context from which the films made by Fassbinder, Wenders, Herzog, von Trotta and others emerged during the late 1960s through to the mid-1980s.
Although the new cinema was internationally acclaimed, critics were virtually unanimous in declaring its demise in the early 1980s and this study concludes with a consideration of a number of factors that contributed to such a perception.
www.jahsonic.com /NGC.html   (448 words)

  
 The new German cinema:
Flinn is perfectly justified in objecting to the term insofar as it "anticipates the language of the victor" and depends on "rhetoric of conquest and mastery" (55).
Undoubtedly, she is justified in criticizing this narrational strategy, observing that it is disingenuous to cast a German fighting for the Fatherland as the party who suffers historical injury.
Her reassessment of New German cinema's attempts to come to terms with an invidious past is particularly valuable now.
www.latrobe.edu.au /screeningthepast/stp17/newreviews/rev_17/LNbr17a.html   (3370 words)

  
 NEW GERMAN CINEMA   (Site not responding. Last check: 2007-10-16)
Their short, unstructured films, produced on very low budgets, reflected their philosophy that the German film should concern itself with contemporary German problems; the materialism of postwar society, the morality of the bourgeoisie, the alienation of youth, and the moral disaster of the Nazi legacy.
This attempt at a new, meaningful film culture, although not economically successful, did eventually evolve into a strong industry that was receiving international acclaim by the late 60s and on into the 70s.
It is difficult to define the "New German Cinema" because all the directors have their own uniquie styles which are specific to their films.
members.tripod.com /michaelfussell/new.html   (615 words)

  
 New German Cinema: Alternative Visions and Utopian Designs
An international success of the New German Cinema, The Lost Honor of Katharina Blum is a tense adaptation of Heinrich Böll’s novel about the power of the mass media to inspire guilt by association.
After suffering intense scrutiny at the hands of the German police, the judiciary, and—worst of all—the right-wing tabloid press, Katharina fights to retain her honor and, in the process, becomes transformed.
It begins in 1939 with the brief courtship and marriage of a young German couple, and moves on to the wife’s life of deprivation and courage during her husband’s absence in the war and her tremendous difficulty in reintegrating into the postwar culture, reinfused with male presence.
www.harvardfilmarchive.org /calendars/00novdec/newgerman.htm   (943 words)

  
 New German Film Festival
Including German films from 1922 to 1999, the seven-day festival focuses on the New German Cinema movement, which began in 1962.
Their films attempt to critique post-war German society, and raise issues such as societal power imbalance, the role of women, and the struggle to deal with the country's Nazi past.
One New German Cinema director, Werner Herzog, was so impressed by the Expressionist director Murnau's classic retelling of the vampire story in Nosferatu (1922) that he faithfully remade the film in 1978.
www.oberlin.edu /news-info/99nov/germfilmfest.html   (677 words)

  
 Bright Lights Film Journal | German National Cinema
The genre has even found a minor rebirth in contemporary American cinema, and although this aspect falls outside of the parameters of her study, Hake is sensitive to the genre’s value beyond the traditional dismissal of it as “(pre-)fascism or reactionary modernism” (43).
Hake heralds the German film of the 1920s and early '30s as the progressive, artistic, Hollywood-threat cinema it certainly was, without ignoring the sociocultural/economic upheaval of the Weimar Republic, which shifted conventional cinematic vocabulary in a manner found in no other Western cinema of the time.
The failure of a “new wave” to take root after the Oberhausen Manifesto in which young filmmakers rejected “Papa’s movies,” and the complex hybridism of the entertainment genres that drew audiences are well detailed by Hake, who suggests the success of the West German escapist film as a symptom of an “amnesiac postwar culture” (109).
www.brightlightsfilm.com /38/booksgerman.htm   (1463 words)

  
 Germany Info: Culture & Life
Next month, ten new feature-length films will be shown as part of the festival — a group of films that promise to show the far-reaching scope of German film today.
The breadth of their subject matter speaks for the often unknown variety in German cinema, an industry that was revitalized this year with an Oscar win for best foreign language film and the prospect of another with “Goodbye, Lenin,” Germany’s official contender for the prize in 2004.
None of the films would suggest that German filmmakers are interested in distancing themselves from Germany’s troubled past, but that the Germans’ reconciliation with their own history continues to be an important part of public discourse.
www.germany.info /relaunch/culture/new/cul_moma_film.html   (729 words)

  
 East German cinema
The German Democratic Republic was once one of the most thriving filmmaking countries of the Socialist block, with internationally renowned directors such as Konrad Wolf and Heiner Carow, working at the DEFA Studios in Potsdam-Neubabelsberg, the reluctant but not entirely unworthy (or unproblematic) heir of the once-famous Ufa Studios.
Paradoxically, there was even a time when West German cinephiles were envious of West Berliners, who could receive GDR television: not because of the news or current affairs programmes, needless to say, but for the regular Saturday matinee and late evening re-runs of German cinema classics from the 1930s and 1940s.
She also locates a whole series of recurring tropes, ranging from the blatantly didactic (sub-standard apples, divided families, orphaned or neglected children) and transparently symbolic (inheritance, shoplifting, cannibalism, kidnapping are favourite narrative motifs), to the enigmatically allegorical (an underwater diver in full diving suit wandering the streets without being noticed).
www.latrobe.edu.au /screeningthepast/reviews/rev0703/tebr15.html   (1697 words)

  
 http://xft001/classes/intlfilm/newgermancinema.htm
Wim Wenders and the Internationalization of German Cinema
New German Cinema is first and foremost concerned with attacking German passivity in its refusal to confront the nation’s past, and as a corollary to this, emphasizing the significance that past has on Germany’s present.
The death of the New German Cinema was finalized by the tragic death of Rainer Fassbinder in 1982.
www.montana.edu /metz/website/intlfilm/newgermancinema.htm   (2958 words)

  
 Film Programmes Office
This summon to new thinking and reflection of film culture was followed by Britain, France, Poland, Czechoslovakia and Brazil; combing elements from Marxism, Freudian psycho-analysis and Jean-Paul Satire's Existentialism, a new film culture with emphasis on autonomy, self-governance and auteurism gradually took shape.
Under the tide of the European New Wave, German New Wave had adopted the French New Waver Godard's rebellious and experimental spirit, solemnly and affirmatively proclaiming the birth of New German Cinema in opposition to the mainstream cinematic tradition.
Under the Berlin sky, the New German Cinema not only witness the reflection of traditional cinema by a new generation of filmmakers, it also reveals their scrutiny of the status quo and hope for the future.
www.lcsd.gov.hk /CE/CulturalService/filmprog/english/2006newgerman/2006newgerman_index.html   (284 words)

  
 The Criterion Collection - New German Cinema   (Site not responding. Last check: 2007-10-16)
In the mid-1960s, a talented group of young German filmmakers burst onto the international scene, revitalizing the country's long-dormant film industry.
Inspired by the “Oberhausen Manifesto,” a document signed by twenty-six filmmakers at the 1962 West German Short Film Festival that declared “The old cinema is dead; we believe in the new,” this new generation of auteurs forthrightly confronted the brutality and denials of the German past with formidable intelligence, personal conviction, and formal audacity.
Producing such cinematic luminaries as Volker Schlöndorff, Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, Margarethe Von Trotta, and Alexander Kluge, the New German Cinema is regarded as one of the most vital and fertile movements in postwar cinema.
criterionco.com /asp/connections.asp?id=78   (113 words)

  
 German Cinema
791.430943.K89F OISE/UT Kuzniar, Alice A. The queer German cinema.
German 43: Exiles and Emigres (Gerd Gemunden, Dartmouth College) During the 1930s and 1940s, hundreds of German-speaking writers and film professionals lived and worked in Hollywood.
German Cinema: A Selected Bibliography of Materials in the UC Berkeley Library Extensive general bibliography (books & articles) as well as bibliographies (books & articles) on individual directors and links to other online German film resources.
www.utoronto.ca /innis/library/germanfilm.html   (1547 words)

  
 Literatures Languages and Cultures Graduate School - Film Studies
The study of films will be undertaken with a view to establishing the function of such "non-classical" techniques of film-making for cinema in general and for the pursuit of the artistic and thematic aims of new German films in particular.
Franklin, New German Cinema: From Oberhausen to Hamburg
Graf Alexander, The Cinema of Wim Wenders, Wallflower, 2002.
www.filmstudies.llc.ed.ac.uk /new_german_cinema.html   (233 words)

  
 Deterritorializing the New German Cinema
This book takes the story of the New German Cinema beyond its strictly German context to show its relation to the international constellations of the Cold War and postcolonial politics.
His book is the first to examine the legitimation function of German national cinema not just in relation to the German history associated with World War II and the Holocaust, but also within the shifting configuration of neocolonialism.
Davidson uncovers new material regarding the German government's debates about film as a means of solidifying the country's position among the Western powers in neocolonial competition.
www.upress.umn.edu /Books/d/davidson_deterritorial.html   (425 words)

  
 Cinema | The German Way
German film awards such as Der goldene Bär (The Golden Bear) awarded at the Berlin International Film Festival (Berlinale), as well as other European awards (Cannes, the “Felix,” Venice), have been created in an attempt to compete with the American Academy Awards (“Oscar”) and to call attention to German and European film.
The New German Cinema is known to many film buffs, though there is no “school” of Fassbinder, Wenders, or Herzog as there is of the French Truffaut or the Italian Fellini.
German expressionistic films such as “Caligari” and “Metropolis,” which interestingly enough were not great commercial successes in their time, became the artistic forerunners that led Hollywood from flat lighting and mundane settings to what would become the more artistic light and shadow of film noir.
www.german-way.com /cinema.html   (982 words)

  
 New German Cinema: Alternative Visions and Utopian Designs
Straub-Huillet’s adaptation of Heinrich Böll’s biting satire Bonn Diary presents the reflections of a reactivated officer who is summoned to the West German capital by the Ministry of Defense to establish an Academy for Military Memories.
Herzog’s first feature, which marked a turning point in the renaissance of German cinema, is an original mixture of Quixote-madness and case history.
Unhinged by the torpid circularity of island life, he is driven mad by the incredible vision of a valley filled with thousands of small, whirring windmills and stages an insane, one-man revolt.
www.harvardfilmarchive.org /calendars/00sepoct/newgerman.htm   (939 words)

  
 New German Cinema - GERS 439   (Site not responding. Last check: 2007-10-16)
The collapse of the conventional German film finally removes the economic basis for a mode of filmmaking whose attitude and practice we reject.
German short films by young authors, directors, and producers have in recent years received a large number of prizes at international festivals and gained the recognition of international critics.
These works and these successes show that the future of the German film lies in the hands of those who have proven that they speak a new film language.
web.uvic.ca /german/439   (175 words)

  
 WCAS Department of German: Courses: What's New
COURSE DESCRIPTION: This course focuses on a period of German filmmaking commonly known as New German Cinema, from its emergence in the early 1960s through the late 1970s.
The “New” cinema explicitly sought to distance itself from filmmaking practices of the preceding generation, in terms of subject matter, formal concerns and production practices.
Some topics we will examine in depth include: the representation of the German past; the relationship of the past to the present; the power of the State, especially with respect to the individual citizen; and gender relations.
www.german.northwestern.edu /courses/courses.html   (901 words)

  
 Seminar
Government involvement, in the form of subsidy granting agencies, made New German Cinema possible, but restrictions on those subsidies, imposed after lobbying by the commercial film industry, nearly snuffed out what had begun to flourish in the late 1960s.
Her employment of “art cinema” as a category of analysis is also problematic; this notion is so difficult to explain and defend in the necessarily small space available to the author.
The use of English titles for the films (German titles are given in parentheses) is unfortunate, although one may think it necessary for an audience unfamiliar with German.
www.humanities.ualberta.ca /seminar/display.cfm?ReviewID=157   (575 words)

  
 French Culture | Cinema | Partners | New Yorker Films   (Site not responding. Last check: 2007-10-16)
Always on the alert for fresh talent and new trends, New Yorker Films was the primary force in introducing this country to the pioneeringly postmodernist New German Cinema, the politically embattled Latin American cinema, and the postcolonial African cinema.
In addition to its theatrical premieres, New Yorker's strength is its ability to service the nontheatrical market, catering to the specialized needs of film society and classroom venues that fall beneath the radar of larger, more monolithic companies.
An average of thirty new titles per year are released in video, representing a broad selection of the best in classic, foreign, and independent cinema.
www.frenchculture.org /cinema/video/sponsors/newyorker.html   (621 words)

  
 McCormick: Selected Bibliography
"Aguirre, Neocolonialism, and New German Cinema." New German Critique 60 (1993).
The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt.
"New Historicism and the Study of German Literature." German Quarterly 62.2 (Spring 1989): 210-219.
www.womeningerman.org /conference/1996/bib_film.html   (544 words)

  
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They were also radical in terms of their subject matter, marking a turning point in the way cinema examined both present social issues (‘multiculturalism’, the changing role of women in society) and the legacy of the Nazi past.
Kuzniar, Alice A., The queer German cinema (
Graf, Alexander, The cinema of Wim Wenders: the celluloid highway (
www.german.leeds.ac.uk /cinema/index.htm   (1513 words)

  
 German Cinema   (Site not responding. Last check: 2007-10-16)
The series is designed to appeal to professors who teach courses in general education, liberal arts, cinema, or who conduct a course in German film exclusively in German, or for where students share the same class (and films) for those two different courses.
Reinhard Zachau (Ph.D., University of Pittsburgh) is Professor of German at the University of the South.
German Culture through Film: an Introduction to German Cinema grew out of the frustration of the authors with finding a film book adaptable to an introductory undergraduate course in German film which for reasons of exigency had to include not only students with German language skills but also those with no knowledge of the language.
www.pullins.com /Books/01028GermanCinema.htm   (1033 words)

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