Cinema and Social Change in Germany and Austria

Herausgeber: Mueller, Gabriele; Skidmore, James M

• Broschiertes Buch

Produktbeschreibung

This book explores contemporary German and Austrian cinema  and the trend away from "cinema of consensus" toward a more heterogeneous and critical cinema culture.  Functioning both as a product and as an agent of globalizing processes, this new cinema mediates and influences important political and social debates.

---

Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: Wilfrid Laurier University Press
• Seitenzahl: 314
• Englisch
• Abmessung: 229mm x 152mm x 25mm
• Gewicht: 550g
• ISBN-13: 9781554585601
• ISBN-10: 1554585600
• Artikelnr.: 50018624

Inhaltsangabe

Table of Contents for
Cinema and Social Change in Germany and Austria, edited by Gabrielle
Mueller and James M. Skidmore
List of Illustrations
Acknowledgements
1. Cinema of Dissent? Confronting Social, Economic, and Political Change in
German-Language Cinema Gabriele Mueller and James M. Skidmore
Challenging Viewing Habits
2. The Counter-Cinema of the Berlin School Marco Abel
3. The Triumph of Hyperreality: A Baudrillardian Reading of Michael
Haneke's Cinematic Oeuvre Sophie Boyer
4. Subversions of the Medical Gaze: Disability and Media Parody in
Christoph Schlingensief's Freakstars 3000 Morgan Koerner
Reassessing and Consuming History
5. Literary Discourse and Cinematic Narrative: Scripting Affect in Das
Leben der Anderen Roger Cook
6. Heimat 3: Edgar Reitz's Time Machine Alasdair King
7. Troubled Parents, Angry Children: The Difficult Legacy of 1968 in
Contemporary German-Language Film Joanne Leal
8. Creative Chaos as Political Strategy in Recent German-Language Cinema
Mary-Elizabeth O'Brien
9. "Looking for an Old Man with a Black Moustache": Hitler, Humor, Fake and
Forgery in Schtonk! Florentine Strzelczyk
10. Haha, Hitler! Coming to Terms with Dani Levy Peter Gölz
Questioning Collective Identities
11. German Fascination for Jews in Oliver Hirschbiegel's Ein ganz
gewöhnlicher Jude Myriam Léger
12. Border, Bridge, or Barrier? Images of German-Polish Borderlands in
German Cinema of the 2000s Jakub Kazecki
13. The Transnational Deutschkei in Yilmaz Arslan's Brudermord Michael
Zimmermann
14. Diasporic Queers: Reading for the Intersections of Alterities in Recent
German Cinema Alice Kuzniar
An Insider's View
15. The Construction of Reality: Aspects of Austrian Cinema between Fiction
and Documentary Barbara Pichler
Filmography
Notes on Contributors
Index
Contributors' Bios
Marco Abel is associate professor of English and Film Studies at the
University of Nebraska-Lincoln. He is the author of Violent Affect:
Literature, Cinema, and Critique after Representation (University of
Nebraska Press, 2008) and is currently working on The Berlin School: Toward
a Minor Cinema, which is under contract at Camden House. He teaches film
history and theory at the University of Nebraska-Lincoln.
Sophie Boyer is associate professor of German Studies at Bishop's
University in Sherbrooke, Quebec. Her research focuses on
nineteenth-century poetry and the representation of crime and sexuality in
Weimar literature. She is the author of La femme chez Heinrich Heine et
Charles Baudelaire: le langage moderne de l'amour (L'Harmattan, 2004).
Roger Cook is professor of German and director of Film Studies at the
Missouri State University in Springfield. He is the author of By the Rivers
of Babylon: Heinrich Heine's Late Songs and Reflections (Wayne State
University Press, 1998) and The Demise of the Author: Autonomy and the
German Writer 1770-1848 (Peter Lang, 1993), and he is editor with Gerd
Gemünden of The Cinema of Wim Wenders: Image, Narrative, and the Postmodern
Condition (Wayne State University Press, 1996).
Peter Gölz is associate professor of German and chair of the Department of
Germanic and Slavic Studies at the University of Victoria. He has published
on film, contemporary literature, computer-assisted language learning, and
vampires.
Jakub Kazecki holds an M.A. from Dalhousie University, Halifax, and a Ph.D.
from The University of British Columbia, Vancouver. He is currently working
as an assistant professor of German at Central Connecticut State University
in New Britain, Connecticut.
Alasdair King is senior lecturer in German and Film Studies at Queen Mary,
University of London. His recent publications include a monograph on Hans
Magnus Enzensberger, and numerous articles on German cinema. He is
currently working on a monograph on Edgar Reitz's Heimat trilogy as part of
a wider research interest in contemporary cinematic engagements with space
and time.
Morgan Koerner is an assistant professor of German at the College of
Charleston in South Carolina. His research focuses on intermediality and
laughter in contemporary German theatre performances after unification.
Alice Kuzniar is professor of German at the University of Waterloo,
Ontario. She has edited Outing Goethe and His Age (Stanford University
Press, 1996) and authored Delayed Endings: Nonclosure in Novalis and
Hölderlin (University of Georgia Press, 1987), The Queer German Cinema
(Stanford University Press, 2000), and Melancholia's Dog: Reflections on
Our Animal Kinship (University of Chicago Press, 2006).
Joanne Leal is director of the M.A. in European Cultures program at
Birkbeck, University of London. She has published on feminist literature
and contemporary fiction and film, and she has recently completed a project
on the collaborative works of Wim Wenders and Peter Handke (with Martin
Brady, King's College London), funded by the Arts and Humanities Research
Council (United Kingdom).
Myriam Léger is a Ph.D. candidate at the University of Waterloo, Ontario.
Her research interests are in twentieth-century German literature and film,
representations of Jewish identity, intersections of politics and
literature, and cultural studies.
Gabriele Mueller Gabriele Mueller is associate professor of German and
affiliated with The Canadian Centre for German and European Studies at York
University in Toronto. Her research focuses mainly on contemporary German
cinema. She has published on various aspects of post-unification cinema in
Germany, in particular, on cinematic contributions to memory discourses.
Mary-Elizabeth O'Brien is professor of German and the Courtney and Steven
Ross Chair in Interdisciplinary Studies at Skidmore College in Saratoga
Springs, New York. Her book Nazi Cinema as Enchantment: The Politics of
Entertainment in the Third Reich (Camden House, 2004) explores how cinema
participated in the larger framework of everyday fascism. Currently she is
writing a book on national identity in post-wall German cinema.
Barbara Pichler is the director of Diagonale, the festival of Austrian film
at Graz, which is the main platform for the presentation and discussion of
Austrian film. She studied theatre and film at the University of Vienna and
at the British Film Institute. An experienced member of film-festival
juries, she is also an adjunct lecturer on film at the University of Vienna
and the co-editor of moving landscapes: Landschaft und Film (Synema, 2006)
and James Benning (FilmmuseumSynemaPublikationen, 2007).
James M. Skidmore is associate professor and chair of the Department of
Germanic and Slavic Studies at the University of Waterloo, Ontario.
Florentine Strzelczyk is associate professor of German and director of the
Language Research Centre at the University of Calgary, Alberta. Her
research interests include the concept of Heimat in literature and film,
and the afterlife of Nazism in North American cinema. She is the author of
Unheimliche Heimat: Reibungsflächen zwischen Kultur und Nation (Iudicium,
1999) and co-editor of Glaube und Geschlecht: Fromme Frauen-Spirituelle
ErfahrungenReligióse Traditionen (Böhlau, 2008).
Michael Zimmermann teaches in the Department of International Languages at
the University of Regina, Saskatchewan. His areas of research interest are
the twentieth-century novel, film, German as a heritage language, and
language pedagogy.