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By Jennifer M. Kapczynski, Michael D. Richardson

ISBN-10: 1571135952

ISBN-13: 9781571135957

This dynamic, event-centered anthology bargains a brand new realizing of the hundred-year heritage of German-language movie, from the earliest days of the "Kintopp" to modern productions like "The Lives of Others". all the greater than 80 essays takes a key date as its place to begin and explores its importance for German movie historical past, pursuing its courting with its social, political, and aesthetic second. whereas the essays provide abundant temporal and topical unfold, this publication emphasizes the juxtaposition of recognized and unknown tales, granting realization to quite a lot of cinematic occasions. short part introductions offer a bigger historic and film-historical framework that illuminates the essays inside it, delivering either students and the overall reader a environment for the person texts and figures less than research. Cross-references to different essays within the e-book are integrated on the shut of every access, encouraging readers not just to pursue time-honored trajectories within the improvement of German movie, but in addition to track specific figures and motifs throughout genres and ancient sessions. jointly, the contributions supply a brand new view of the a number of, intersecting narratives that make up German-language cinema. The constellation that's therefore tested demanding situations unidirectional narratives of German movie heritage and charts new methods of brooding about movie historiography extra extensively. Jennifer Kapczynski is affiliate Professor of German at Washington collage, St. Louis, and Michael Richardson is affiliate Professor of German at Ithaca collage.

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Extra info for A New History of German Cinema

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This chapter considers how film reminds us how the demarcation and management of the border and border politics more generally is enacted through the visual. The border (whatever its form) is never a neutral line of separation. The first theme concerns border management in the confined space of the airport. As the film The Terminal suggests, borders can be constraining but it is their management that produces seemingly ridiculous displays of sovereign power. Second, we reflect on one material manifestation of border management – the checkpoint.

His disappearance triggers a desperate search by Isabella who travels to Washington hoping for news of her missing husband. The senior CIA official handling the case, Corrine Whitman (Meryl Streep), is informed that Anwar has passed a polygraph test. She is dismissive and takes the fateful decision to ‘put him on the plane’, knowing that they cannot hold Anwar indefinitely in the United States. Bare life, as Agamben might have noted, began the moment he was dragged from the airport (see Danchev 2006).

Whilst the precise location of one border or another is recognised as historically contingent, the existence, form and function of borders per se nevertheless remains taken for granted. Such resolutely material understandings of the border (in the sense that only the material reality of the border is recognised) have increasingly been critiqued by post-structuralist accounts of borders. These accounts contend that political institutions (including ‘the border’) are both materially and discursively produced.

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A New History of German Cinema by Jennifer M. Kapczynski, Michael D. Richardson


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