New Directions in German Cinema
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Description: Germany's national film industry has been undergoing a remarkable resurgence since the beginning of the new millennium. German language films have been receiving Oscar nominations, the likes of 'Downfall' and 'The Lives of Others' have been winning Oscars, and all the main international festivals, from Berlin to Cannes, have been showcasing these films. German language cinema is again attracting attention at home and abroad and 'New Directions in German Cinema' explores its developments since 2000. An international group of specialists on German film, society, culture, and politics together provide a wideranging study of this remarkable turn of fortunes. They examine just what German language film now has to offer, from the evolution of the so-called 'heritage films' which now dominate the country's mainstream and which examine Germany's problematic pasts - the Nazi, East German and terrorist legacies - to those which focus on the contemporary social reality of the Berlin Republic.
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All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.
List price: $17.99
Copyright year: 2011
Publisher: I. B. Tauris & Company, Limited
Size: 6.00" wide x 9.25" long x 1.00" tall
|List of illustrations|
|Introduction: Beyond the cinema of consensus? New directions in German cinema since 2000|
|'A kind of species memory': the time of the elephants in the space of Alexander Kluge's cinematic principle|
|Downfall (2004): Hitler in the new millennium and the (ab)uses of history|
|'Wonderfully courageous'? The human face of a legend in Sophie Scholl: The Final Days (2005)|
|Music after Mauthausen: re-presenting the Holocaust in Stefan Ruzowitsky's The Counterfeiters (2007)|
|Aiming to please? Consensus and consciousness-raising in Wolfgang Becker's Good Bye, Lenin! (2003)|
|Watching the Stasi: authenticity, Ostalgie and history in Florian Henckel von Donnersmarck's The Lives of Others (2006)|
|From Baader to Prada: memory and myth in Uli Edel's The Baader Meinhof Complex (2008)|
|The absent Heimat: Hans-Christian Schmid's Requiem (2006)|
|Play for today: situationist protests and uncanny encounters in Hans Weingartner's The Edukaiors (2004)|
|German Autoren dialogue with Hollywood? Refunctioning the horror genre in Christian Petzold's Yella (2007)|
|'A sharpening of our regard': realism, affect and the redistribution of the sensible in Valeska Grisebach's Longing (2006)|
|Too late for love? The cinema of Andreas Dresen on Cloud 9 (2008)|
|'Seeing everything with different eyes': the diasporic optic of Fatih Akin's Bead-On (2004)|
|No place like Heimat: rnediaspaces and moving landscapes in Edgar Reitz's Heimat 3 (2004)|