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Informationen zum Autor Paul Cooke is Professor of German Cultural Studies at the University of Leeds. Chris Homewood is Lecturer in German and World Cinema at the University of Leeds. Klappentext 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 wide-ranging 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.Explores German language cinema's developments since 2000. This title examines just what German language film has to offer, from the evolution of the so-called 'heritage films' which dominate the country's mainstream and which examine Germany's problematic pasts, to those which focus on the contemporary social reality of the Berlin Republic. Zusammenfassung Explores German language cinema's developments since 2000. This title examines just what German language film has to offer, from the evolution of the so-called 'heritage films' which dominate the country's mainstream and which examine Germany's problematic pasts, to those which focus on the contemporary social reality of the Berlin Republic. Inhaltsverzeichnis IntroductionBeyond the Cinema of Consensus? New Directions in German Cinema since 2000Paul Cooke and Chris Homewood Chapter One ‘A Kind of Species Memory’: The Time of the Elephants in the Space of Alexander Kluge’s Cinematic PrincipleJohn E. Davids Chapter TwoDownfall (2004): Hitler in the New Millennium and the (Ab)Uses of HistoryChristine Haase Chapter Three‘Wonderfully Courageous’?: The Human Face of a Legend in Sophie Sophie Scholl: The Final Days (2005)Owen Evans Chapter Four Music After Mauthausen: Re-Presenting the Holocaust in Stefan Ruzowitzky’s The Counterfeiters (2007)Brad Prager Chapter FiveAiming to Please? Consensus and consciousness-raising in Wolfgang Becker’s Good Bye, Lenin! (2003)Nick Hodgin Chapter SixWatching the Stasi: Authenticity, Ostalgie and History in Florian Henckel von Donnersmarck’s The Lives of Others (2006)Paul Cooke Chapter Seven From Baader to Prada: Memory and Myth in Uli Edel’s The Baader Meinhof Complex (2008)Chris Homewood Chapter EightThe Absent Heimat: Hans-Christian Schmid’s Requiem (2006)David Clarke Chapter NinePlay for Today: Situationist Protests and Uncanny Encounters in Hans Weingartner’s The Edukators (2004)Rachel Palfreyman Chapter TenGerman Autoren Dialogue with Hollywood? Refunctioning the Horror Genre in Christian Petzold’s Yella (2007)Jaimey Fisher Chapter Eleven‘A Sharpening of Our Regard’: Realism, Affect, and the Redistribution of the Sensible in Valeska Grisebach’s Longing (2006)Marco Abel Chapter TwelveToo Late for Love? The Cinema of Andreas Dresen on Cloud 9 (2008)Laura G. McGee Chapter Thirteen ‘Seeing Everything with Different Eyes’: The Diasporic Optic of Fatih Akin’s Head On (2004)Daniela Berghahn Chapter FourteenNo Place Like Heimat: Mediaspaces and moving landscapes in Edgar Reitz’s Heimat 3 (2004)Alasdair King References...
