Counter-Cinema of the Berlin School
Material type: TextLanguage: English Series: Screen Cultures: German Film and the VisPublisher: New York Camden House 2015Edition: 1 Aufl.(Nachdr.)Description: 348 S. III. b/wContent type:- Text
- ohne Hilfsmittel zu benutzen
- Band
- 9781571139412
Item type | Current library | Collection | Call number | Status | Date due | Barcode | |
---|---|---|---|---|---|---|---|
single unit book | HAC Library - Holdings of the American Academy in Berlin HAC – 1st floor – Library Room – Open Stacks | F (Affiliated) | F:PN1993.5.G3 C553 2012 (Browse shelf(Opens below)) | Available | 2023-4811 |
Browsing HAC Library - Holdings of the American Academy in Berlin shelves, Shelving location: HAC – 1st floor – Library Room – Open Stacks, Collection: F (Affiliated) Close shelf browser (Hides shelf browser)
F:D16 .B876 2015 Dispatches from dystopia histories of places not yet forgotten | F:PS3569.T474 C65 2003 Columbarium | F:HC110 .I5 S8667 2015 The great divide unequal societies and what we can do about them | F:PN1993.5.G3 C553 2012 Counter-Cinema of the Berlin School | F:B842 .A53 2006 The way we argue now a study in the cultures of theory | F:JQ1850.A91 W67 2016 A rage for order the Middle East in Turmoil, from Tahrir Square to ISIS | F:PS3603.L377 S37 2005 The scorpion's gate |
The contemporary German directors collectively known as the "Berlin School" constitute the most significant filmmaking movement to come out of Germany since the New German Cinema of the 1970s, not least because their films mark the emergence of a new film language. The Berlin School filmmakers, including Christian Petzold, Thomas Arslan, Angela Schanelec, Christoph Hochhäusler, Ulrich Köhler, Benjamin Heisenberg, Maren Ade, and Valeska Grisebach, are reminiscent of the directors of the New German Autorenkino and of French cinéma des auteurs of the 1960s. This is the first book-length study of the Berlin School in any language. Its central thesis - that the movement should be regarded as a "counter-cinema" - is built around the unusual style of realism employed in its films, a realism that presents images of a Germany that does not yet exist. Abel concludes that it is precisely how these films' images and sounds work that renders them political: they are political notbecause they are message-driven films but because they are made politically, thus performing a "redistribution of the sensible" - a direct artistic intervention in the way politics partitions ways ofdoing and making, saying and seeing. Marco Abel is Professor of English and Film Studies at the University of Nebraska, Lincoln.
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