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6: A Laboratory for Political Film: The Formative Years of the German Film and Television Academy and Participatory Filmmaking from Workerism to Feminism
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Chapters in this book
- Frontmatter i
- Contents v
- Acknowledgments vii
- Introduction: German Screen Cultures and the Long 1968 1
-
Part I
- 1: Peter Zadek’s Ich bin ein Elefant, Madame: Discussing “1968” by Means of “1968 Thinking” 27
- 2: “Break the Power of the Manipulators”: Film and the West German 1968 42
- 3: Ideological Rupture in the dffb: An Analysis of Hans-Rüdiger Minow’s Berlin, 2. Juni 53
- 4: Helke Sander’s dffb Films and West Germany’s Feminist Movement 69
- 5: Film Feminisms in West German Cinema: A Public Sphere for Feminist Politics 87
- 6: A Laboratory for Political Film: The Formative Years of the German Film and Television Academy and Participatory Filmmaking from Workerism to Feminism 105
- 7: West Germany’s “Workers’ Films”: A Cinema in the Service of Television? 122
- 8: Guns, Girls, and Gynecologists: West German Exploitation Cinema and the St. Pauli Film Wave in the Late 1960s 134
- 9: Mediation, Expansion, Event: Reframing the Austrian Filmmakers Cooperative 152
- 10: Prague Displaced: Political Tourism in the East German Blockbuster Heißer Sommer 168
- 11: Animating the Socialist Personality: DEFA Fairy Tale Trickfilme in the Shadow of 1968 183
- 12: Allegories of Resistance: The Legacy of 1968 in GDR Visual Cultures 201
- 13: “You Say You Want a Revolution”: East German Film at the Crossroads between the Cinemas 218
- 14: Cruel Optimism, Post-68 Nostalgia, and the Limits of Political Activism in Helma Sanders-Brahms’s Unter dem Pflaster ist der Strand 237
- 15: Revolting Formats: Hellmuth Costard’s Der kleine Godard: An das Kuratorium Junger Deutscher Film 253
-
Part II In Conversation: Interviews with Filmmakers
- 16: An Interview with Harun Farocki: “Holger Thought about Aesthetics and Politics Together” 271
- 17: An Interview with Birgit Hein: “Art communicates knowledge that cannot be expressed in any other information system” 281
- 18: An Interview with Klaus Lemke: “Being Smart Does Not Make Good Films” 292
- Contributors 313
- Index 319
Chapters in this book
- Frontmatter i
- Contents v
- Acknowledgments vii
- Introduction: German Screen Cultures and the Long 1968 1
-
Part I
- 1: Peter Zadek’s Ich bin ein Elefant, Madame: Discussing “1968” by Means of “1968 Thinking” 27
- 2: “Break the Power of the Manipulators”: Film and the West German 1968 42
- 3: Ideological Rupture in the dffb: An Analysis of Hans-Rüdiger Minow’s Berlin, 2. Juni 53
- 4: Helke Sander’s dffb Films and West Germany’s Feminist Movement 69
- 5: Film Feminisms in West German Cinema: A Public Sphere for Feminist Politics 87
- 6: A Laboratory for Political Film: The Formative Years of the German Film and Television Academy and Participatory Filmmaking from Workerism to Feminism 105
- 7: West Germany’s “Workers’ Films”: A Cinema in the Service of Television? 122
- 8: Guns, Girls, and Gynecologists: West German Exploitation Cinema and the St. Pauli Film Wave in the Late 1960s 134
- 9: Mediation, Expansion, Event: Reframing the Austrian Filmmakers Cooperative 152
- 10: Prague Displaced: Political Tourism in the East German Blockbuster Heißer Sommer 168
- 11: Animating the Socialist Personality: DEFA Fairy Tale Trickfilme in the Shadow of 1968 183
- 12: Allegories of Resistance: The Legacy of 1968 in GDR Visual Cultures 201
- 13: “You Say You Want a Revolution”: East German Film at the Crossroads between the Cinemas 218
- 14: Cruel Optimism, Post-68 Nostalgia, and the Limits of Political Activism in Helma Sanders-Brahms’s Unter dem Pflaster ist der Strand 237
- 15: Revolting Formats: Hellmuth Costard’s Der kleine Godard: An das Kuratorium Junger Deutscher Film 253
-
Part II In Conversation: Interviews with Filmmakers
- 16: An Interview with Harun Farocki: “Holger Thought about Aesthetics and Politics Together” 271
- 17: An Interview with Birgit Hein: “Art communicates knowledge that cannot be expressed in any other information system” 281
- 18: An Interview with Klaus Lemke: “Being Smart Does Not Make Good Films” 292
- Contributors 313
- Index 319