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Celluloid Revolt
German Screen Cultures and the Long 1968
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Edited by:
Christina Gerhardt
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With contributions by:
Andrew Stefan Weiner
Language:
English
Published/Copyright:
2019
About this book
Provides new insights into German-language cinema around 1968 and its relationship to the period's epoch-making cultural and political happenings.
The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German and Austrian society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insights into what constituted German-language cinema around 1968 and beyond. Contributors engage a range of cinemas, spanning experimental and avant-garde cinema, installations and exhibits; short films, animated films, and crime films; collectively produced cinemas, feminist films, and Arbeiterfilme (workers' films); as well as their relationship to cinemas of other countries, such as French cinéma vérité and US direct cinema.
Contributors: Marco Abel, Tilman Baumgärtel, Madeleine Bernstorff, Timothy Scott Brown, Michael Dobstadt, Sean Eedy, Thomas Elsaesser, IanFleishman, Christina Gerhardt, Lisa Haegele, Randall Halle, Priscilla Layne, Ervin Malakaj, Kalani Michell, Evelyn Preuss, Patricia Anne Simpson, Fabian Tietke, Andrew Stefan Weiner.
Christina Gerhardt is Associate Professor of German and Film Studies at the University of Hawai'i at Manoa. Marco Abel is Professor of English and Film Studies at the University of Nebraska-Lincoln.
The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German and Austrian society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insights into what constituted German-language cinema around 1968 and beyond. Contributors engage a range of cinemas, spanning experimental and avant-garde cinema, installations and exhibits; short films, animated films, and crime films; collectively produced cinemas, feminist films, and Arbeiterfilme (workers' films); as well as their relationship to cinemas of other countries, such as French cinéma vérité and US direct cinema.
Contributors: Marco Abel, Tilman Baumgärtel, Madeleine Bernstorff, Timothy Scott Brown, Michael Dobstadt, Sean Eedy, Thomas Elsaesser, IanFleishman, Christina Gerhardt, Lisa Haegele, Randall Halle, Priscilla Layne, Ervin Malakaj, Kalani Michell, Evelyn Preuss, Patricia Anne Simpson, Fabian Tietke, Andrew Stefan Weiner.
Christina Gerhardt is Associate Professor of German and Film Studies at the University of Hawai'i at Manoa. Marco Abel is Professor of English and Film Studies at the University of Nebraska-Lincoln.
Author / Editor information
Contributor: Evelyn Preuss
Evelyn Preuss is finishing her dissertation on East German cinema at Yale University. In addition, she is pursuing a project on neoliberalism and globalization(s) that examines the political effects of globalized media and culture and asks to what extent art can provide alternative, inclusive
platforms for building political and social consensus. Currently, she is coediting a volume, Through the Wall(s), examining the GDR's transnationalism in relation to informal networking and Eigensinn. She has published on East German Cinema, the intersection of media, architecture and politics, as well as on the disparity between Eastern and Western perspectives in a number of journals and anthologies. --- Contributor: Lisa Haegele Lisa Haegele is assistant professor of German at Texas State University --- Contributor: Patricia Anne Simpson PATRICIA ANNE SIMPSON is Professor of German at the University of Nebraska-Lincoln. --- Contributor: Priscilla Layne PRISCILLA LAYNE is Professor of German, with an adjunct appointment in African, African American and Diaspora Studies, at the University of North Carolina.
platforms for building political and social consensus. Currently, she is coediting a volume, Through the Wall(s), examining the GDR's transnationalism in relation to informal networking and Eigensinn. She has published on East German Cinema, the intersection of media, architecture and politics, as well as on the disparity between Eastern and Western perspectives in a number of journals and anthologies. --- Contributor: Lisa Haegele Lisa Haegele is assistant professor of German at Texas State University --- Contributor: Patricia Anne Simpson PATRICIA ANNE SIMPSON is Professor of German at the University of Nebraska-Lincoln. --- Contributor: Priscilla Layne PRISCILLA LAYNE is Professor of German, with an adjunct appointment in African, African American and Diaspora Studies, at the University of North Carolina.
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Frontmatter
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Contents
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Acknowledgments
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Introduction: German Screen Cultures and the Long 1968
1 - Part I
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1: Peter Zadek’s Ich bin ein Elefant, Madame: Discussing “1968” by Means of “1968 Thinking”
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2: “Break the Power of the Manipulators”: Film and the West German 1968
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3: Ideological Rupture in the dffb: An Analysis of Hans-Rüdiger Minow’s Berlin, 2. Juni
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4: Helke Sander’s dffb Films and West Germany’s Feminist Movement
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5: Film Feminisms in West German Cinema: A Public Sphere for Feminist Politics
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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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7: West Germany’s “Workers’ Films”: A Cinema in the Service of Television?
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8: Guns, Girls, and Gynecologists: West German Exploitation Cinema and the St. Pauli Film Wave in the Late 1960s
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9: Mediation, Expansion, Event: Reframing the Austrian Filmmakers Cooperative
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10: Prague Displaced: Political Tourism in the East German Blockbuster Heißer Sommer
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11: Animating the Socialist Personality: DEFA Fairy Tale Trickfilme in the Shadow of 1968
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12: Allegories of Resistance: The Legacy of 1968 in GDR Visual Cultures
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13: “You Say You Want a Revolution”: East German Film at the Crossroads between the Cinemas
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14: Cruel Optimism, Post-68 Nostalgia, and the Limits of Political Activism in Helma Sanders-Brahms’s Unter dem Pflaster ist der Strand
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15: Revolting Formats: Hellmuth Costard’s Der kleine Godard: An das Kuratorium Junger Deutscher Film
253 - Part II In Conversation: Interviews with Filmmakers
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16: An Interview with Harun Farocki: “Holger Thought about Aesthetics and Politics Together”
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17: An Interview with Birgit Hein: “Art communicates knowledge that cannot be expressed in any other information system”
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18: An Interview with Klaus Lemke: “Being Smart Does Not Make Good Films”
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Contributors
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Index
319
Publishing information
Pages and Images/Illustrations in book
eBook published on:
February 21, 2024
eBook ISBN:
9781787444836
Original publisher:
Camden House
Pages and Images/Illustrations in book
eBook ISBN:
9781787444836
Keywords for this book
German cinema; 1968; screen cultures; cultural and political happenings; French cinéma vérité; US direct cinema; revolution; cinema; cultural impact
Audience(s) for this book
For an expert adult audience, including professional development and academic research
