Celluloid Revolt German Screen Cultures and the Long 1968
Produktdetaljer
Biografisk notat
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. Lisa Haegele is assistant professor of German at Texas State University PATRICIA ANNE SIMPSON is Professor of German at the University of Nebraska-Lincoln. PRISCILLA LAYNE is Professor of German, with an adjunct appointment in African, African American and Diaspora Studies, at the University of North Carolina.Celluloid Revolt German Screen Cultures and the Long 1968
[A]bly edited by [Christina] Gerhardt and Marco Abel, [this volume] auspiciously brings together the work of scholars based in Europe and North America (still a rarity in German film studies). . . . A particular strength of the collection is its detailed attention to film feminisms.
- Hester Baer, GERMAN QUARTERLY
Thrilling in intellectual rigor and scope, the book's accomplishment is an inestimable one for future studies of committed film and media, particularly those interested in Tricontinental theory, post-socialist Europe, and the worldwide South.
- Nace Zavrl, NECSUS
[P]rovides fresh perspectives on the participation of German-language film in . . . social, cultural and political campaigns [around 1968]. . . . [H]ighlights how the vitality and abundance of cultural production at the time goes well beyond, stands aside from, and/or critiques leftist politics. Given these features, the volume becomes an invaluable source for the study of German and Austrian screen cultures aligned to the events of 1968, while also stimulating new directions and approaches around this subject.
- Claudia Sandberg, STUDIES IN EUROPEAN CINEMA
[This book] deepens the reader's understanding of how German-language cinema engaged with the events of the long 1968. Most importantly, it subverts the usual narrative that associates the politics of this era exclusively with West Germany. . . . [S]uccessfully redefine[s] cinema's relationship with 1968 across the axes of politics and aesthetics.
- Catriona Corke, GERMAN STUDIES REVIEW
The essays and interviews in this collection focus exclusively on German-language films -- West German, East German, and Austrian films -- looking at how the revolutionary happenings in Europe in 1968 were captured in the cinematic imaginations of young and sympathetic moviemakers.
CHOICE
Scholarship surrounding this era will benefit immensely from these well-curated articles and interviews and the huge range of filmic texts that they explore.
- Rob McFarland, FEMINIST GERMAN STUDIES
[B]roaden[s] its coverage to "greater Germany" (the GDR and Austria) as well as the FRG. The four essays on the GDR (by Ian Fleishman, Sean Eedy, Patricia Anne Simpson, and Evelyn Preuss) combine to dispel the common perception that East German cinema was a wasteland untouched by what was happening in the world outside and that it was so tightly controlled that directors were in effect hamstrung. . . . [This volume and two others by the editor Christina Gerhardt, also reviewed] are an admirable achievement.
- Denise J. Youngblood, HISTORICAL JOURNAL OF FILM, RADIO, AND TELEVISION
[A]bly edited by [Christina] Gerhardt and Marco Abel, [this volume] auspiciously brings together the work of scholars based in Europe and North America (still a rarity in German film studies). . . . A particular strength of the collection is its detailed attention to film feminisms.
- Hester Baer, GERMAN QUARTERLY
Thrilling in intellectual rigor and scope, the book's accomplishment is an inestimable one for future studies of committed film and media, particularly those interested in Tricontinental theory, post-socialist Europe, and the worldwide South.
- Nace Zavrl, NECSUS
[P]rovides fresh perspectives on the participation of German-language film in . . . social, cultural and political campaigns [around 1968]. . . . [H]ighlights how the vitality and abundance of cultural production at the time goes well beyond, stands aside from, and/or critiques leftist politics. Given these features, the volume becomes an invaluable source for the study of German and Austrian screen cultures aligned to the events of 1968, while also stimulating new directions and approaches around this subject.
- Claudia Sandberg, STUDIES IN EUROPEAN CINEMA
[This book] deepens the reader's understanding of how German-language cinema engaged with the events of the long 1968. Most importantly, it subverts the usual narrative that associates the politics of this era exclusively with West Germany. . . . [S]uccessfully redefine[s] cinema's relationship with 1968 across the axes of politics and aesthetics.
- Catriona Corke, GERMAN STUDIES REVIEW
The essays and interviews in this collection focus exclusively on German-language films -- West German, East German, and Austrian films -- looking at how the revolutionary happenings in Europe in 1968 were captured in the cinematic imaginations of young and sympathetic moviemakers.
CHOICE
Scholarship surrounding this era will benefit immensely from these well-curated articles and interviews and the huge range of filmic texts that they explore.
- Rob McFarland, FEMINIST GERMAN STUDIES
[B]roaden[s] its coverage to "greater Germany" (the GDR and Austria) as well as the FRG. The four essays on the GDR (by Ian Fleishman, Sean Eedy, Patricia Anne Simpson, and Evelyn Preuss) combine to dispel the common perception that East German cinema was a wasteland untouched by what was happening in the world outside and that it was so tightly controlled that directors were in effect hamstrung. . . . [This volume and two others by the editor Christina Gerhardt, also reviewed] are an admirable achievement.
- Denise J. Youngblood, HISTORICAL JOURNAL OF FILM, RADIO, AND TELEVISION