Filmmaking in Germany and Austria has changed dramatically in the last decades with digitalization and the use of video and the Internet. Yet despite predictions of a negative effect on experimental film, the German and Austrian filmscape is filled with dynamic new experiments, as new technological possibilities push a break with the past, encouraging artists to find new forms. This volume of theoretically engaged essays explores this new landscape, introducing the work of established and emerging filmmakers, offering assessments of the intent and effect of their productions, and describing...

The term -new media- is a current buzzword among scholars and in the media industry, referring to the ever-multiplying digitized modes of film/image and sound production and distribution. Yet how new, in fact, are these new media, and how does their rise affect the role of older media? What new theories allow us to examine our culture of ubiquitous electronic screens and networked pleasures? Is a completely new set of perspectives, concepts, and paradigms required, or are older modes of discussion about the relationship between technology and art still adequate? This book reconsiders the...

The recent -discovery- of German wartime suffering has had a particularly profound impact in German visual culture. Films from Margarethe von Trotta's Rosenstrasse (2003) to Oliver Hirschbiegel's Oscar-nominated Downfall (2004) and the two-part television mini-series Dresden (2006) have shown how ordinary Germans suffered during and after the war. Such films have been presented by critics as treating a topic that had been taboo for German filmmakers. However, the representation of wartime suffering has a long tradition on the German screen. For decades, filmmakers have recontextualized images...

Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, -expressionist film, - has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational...

This dynamic, event-centered anthology offers a new understanding of the hundred-year history of German-language film, from the earliest days of the Kintopp to contemporary productions like The Lives of Others. Each of the more than eighty essays takes a key date as its starting point and explores its significance for German film history, pursuing its relationship with its social, political, and aesthetic moment. While the essays offer ample temporal and topical spread, this book emphasizes the juxtaposition of famous and unknown stories, granting attention to a wide range of cinematic...

Hitler's Machtergreifung, or seizure of power, on January 30, 1933, marked the end of the Weimar Republic and the beginning of the Third Reich, and German film scholarship has generally accepted this date as the break between Weimar and Nazi-era film as well. This collection of essays interrogates the continuities and discontinuities in German cinema before and after January 1933 and their relationship to the various crises of the years 1928 to 1936 in seven areas: politics, the economy, concepts of race and ethnicity, the making of cinema stars, genre cinema, film technologies and...

Last Features is the story of forgotten films made during the time of German unification. With leftover GDR funds and under chaotic conditions, a group of young East German filmmakers produced around thirty stylistically diverse films. Most of these films were lost in the political upheaval of the Wende, disappearing until the 2009 Wendeflicks festival in Los Angeles brought them back for an international audience. Now available on DVD, these films provide unique insights into the generational struggle in the DEFA studio, East German youth culture in the 1970s, women directors at DEFA, the...

There is a widespread notion in the scholarly literature on autobiographical nonfiction film that there are unchanging, universal models for the investigation of the self through audiovisual media. By insisting on the cultural and historical specificity of that self, the essays in this volume trace the range of politically and theoretically informed taboos, critiques, and proclivities that shape autobiographical filmmaking in German-speaking countries. In doing so, they delineate a new model for contemplating autobiographical film and video. The essays in this volume examine the parameters...

In the late 1980s and early 1990s, East Germany's DEFA filmmakers had a brief window in which to critique GDR society on either side of the Wende, the sweeping political turn that surrounded the fall of the Berlin Wall and the opening of the border. Building on the DEFA Film Library's retrospective Wende Flicks series and Indiana University's DEFA Project, this study examines the newly rediscovered filmic artifacts of this transitional cinema, introducing eighteen key films from 1988 to 1994 in essays by German scholars, film professionals, and cultural figures. Accompanying interviews and...

How has the German image of the Nazi past changed since the reunification of East and West Germany? And what role have cinema and television played in this process? This intriguing study argues that since 1990, the two media have turned toward inner German experiences of the Third Reich. From intimate portrayals of ordinary Germans and Nazi leaders to immersive spectacles of war and defeat, German film has focused on portraying the Nazi past from within. Stimulating and accessible, combining close readings with broad contextualization, this monograph shows how profoundly cinema and television...