German Film after Germany
Toward a Transnational Aesthetic
Publication Year: 2008
Published by: University of Illinois Press
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This book was completed while I was an NEH Senior Fellow in the Berlin Program at the Freie Universität. I benefited greatly from the time the grant afforded and from the intellectual engagement the Berlin Program offered. I would like to thank Karin Goihl, the directors of the...
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Introduction: The Work of Film in the Age of Transnational Production
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When Walter Benjamin discussed the effects of mechanical reproduction on the work of art, he identified a transformation in aesthetic production that resulted from a technological innovation. This technological innovation, reproducibility, belonged to the era of industrialization and in...
1. Apprehending Transnationalism
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The terms “globalization,” “transnationalism,” or “free market” have currently an interesting quality in that they elicit advocates and detractors throughout the political spectrum. There are a limited number of terms that can create such rifts. In political debates in parliaments and on the streets we find...
2. German Film, Aufgehoben: Ensembles of Transnational Cinema
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In the 1990s, the politics and financing of the big screen came under increasing scrutiny; the national subsidy systems particularly came under attack by free-market advocates, unleashing still unresolved debates in the meetings of the World Trade Organization (WTO). As with the broadcast sector...
3. The Transnational Aesthetic: Volker Schlöndorff, Studio Babelsberg, and Vivendi Universal
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The French Compagnie Générale des Eaux (CGE) began operations in 1853 selling water, but even at that time it had a mondial vision, selling to sites including Paris and Constantinople. CGE merged in the 1980s with HAVAS Media Group, a French media and publishing corporation, thereby...
4. The Historical Genre and the Transnational Aesthetic
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If in the preceding chapter I argued that the transnational aesthetic is not the property of a single genre, I would offer a corrective at this point: particular genres do engage the transnational imaginary more intensely at particular times. The historical genre presents a special form of narration...
5. Inhabitant, Exhabitant, Cohabitant: Filming Migrants and the Borders of Europe
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A scene begins in a darkly lit prison cell. In the far-left corner, where the camera is focused, a man urinates while talking to someone in the room off frame. He leaves the corner and the camera pans right, following him, mapping out more of the room. As the frame travels right, a body...
6. Transfrontier Broadcasting, Transnational Civil Society
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The relationship between film and television started as a fraught one. The introduction of television in the 1950s and the rapid expansion of audience appeal through the 1960s destabilized national film industries everywhere. The small screen drew spectators at the expense of the big screen. At the...
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Page Count: 256
Publication Year: 2008