German Film after Germany: Toward a Transnational Aesthetic

Notes

Notes Introduction 1. This sum was equivalent at the time to around $15 billion. For discussions of these media funds, see Jochen Schütze, “Rendite mit Cruise and Co,” Cinema 7 (2000): 108–10; Patrick Frater, “German Outfits Build US Presence with Raft of Joint-Venture Deals,” Screen International, May 12, 2000; Dana Harris and Charles Lyons “Will the Money Tree Wilt? Studios Harvest Euro Coin before Big Chill,” Variety, Aug. 21, 2000; Hans-Jürgen Jakobs, “Viel Geld, wenig Ahnung,” Der Spiegel, Aug. 14, 2000, 80–83; “Deutsches Talent und deutsches Geld in L.A.,” Blickpunkt: Film 47 (2000): 33–34; Regine Funke “Medienfonds als renditeorientierte Beteiligung,” Blickpunkt: Film 45 (1999): 60; “Die Illusions-AG,” epd Medien 100 (1999): 7–11. 2. Further deals include, by company, MFP Munich Film Partners GmbH & Company I. Produktions KG: Bless the Child (2000), Double Jeopardy (1999), The General’s Daughter (1999), Rules of Engagement (2000), Shaft (2000). Splendid Medien AG produced Dr. T and the Women (2000), Gangs of New York (2002), Traffic (2000). Global Entertainment Productions GmbH & Company Medien KG 1 for screen and television: “Diamond Hunters” (2001), “V.I.P.” (1998), 8mm (1999), Charlie’s Angels (2000), Girl, Interrupted (1999), The Patriot (2000), Simon Sez (1999). 3. KC Medien AG has a more diversified history: The Adventures of Rocky & Bullwinkle (2000), After the Rain (1999), Austin Powers: International Man of Mystery (1997), The Cat’s Meow (2001), Drop Dead Gorgeous (1999), Enemy at the Gates (2001), Eye See You (2001), Laissez-passer (2002), Pete’s Meteor (1998), Servicing Sara (2001), So weit die Füsse tragen (2001). Helkon Media AG has been active in the European and German market: 14 Tage lebenslänglich (1997), 2001: A Space Travesty (2000), After the Truth (1999), The Body (2000), Dark Blue World (2001), Endurance (1998), Heavy Metal 2000 (2000), History Is Made at Night (1999), Nick Knatterton—Der i-xii_1-244_Hall.indd 193 4/25/08 1:57:46 PM 194 . notes to pages 5–19 Film (2002), Repli-Kate (2001), Rollerball (2002), Sara Amerika (1999), Sterben ist gesünder (1997), En Sång för Martin (2001), Der Tote Taucher im Wald (2000). 4. For a thorough discussion of globalization and transnationalism, see Bamyeh, Ends of Globalization. An earlier assessment can be found in Giddens, Consequences Of Modernity. For an assessment of the concept with specific regard to Germany, see Beck, Was ist Globalisierung?; Kettner, “Zur Beduetung des Globalisierungsbegriffs .” 5. Anderson, Imagined Communities. 6. For further discussions of European-Hollywood competition, see: Jäckel, European Film Industries; Puttnam and Watson, Undeclared War; Finney, State of European Cinema; or Lev, Euro-American Cinema. 7. “Toward a Single European Market in Film,” Screen Digest, Oct. 1999, 261–68. 8. Adelson, “Against Between,” and “Opposing Oppositions.” 9. Elsaesser, European Cinema. Chapter 1: Apprehending Transnationalism 1. See Abu-Lughod, Before European Hegemony. 2. For further discussion of complex connectivity, see Tomlinson, Globalization and Culture. 3. For a discussion of the discourse of Americanization in Europe, see Roudometof and Robertson, “Space between the Boundaries”; and specifically in Germany, see Stephan, Americanization and Anti-Americanism; Gerd Gemünden, Framed Visions : Popular Culture, Americanization, and the Contemporary German and Austrian Imagination (Ann Arbor: University of Michigan Press, 1998); Wenzel, Die Amerikanisierung des Medienalltags; Bermann, “Specter of Amerikanisierung.” 4. See, for example, Barber, Jihad vs. McWorld. 5. See Seagrave, American Films Abroad. The century of cinema appears already in the title as a century of Hollywood hegemony and cultural imperialism. Oddly, the book’s critique of Hollywood’s capitalism overlooks the similar economic foundations of those national cinemas that Hollywood dominates, and thus the analysis falls into an inconsistent position of being critical of the capitalism of Hollywood and turning a blind eye to the political economy of other national cinemas. 6. See, for instance, Barber, Jihad vs. MacWorld, or Seagrave, American Films Abroad. For insightful critiques of these culturalist paradigms, see Bamyeh, Ends of Globalization; John Michael, Anxious Intellects: Academic Professionals, Public Intellectuals , and Enlightenment Values (Durham: Duke University Press, 2000); Marjorie Ferguson, “The Myth about Globalization,” European Journal of Communication 7 (1992): 69–93. 7. Seagrave, American Films Abroad, 282. 8. Of course much of contemporary cultural studies has set out to make this very point about the mechanisms of consumption and the defenses of the consumer. The i-xii_1-244_Hall.indd 194 4/25/08 1:57:46 PM notes to pages 20–23 · 195...