Christian Petzold

Index

Index 39 Steps, The (Hitchcock): as model for Pilots, 11, 20, 23–24, 26, 27, 29; as production of desire, 23–24, 27; and wrong-man plot, 26 40m2 Germany (Baser), 125 Abel, Marco, 11–14, 23, 26, 42, 51–52, 54, 94, 101, 105, 107, 119 abeyance (Schwebezustand): as “balance situation,” 17, 19, 77, 141, 154; in Barbara, 142; and crisis, 12, 135; and youth/adolescence, 55, 161 acting and actors: and abeyance, 19; awards for, 61; and body, 2, 157–58; collaboration with Nina Hoss, 64–67; direction of, 15, 17; German actors, 165; and method acting, 66–67; and plot, 87; preparing actors, 154, 160; psychology in, 67; recurring actors, 79, 131; turning away and leaving, 66 adolescence. See youth Afghanistan, 119, 126 A Fine Day (Ein schöner Tag, Arslan), 92 afterness: in Ghosts, 83–84, 86–87, 92, 94–95; in Jerichow, 118, 123; in State I Am In, 53; in Yella, 99, 103 aftershocks (Nachbeben), 42, 45–46, 50, 51, 83, 87 airplanes, 20, 25, 40. See also mobility; car; train Akın, Fatih, 21, 125, 144; Edge of Heaven, 38, 127, 130, 145; Head On, 125; and immigration, 125, 144 Altman, Robert, 155, 156, 162 America, 29, 54, 75, 151, 154, 164; and genre cinema, 75, 120, 155, 156; impact on Germany (Americanization), 8, 122; representation in German culture, 4, 5, 8, 122, 126 American genre films, 155 “amphibian film,” 20–21 Antonioni, Michelangelo, 66 archeology (of genre in Petzold’s cinema), 11, 16–17, 45, 52, 61, 69, 98, 101, 131, 154 Architect Hans Scharoun, The (Bitomsky ), 74–75 Arslan, Thomas, 20–21, 99, 152; A Fine Day, 92; Siblings 125, 144 art-house cinema and directors, 1, 2, 8, 11–14, 20, 35, 41, 98, 121, 132, 143 Auer, Barbara, 171, 173, 175 Aust, Stefan, 41 automobile. See car Autorenkino/auteurist cinema: and Berlin School 10, 13–14; and Fassbinder, 14; and New German Cinema, 13, 14; in Petzold’s cinema (themes, etc.) 13–14, 24, 62, 69, 118, 122, 124, 132, 155; problematization of, 9, 13, 24, 132 Baader (Roth), 38 Baader, Andreas, 39–41 Baader-Meinhof group, 39 Baader-Meinhof Komplex (Edel), 38, 42, 60 190 | Index Barbara (Petzold), 138–43; and abeyance , 19, 141; awards and recognition 1–2, 145n20; and Broch’s “Barbara,” 139, 141; and color, 161–62; credits, 175; and (faux) distinction art-house vs. popular, 13; and economy, 93, 135; and ekphrasis, 138–39; and fantasy, 93, 135; and Farocki collaboration, 151; and the German Democratic Republic (East Germany), 99; and ghosts, 4; as heritage (historical) cinema, 139–40; and hotel, 141–42; and labor/work, importance of, 27, 142–43; and makeover theme, 22, 37; and My Darling Clementine, 19; and politics, 43, 139– 43, 161–62; and preparation of actors/ crew, 65, 154, 157; and Rembrandt, 138–39; and scale, 26; and space, 157; and television financing, 21; as westward journey by woman, 32; women protagonist 23, 135 Bauman, Zygmunt, 5, 23–24, 32, 74, 80 Bayerischer Rundfunk (BR), 172, 174 beach, 43, 77, 126–28, 130–31, 171 Beats Being Dead (Petzold). See Dreileben : Beats Being Dead (Petzold) Benjamin, Walter, 16; and “angel of history ,” 42, 89; and archeology, 17; and ghosts/spectral, 16; and history, 17, 18, 89 Berlin: in Barbara, 139; in Cuba Libre, 28; in Ghosts, 78, 84, 87, 89–92, 105; history of, 6–10; leftist politics in 46; in Petzold’s biography, 149, 150, 152, 156, 167; in Under the Bridges, 63 “Berlin film,” 90–91, 140 Berlin Film Festival, 2, 97 Berlin Republic (post-1990 Germany), 81, 124 Berlin School, 2, 18, 92, 99, 108, 132, 154; and aesthetics, 10–13, 39, 98; and Autorenkino, 13; as counter-cinema, 13; definition of, 10–13; and DFFB (German Film and Television Academy , Berlin), 10–11; and historical or heritage film, 140–41 Berlin Wall (including fall of), 6, 9, 85, 88, 152 Bettelheim, Bruno, 135 Biehl, João, 4–5 Bierce, Ambrose, 98 Bigelow, Kathryn, 11, 39, 52, 54, 60, 83; Near Dark, 11, 39, 52–54, 58–60, 83, 158 Bitomsky, Hartmut, 9, 22, 150, 163; The Architect Hans Scharoun, 74–75; The VW Komplex, 75, 76, 163 Blue Gardenia, The (Lang), 101 Bock, Rainer, 174–75 body, 26, 43; and acting, 46, 65–67; “body genre,” 104; and genre, 156–57; and labor, 80–81; and masculinity, 156; and neoliberalism, 18–19, 54–56, 58, 60, 102–4, 111, 114, 136, 156–57; as...