The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century

Contributors

419 Contributors Marco Abel is associate professor of English and film studies at the University of Nebraska. The author of Violent Affect: Literature, Cinema, and Critique after Representation (2007), he is currently at work on the monograph The Berlin School: Toward a Minor Cinema. His essays on and interviews with German filmmakers Oskar Roehler, Dominik Graf, Andreas Dresen, Christian Petzold, Christoph Hochhäusler, the Kölner Gruppe (Cologne Group), and the “Berlin School” have been published or are forthcoming in journals such as New German Critique, Quarterly Review of Film and Video, Cineaste, Senses of Cinema, and in various collections. He has also published articles on twentieth-century American literature and theoretical topics in PMLA, Electronic Book Review, and Angelaki. Roger F. Cook is professor of German studies and director of the Film Studies Program at the University of Missouri. He studied at the University of Freiburg and at the University of California–Berkeley. He co-edited (with Gerd Gemünden) The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition (1996) and has written extensively on New German Cinema and contemporary German film. He has also written on eighteenth- and nineteenth-century German literature, with a particular emphasis on Heinrich Heine. He is the author of By the Rivers of Babylon: Heinrich Heine’s Late Songs and Reflections (1998) and the editor of A Companion to the Works of Heinrich Heine (2003). His current work engages research in neuroscience and media theory to investigate issues of embodiment and affect in film viewing. John E. Davidson is director of the Ohio State University Film Studies Program and associate professor of Germanic languages and literatures. His research interests cover German film and visual culture, post-Enlightenment literature, and contemporary critical theories. He has published articles on New German Cinema, Uwe Johnson, and Wolfgang Liebeneiner, as well as the monograph Deterritorializing the New German Cinema (1999). He co-edited with Sabine Hake Framing the Fifties: Cinema in a Divided Germany (2007). Recent scholarly work includes chapters on Eberhard 06 Fisher_Prager BM.indd 419 7/7/10 8:26 AM 420 C O N T R I B U T O R S Fechner’s televisual aesthetic, Alexander Kluge’s “minute films,” and the documentary work of Hartmut Bitomsky. He is completing a manuscript entitled Life is Work: Ottomar Domnick, The Father of the Other German Cinema. He serves as executive editor of The Journal of Short Film, a quarterly DVD publication of original artistic work. Jaimey Fisher is associate professor of German at the University of California–Davis. He is the author of Disciplining Germany: Youth, Reeducation, and Reconstruction after the Second World War (2007) and is co-editor (with Peter Uwe Hohendahl) of Critical Theory: Current State and Future Prospects (2001). He has published articles in Iris, New German Critique, Genre, German Quarterly, and Germanic Review. Currently, he is co-editing, with Barbara Mennel, the forthcoming volume Spatial Turns: Space, Place, and Mobility in German Literary and Visual Culture. His current project analyzes war films from the 1910s to the 1950s. Jennifer M. Kapczynski is assistant professor in the Department of Germanic Languages and Literatures at Washington University in St. Louis. She is the author of The German Patient: Crisis and Recovery in Postwar Culture (2008). She is coeditor (with Michael D. Richardson) of A New History of German Cinema, to be published by Camden House. She has also published articles on a range of topics from Heinrich Böll to Heinrich von Kleist, American war films to post-unification German cinema. Her current work addresses the reconstruction of masculinity in 1950s West German cinema. Lutz Koepnick is professor of German, film, and media studies at Washington University in St. Louis. He has written widely on German film, visual culture, and literature; on media arts and aesthetics; and on critical theory and cultural politics. Book publications include Framing Attention: Windows on Modern German Culture (2007), The Dark Mirror: German Cinema between Hitler and Hollywood (2002), and Walter Benjamin and the Aesthetics of Power (1999). Co-edited or co-authored volumes include After the Digital Divide? German Aesthetic Theory in the Age of New Media (2009); Window | Interface (2007); The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present (2007); Caught by Politics: Hitler Exiles and American Visual Culture (2007); and Sound Matters: Essays on the Acoustics of German Culture (2004). Kristin Kopp is assistant professor of German studies at the University of Missouri– Columbia. She received her...