Moving Frames
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Moving Frames: Photographs in German Cinema(26 Film Europa)

Moving Frames: Photographs in German Cinema(26 Film Europa)


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About the Book

As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.

Table of Contents:
List of Illustrations Acknowledgments Introduction: Photographs as Rupture and Affect in German Film Carrie Collenberg-González and Martin P. Sheehan Chapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925) Jason Doerre Chapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930) Martin P. Sheehan Chapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer Cinema John E. Davidson Chapter 4. Filming After Walker Evans: Wim Wenders’ “American Pictures” in Kings of the Road (1976) Stefanie Harris Chapter 5. The Transgression of Overpainting: Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981) Matthew Bauman Chapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002) Cynthia Porter Chapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008) Reinhard Zachau Chapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya–Welcome to Germany (2011) Carrie Collenberg-González Chapter 9. Imaging the “Good Life”: Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005) Simone Pfleger Chapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010) Melissa Etzler Chapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016) Anke Pinkert Afterword: Toward a Camera Ludica: Agency and Photography in Videogame Ecologies Curtis L. Maughan Index

About the Author :
Carrie Collenberg-González is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include “Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)” in Feminist German Studies (2020) and “The Daisy Oracle: A New Gretchenfrage in Goethe’s Faust” in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.

Review :
“The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point…Highly Recommended.” • Choice


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Product Details
  • ISBN-13: 9781800733770
  • Publisher: Berghahn Books
  • Publisher Imprint: Berghahn Books
  • Language: English
  • Series Title: 26 Film Europa
  • ISBN-10: 1800733771
  • Publisher Date: 14 Feb 2022
  • Binding: Digital download and online
  • No of Pages: 258
  • Sub Title: Photographs in German Cinema


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