Kooperativer Bibliotheksverbund

UID:

Format: viii, 323 p. , ill , 24 cm

Edition: Online_Ausgabe Boulder, Colo NetLibrary 2004 E-Books von NetLibrary Sonstige Standardnummer des Gesamttitels: 22382847

ISBN: 1417520027

Content: When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity--national, political, personal, and sexual--music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference--including that embodied in Germany's difficult history--rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Note: Includes bibliographical references and index , Introduction: "strategies of remembrance" -- Mourning, melancholia, and "new German melodrama" -- Modernism's aftershocks: Peer Raben's film music for Fassbinder -- Kluge's assault on history: trauma, testimony, and difference in the patriot -- Undoing act 5: history, bodies, and operatic remains: Kluge's the power of emotion -- Restaging history with fantasy: body, camp, and sound in the films of Treut, Ottinger, and Von Praunheim -- Introjecting kitsch: Werner Schroeter, music, and alterity

Additional Edition: Reproduktion von Flinn, Caryl The new German cinema c2004

Language: English

Subjects: General works , Musicology

Keywords: Neuer deutscher Film ; Filmmusik ; Geschichtsdarstellung ; Geschichte ; Neuer deutscher Film ; Filmmusik ; Filmästhetik ; Electronic books. ; Electronic books. ; Electronic books. ; Electronic books

URL: Volltext

URL: Full text  (Click to View (Currently Only Available on Campus))

URL: Volltext  (Deutschlandweit zugänglich)

URL: Volltext  (Deutschlandweit zugänglich)

UID:

Format: VIII, 323 S. : , Ill. ; , 23 cm.

ISBN: 0-520-22895-2 , 0-520-23823-0

Content: When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity--national, political, personal, and sexual--music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference--including that embodied in Germany's difficult history--rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Note: Introduction: "strategies of remembrance"Mourning, melancholia, and "new German melodrama" -- Modernism's aftershocks: Peer Raben's film music for Fassbinder -- Kluge's assault on history: trauma, testimony, and difference in the patriot -- Undoing act 5: history, bodies, and operatic remains: Kluge's the power of emotion -- Restaging history with fantasy: body, camp, and sound in the films of Treut, Ottinger, and Von Praunheim -- Introjecting kitsch: Werner Schroeter, music, and alterity.

Language: English

Subjects: General works , Musicology

Keywords: Neuer deutscher Film ; Filmmusik ; Geschichtsdarstellung ; Neuer deutscher Film ; Filmmusik ; Filmästhetik

URL: http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010257847&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA

URL: http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010257847&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA

URL: Autorenbiografie

URL: Verlagsangaben

URL: Klappentext

UID:

ISBN: 978-90-8964-272-1

In: pages:211-240

In: Alexander Kluge / Tara Forrest, [Amsterdam], 2012, Seite 211-240, 978-90-8964-272-1

Language: English

Subjects: German Studies

UID:

Format: VIII, 323 S. , Ill. , 23 cm

ISBN: 0520228952 , 0520238230

Content: When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity--national, political, personal, and sexual--music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference--including that embodied in Germany's difficult history--rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Note: Introduction: "strategies of remembrance"Mourning, melancholia, and "new German melodrama" -- Modernism's aftershocks: Peer Raben's film music for Fassbinder -- Kluge's assault on history: trauma, testimony, and difference in the patriot -- Undoing act 5: history, bodies, and operatic remains: Kluge's the power of emotion -- Restaging history with fantasy: body, camp, and sound in the films of Treut, Ottinger, and Von Praunheim -- Introjecting kitsch: Werner Schroeter, music, and alterity.

Language: English

Subjects: General works , Musicology

Keywords: Neuer deutscher Film ; Filmmusik ; Geschichtsdarstellung ; Geschichte ; Neuer deutscher Film ; Filmmusik ; Filmästhetik

URL: Klappentext

UID:

Format: 1 online resource (332 p.)

Edition: 1st ed.

ISBN: 9786612359705 , 0-520-93715-5 , 1-59734-773-6 , 1-282-35970-3

Content: When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity-national, political, personal, and sexual-music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference-including that embodied in Germany's difficult history-rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Note: Description based upon print version of record. , Front matter -- , Contents -- , Acknowledgments -- , Introduction: "Strategies Of Remembrance" -- , 1. Mourning, Melancholia, And "New German Melodrama" -- , 2. Modernism's Aftershocks: Peer Raben's Film Music For Fassbinder -- , 3. Kluge's Assault On History: Trauma, Testimony, And Difference In The Patriot -- , 4. Undoing Act 5: History, Bodies, And Operatic Remains: Kluge's The Power Of Emotion -- , 5. Restaging History With Fantasy: Body, Camp, And Sound In The Films Of Treut, Ottinger, And Von Praunheim -- , 6. Introjecting Kitsch: Werner Schroeter, Music, And Alterity -- , Coda: Working The Pieces -- , Notes -- , Index , English

Additional Edition: ISBN 0-520-22895-2

Additional Edition: ISBN 0-520-23823-0

Language: English

DOI: 10.1525/9780520937154

UID:

Format: 1 online resource : , 10 halftones

ISBN: 9789048513390

Series Statement: Film Culture in Transition

Content: Alexander Kluge is best known as a founding member of the New German Cinema movement, but his work has spanned a number of genres and media. This wide-ranging book assembles a diverse selection of texts, from nonfiction writings and short stories by Kluge, to critical essays by renowned international scholars on Kluge's work, to transcripts of interviews with the artist himself. A valuable collection for students and scholars in the fields of film, television, and media studies, Alexander Kluge: Raw Materials for the Imagination is a perfect introduction to Kluge's key themes and ideas.

Note: Frontmatter -- , Table of Contents -- , Introduction -- , Editor's Introduction / , The Stubborn Persistence of Alexander Kluge / , Film, Politics and the Public Sphere -- , On Film and the Public Sphere / , Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge's Contribution to Germany in Autumn / , 'What is Different is Good': Women and Femininity in the Films of Alexander Kluge / , Rethinking History -- , In Search of Germany: Alexander Kluge's The Patriot / , Alexander Kluge and German History: 'The Air Raid on Halberstadt on 8.4.1945' / , The Air Raid on Halberstadt, 8 April 1945 (extract) / , Realism as Protest -- , Construction Site Film: Kluge's Idea of Realism and His Short Films / , The Sharpest Ideology: That Reality Appeals to its Realistic Character / , Debate on the Documentary Film: Conversation with Klaus Eder, 1980 / , Opera as a 'Power Plant of Emotion' -- , Undoing Act 5: History, Bodies and Operatic Remains in The Power of Emotion / , 'Feelings Can Move Mountains ...': An Interview with Alexander Kluge on the Film The Power of Feelings / , Alexander Kluge's Phantom of the Opera / , Storytelling and Politics -- , An Analytic Storyteller in the Course of Time / , The Political as Intensity of Everyday Feelings / , At the 2003 International Security Conference / , Television and Counter-Public Spheres -- , Raw Materials for the Imagination: Kluge's Work for Television / , Television and Obstinacy / , Reframing Islam in Television: Alexander Kluge's Interviews on Islamand Terrorism since 9/II / , In the Real Time of Feelings: Interview with Alexander Kluge / , Television Interviews -- , Character Armour and MobileWarfare / , Jeff Mills: Godfather of Techno / , Tsunami of Emotion: On Puccini's Tosca / , Early Cinema/Recent Work -- , Reinventing the Nickelodeon: Notes on Kluge and Early Cinema / , 'All Things Are Enchanted Human Beings': Remarks on Alexander Kluge's News from Ideological Antiquity / , Selected Bibliography of English-Language Texts -- , Acknowledgments -- , Notes on Contributors -- , Index , In English.

Language: English

DOI: 10.1515/9789048513390

URL: https://doi.org/10.1515/9789048513390

URL: https://doi.org/10.1515/9789048513390