הקולנוע הגרמני החדש בשנות ה-60' – 80'

Germany Re-Imagined: The New German Cinema of the 1960s-80s

סמסטר א' תש"ף

2 ש"ס + הקרנות חובה

שיעור

יום ב', 16:00-20:00, חדר 206 א, בניין מכסיקו

שם המרצה: גב' יעל מזור

דוא"ל: yaelmazo@tauex.tau.ac.il

שעות קבלה: בתיאום מראש

תיאור הקורס:

"הקולנוע הישן מת, אנו מאמינים בקולנוע החדש": כך הצהירו קבוצת במאים צעירים במניפסט אוברהאוזן בשנת 1962, ההצהרה שסימנה את יריית הפתיחה לתחייתו של הקולנוע הגרמני, לאחר דעיכה מתמשכת שהחלה בחיסולה הכמעט מוחלט של תעשיית הקולנוע המקומית בעקבות מלחמת העולם השנייה.

קורס זה מבקש לעקוב אחר תנועת הקולנוענים הצעירה שקמה בגרמניה בשנות ה-60 במטרה ליצור קולנוע גרמני חדש, שונה, ובעיקר כזה שאינו דומה לקולנוע של דור ההורים, אותו דור שהיה לב ליבו של המערך התומך במנגנון המדינה הנאצית. הקורס יציע קריאה היסטוריוגרפית של הסרטים והיוצרים ביחס לאירועי התקופה, אך גם ביחס להיסטוריוגרפיה של הקולנוע הגרמני עצמו, באופן שיאפשר מבט נוסף על הסרטים לאור ההתפתחויות ההיסטוריות שחלו בגרמניה ובאירופה מסוף שנות ה-80 ואילך, כמו גם התפתחויות מחקריות הנוגעות לקולנוע הגרמני. כל אלו מאירים באור חדש את התמות של הסרטים עצמם, ואת סרטיהם המוקדמים יותר של יוצרי הקולנוע הגרמני החדש שממשיכים לפעול כיום במסגרות בינלאומיות, תוך מתן מקום למי שנשכחו והודרו לרוב מההיסטוריוגרפיות הדומיננטיות שיצרו מיתיזציה של תנועת הקולנוענים הגרמנית. במסגרת זו, יושם דגש מיוחד על מקומן של יוצרות הקולנוע הגרמני החדש אשר הכתיבה המחקרית שהוקדשה להן עד היום היתה מצומצמת באופן יחסי, כאשר חשיפת יצירתן אל מול הטקסטים המוכרים יותר של הקולנוע הגרמני החדש תאפשר לראות את מכלול הקורפוס של התקופה מזוית שפותחת יצירות אלו לבחינה מחודשת.

Course Description

In 1962, a group of young German filmmakers declared "Conventional film is dead, we believe in the new film". The now-famous Oberhausen Manifesto was to become the definitive event that launched the renaissance of Germany's film industry after it had been in a gradual decline following its near-destruction by the end of the Second World War.

This course aims to trace the movement led by these filmmakers from its beginnings in the early 1960s, whose purpose it was to create a new and different cinema that would set them apart from the generation of their parents, the same generation that was at the heart of the apparatus that supported the Nazi regime. It will offer a historiographic reading of the films and filmmakers as per the time of their production, but also in consideration of the historiography of the German cinema itself, such that provides another view of these films given the historical changes that have affected Germany and Europe from the end of the 1980s onwards, as well as research developments regarding German cinema. All of the above serve to shine a new light on the themes presented in the films, and earlier films of filmmakers who are still active today in the international arena, while aiming to also reinstate those who were for many years absent from the dominant, almost mythologizing historiography of this movement. A special emphasis will be placed on the women filmmakers of the New German Cinema of which relatively little has been researched up until recent years, seeing how a renewed introduction of their work against the more well-known films of the NGC might open a new perspective that will enable us to reevaluate the fascinating and important corpus of films that is the New German Cinema.

דרישות הקורס:

1. נוכחות חובה (מעל לשלוש היעדרויות - לא יינתן ציון בקורס)
2. קריאת מאמרי חובה וצפייה בסרטי הקרנות החובה מדי שבוע*
3. עמידה במבחן מסכם

*(סרט החובה יוקרן מדי שבוע בחלקו השני של השיעור ויידון במסגרת השיעור העוקב)

מרכיבי הציון הסופי:

100% מבחן מסכם

רשימת נושאים בחלוקה לפי חטיבות נושא/ שבועות (נתון לשינויים):

נושא 1 - גרמניה שנת אפס: התחלות חדשות אל מול מורשת UFA

1. שיקום התעשייה והתוויית דרך חדשה

קריאת חובה:

Fehrenbach, Heide. “From Military Surveillance to Self-Supervision: American Occupation and the Politics of Film, 1945-1949.”  Cinema in Democratizing Germany: Reconstructing National Identity After Hitler. Chapel Hill: University of North Carolina Press, 1995, pp. 51-91.

*הקרנה: Rotation (Wolfgang Staudte, 1949)

1. "הקולנוע הישן מת, אנו מאמינים בקולנוע החדש": מניפסט אוברהאוזן וה'קולנוע הגרמני הצעיר'

קריאת חובה:

Elsaesser, Thomas. "Historicizing the Subject: A Body of Work?" New German Critique 63, Fall 1994, pp. 11-33.

• הקרנה: Die Patriotin/ The Patriot (Kluge, 1979)

1. האינטלקטואל בספירה הציבורית: אלכסנדר קלוגה

קריאת חובה:

Kaes, Anton. “In Search of Germany: Alexander Kluge’s The Patriot.” In: Alexander Kluge: Raw Materials for the Imagination, edited by Tara Forrest. Amsterdam: Amsterdam U P, 2012, pp. 95-126.

• הקרנה: Der Bomberpilot/ The Bomber Pilot (Werner Schroeter, 1970)

1. מהפיכה באוויר  - סגנון חדש לקולנוע חדש

קריאת חובה:

Langford, Michelle. "A Cinema on the Margins: Contextualizing the Films of Werner Schroeter”. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006, pp. 17-52.

• הקרנה: Der junge Törless/ Young Törless (Volker Schlöndorff, 1966)

נושא 2 – בחזרה לארץ לעולם לא (עוד):  העבר כנוכח-נעדר והשיבה ל'היימאט' האבוד

1. ניצנים של פשיזם? פולקר שלנדורף והעיסוק בעבר הנאצי

קריאת חובה:

Santner, Eric L. "The Trouble with Hitler: Postwar German Aesthetics and the Legacy of Fascism." New German Critique 57, Fall 1992, pp. 5-24.

• הקרנה: Falsche Bewegung/ Wrong Move (Wim Wenders, 1975)

1. מחפשים את גרמניה: סרטי המסע של וים ונדרס

קריאת חובה:

Malpas, Jeff. "Wim Wenders: The Role of Memory." In: Cinematic Thinking: Philosophical Approaches to the New Cinema, edited by James Phillips. Stanford: Stanford University Press, 2008, pp. 146-159.

• הקרנה: Herz aus Glass/Heart of Glass (Werner Herzog, 1976)

1. הגרמני ששנא גרמנים: ורנר הרצוג והחזרה ל'תרבות קולנוע לגיטימית'

קריאת חובה:

Heringman, Noah. “Herzog’s Heart of Glass and the Sublime of Raw Materials.” In: Brad Prager (ed.), A Companion to Werner Herzog. Malden: Wiley Blackwell, 2012, pp. 256-280.

• הקרנה: Die Sehnsucht der Veronika Voss/ Veronika Voss (Rainer Werner Fassbinder, 1982)

1. קולנוע גרמני חדש בין ז'אנרים להיסטוריה: טרילוגיית ה-BRD של ריינר ורנר פאסבינדר

קריאת חובה:

Gemünden, Gerd. "Re-Fusing Brecht: The Cultural Politics of Fassbinder's German Hollywood." New German Critique 63, Fall 1994, pp. 55-75.

• הקרנה: Shirins Hochzeit/ Shirins Wedding (Helma Sanders-Brahms, 1976)

נושא 3 - יוצרות ה-NGC: פמיניזם והנכחה במרחב הציבורי-היסטורי

1. התנועה הפמיניסטית ואיגודי הנשים של הקולנוע הגרמני החדש

קריאת חובה:

Hansen, Miriam. "Messages in a bottle? Frauen und Film, women's cinema and feminist film theory in West Germany", Screen 28, Autumn 1987, pp. 30-9.

• הקרנה: Die Allseitig reduzierte Persönlichkeit/ The All-Around Reduced Personality (Helke Sander, 1978)

1. נוכחות והנכחה במרחב הציבורי-פוליטי

קריאת חובה:

Gleber, Anke. Barbara. "The Woman and the Camera-Walking in Berlin: Observations on Walter Rutman, Verena Stefan and Helke Sander." In Barbara Becker-Cantarino (ed.), Berlin in Focus: Cultural Transformations in German. Westport: Praeger, 1996, pp. 105-124.

*הקרנה: Bildnis einer Trinkerin/ Ticket of No Return (Ulrike Ottinger, 1979)

1. קולנוע פמיניסטי? השיח הביקורתי ואלטרנטיבות ייצוגיות בקולנוע של יוצרות ה-NGC

קריאת חובה:

Hansen, Miriam. “Visual Pleasure, Fetishism and the Problem of Feminine/ Feminist Discourse: Ulrike Ottinger’s Ticket of No Return.” New German Critique 31, Winter 1984, pp. 95-108.

• הקרנה: Die bleierne Zeit/ Marianne and Juliane (Maragarethe von Trotta, 1981)

1. היסטוריה, אלימות ו-agency בקולנוע של במאיות הקולנוע הגרמני החדש

קריאת חובה:

Linville, Susan E. "Retrieving History: Margarethe von Trotta's Marianne and Juliane." In: Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany. Austin: University of Texas Press, 1998, pp. 84-108.

• הקרנה: Hungerjahre: in einem reichen Land/ The Hunger Years: In a Land of Plenty  (Jutta Brückner, 1980)

1. הגוף הנשי כאלגוריה פוליטית + סיכום

 קריאת חובה:

McCarthy, Margaret. “Consolidating, Consuming and Annulling Identity in Jutta Bruckner’s Hungerjahre.” Women in German Yearbook: Feminist Studies in German Literature & Culture, Volume 11, 1995, pp. 13-33.

ביבליוגרפיה (רשימה ראשונית, נתונה לשינויים ותוספות):

קריאת חובה:

Elsaesser, Thomas. "Historicizing the Subject: A Body of Work?" New German Critique 63, Fall 1994, pp. 11-33.

Fehrenbach, Heide. “From Military Surveillance to Self-Supervision: American Occupation and the Politics of Film, 1945-1949.” In Cinema in Democratizing Germany: Reconstructing National Identity After Hitler. Chapel Hill: University of North Carolina Press, 1995, pp. 51-91.

Gemünden, Gerd. "Re-Fusing Brecht: The Cultural Politics of Fassbinder's German Hollywood." New German Critique 63, Fall 1994, pp. 55-75.

Gleber, Anke. Barbara. "The Woman and the Camera-Walking in Berlin: Observations on Walter Rutman, Verena Stefan and Helke Sander." In Barbara Becker-Cantarino (ed.), Berlin in Focus: Cultural Transformations in German. Westport: Praeger, 1996, pp. 105-124.

Hansen, Miriam. "Messages in a bottle? Frauen und Film, women's cinema and feminist film theory in West German", Screen 28, Autumn 1987, pp. 30-9.

Hansen, Miriam. “Visual Pleasure, Fetishism and the Problem of Feminine/ Feminist Discourse: Ulrike Ottinger’s Ticket of No Return.” New German Critique 31, Winter 1984, pp. 95-108.

Heringman, Noah. “Herzog’s Heart of Glass and the Sublime of Raw Materials.” In Brad Prager (ed.), A Companion to Werner Herzog. Malden: Wiley Blackwell, 2012, pp. 256-280.

Kaes, Anton. “In Search of Germany: Alexander Kluge’s The Patriot.” In: Alexander Kluge: Raw Materials for the Imagination, edited by Tara Forrest. Amsterdam: Amsterdam U P, 2012, pp. 95-126.

Langford, Michelle. "A Cinema on the Margins: Contextualzing the Films of Werner Schroeter”. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006, pp. 17-52.

Linville, Susan E. "Retrieving History: Margarethe von Trotta's Marianne and Juliane." In: Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany. Austin: University of Texas Press, 1998, pp. 84-108.

Malpas, Jeff. "Wim Wenders: The Role of Memory." In: Cinematic Thinking: Philosophical Approaches to the New Cinema, edited by James Phillips. Stanford: Stanford University Press, 2008, pp. 146-159.

McCarthy, Margaret. “Consolidating, Consuming and Annulling Identity in Jutta Bruckner’s Hungerjahre.” Women in German Yearbook: Feminist Studies in German Literature & Culture, Volume 11, 1995, pp. 13-33.

Santner, Eric L. "The Trouble with Hitler: Postwar German Aesthetics and the Legacy of Fascism." New German Critique 57, Fall 1992, pp. 5-24.

Taubeneck, Steven. "Helma Sanders Brahms: An Introduction." In Women Filmmakers: Refocusing, edited by Jacqueline Levitin, Judith Plessis and Valerie Raoul. Vancouver: UBC Press, 2002, pp. 65-70.

ביבליוגרפיה כללית (כוללת את קריאת החובה וקריאה נוספת):

Alter, Nora M. Projecting History: German Nonfiction Cinema, 1967-2000. Ann Arbor: University of Michigan Press, 2002.

Ames, Eric. "Herzog, Landscape, and Documentary." Cinema Journal, 48. 2, Winter 2009, pp. 49-69.

Arthur, Paul. "Beyond the limits: Werner Herzog's metaphysical realism: 40 years of boldly going where no documentary has gone before." Film Comment 41.4, July-August 2005, pp. 42-47.

Ascárate, Richard John. "'Have You Ever Seen a Shrunken Head?': The Early Modern Roots of Ecstatic Truth in Werner Herzog's Fitzcarraldo." PMLA: Publications of the Modern Language Association of America, 122. 2, March 2007, pp. 483-501.

Badley, Linda. "The Shadow and the Auteur: Herzog's Kinski, Kinski's Nosferatu, and the Myths of Authorship." In: Caligari's Heirs: the German Cinema of Fear after 1945, edited by Steffen Hantke. Lanham: Scarecrow Press, 2007, pp. 57-80.

Bammer, Angelika. "Through a Daughter's Eyes: Helma Sanders-Brahms' Germany, Pale Mother." New German Critique 36, Special Issue on Heimat, Autumn 1985, pp. 91-109.

Berghahn, Daniela. "Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust." German Life and Letters 59.2, April 2006, 294-308.

Boa, Elizabeth. Heimat: a German Dream: Regional Loyalties and National Identity in German Culture, 1890-1990. Oxford/New York: Oxford University Press, 2000.

Brady, Martin and Joanne Leal. Wim Wenders and Peter Handke: Collaboration, Adaptation, Recomposition. Amsterdam/ New York, Rodopi, 2011.

Byg, Barton. Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub. Berkeley: University of California Press, 1995.

Casper, Kent & Susan Linville. "Romantic Inversions in Herzog's Nosferatu." The German Quarterly 64.1, Winter 1991, pp. 17-24.

Corrigan, Timothy. New German Film: The Displaced Image. Bloomington: Indiana University Press, 1994.

Crowdus, Gary & Richard Porton. "Coming to terms with the German past: an interview with Volker Schlöndorff." Cineaste 26.2, 2001, pp. 18-23.

Dagle, Joan. "Cinema/History/Feminism: Intersecting Discourses in Rosa Luxemburg." Literature & Psychology 49.4, 2004, pp. 27-42.

Davidson, John E. Deterritorializing the New German Cinema. Minneapolis: University of Minnesota Press, 1999.

Elsaesser, Thomas. "Edgar Reitz’ Heimat: Memory, Home and Hollywood." In: European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press, 2005, pp. 384-394.

Elsaesser, Thomas. Fassbinder's Germany: History, Identity, Subject. Amsterdam: Amsterdam University Press, 1996.

Elsaesser, Thomas. "Historicizing the Subject: A Body of Work?" New German Critique 63, Fall 1994, pp. 11-33.

Elsaesser, Thomas. "Myth as the Phantasmagoria of History: H. J. Syberberg, Cinema and Representation." New German Critique 24-25, Fall-Winter 1981-1982, pp. 108-154.

Elsaesser, Thomas. New German Cinema: A History. New Brunswick: Rutgers University Press, 1989.

Elsaesser, Thomas. Weimar cinema and after: Germany's Historical Imaginary. London/ New York: Routledge, 2000.

Fassbinder, Rainer Werner. The Anarchy of the Imagination: Interviews, Essays, Notes. Edited by Michael Toteberg and Leo A. Lensing, translated from the German by Krishna Winston. Baltimore: Johns Hopkins University Press, 1992.

Fehrenbach, Heide. “From Military Surveillance to Self-Supervision: American Occupation and the Politics of Film, 1945-1949.” In Cinema in Democratizing Germany: Reconstructing National Identity After Hitler. Chapel Hill: University of North Carolina Press, 1995, pp. 51-91.

Fisher, Jaimey. "On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film." In: Italian neorealism and global cinema. Edited by Laura E. Ruberto & Kristi M. Wilson. Detroit: Wayne State University Press, 2007.

Flinn, Caryl. The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, 2004.

Forrest, Tara. "From history's rubble: On the future of the past in the work of Alexander Kluge." Rethinking History 9.4, Dec 2005, pp. 429-448.

Gabriel, Barbara. "The Unbearable Strangeness of Being: Edgar Reitz's Heimat and the Ethics of the Unheimlich." In: Postmodernism and the ethical subject, edited by Barbara Gabriel and Suzan Ilcan. Montreal: McGill-Queen's University Press, 2004, pp. 149-202.

Gemünden, Gerd. "The gangster film and melodrama of Rainer Werner Fassbinder." In: Framed visions: popular culture, Americanization, and the contemporary German and Austrian imagination. Ann Arbor: University of Michigan Press, 1998, pp. 89-107.

Gemünden, Gerd. "Re-Fusing Brecht: The Cultural Politics of Fassbinder's German Hollywood." New German Critique 63, Fall 1994, pp. 55-75.

Gleber, Anke. Barbara. "The Woman and the Camera-Walking in Berlin: Observations on Walter Rutman, Verena Stefan and Helke Sander." In Barbara Becker-Cantarino (ed.), Berlin in Focus: Cultural Transformations in German. Westport: Praeger, 1996, pp. 105-124.

Greaney, Patrick. "Montage and identity in Brecht and Fassbinder." In: Visual culture in twentieth-century Germany: text as spectacle, edited by Gail Finney. Bloomington: Indiana University Press, 2006, pp. 154-163.

Hake, Sabine. German National Cinema. London/New York: Routledge, 2008.

Hamilton, Elizabeth C. "Deafening Sound and Troubling Silence in Volker Schlöndorff's 'Die Blechtrommel'." In Sound Matters: Essays on the Acoustics of Modern German Culture, edited by Nora M. Alter and Lutz Koepnick. New York: Berghahn Books, 2004, pp. 130-141.

Hansen, Miriam. "Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge's Contribution to Germany in Autumn." New German Critique 24/25, Special Double Issue on New German Cinema, Autumn-Winter 1981-1982, pp. 36-56.

Hansen, Miriam. "Messages in a bottle? Frauen und Film, women's cinema and feminist film theory in West German", Screen 28, Autumn 1987, pp. 30-9.

Hansen, Miriam. “Visual Pleasure, Fetishism and the Problem of Feminine/ Feminist Discourse: Ulrike Ottinger’s Ticket of No Return.” New German Critique 31, Winter 1984, pp. 95-108.

Heringman, Noah. “Herzog’s Heart of Glass and the Sublime of Raw Materials.” In Brad Prager (ed.), A Companion to Werner Herzog. Malden: Wiley Blackwell, 2012, pp. 256-280.

Hillman, Roger. Unsettling scores: German Film, Music, and Ideology. Bloomington: Indiana University Press, 2005.

Hoerschelmann, Olaf. "Memoria dextera est": film and public memory in postwar Germany." Cinema Journal 40.2, 2001, pp. 78-97.

Indiana, Gary. "Germany inside Him: Rainer Fassbinder and the Spell of Dystopia." In: Utopia's debris: Selected Essays. New York: Basic Books, 2008, pp. 131-136.

Jones, Gareth. "Visions of Heaven and Hell in the Cinema of Werner Herzog." Journal of the GPA: Proceedings, 2008, pp, 125-135.

Kaes, Anton. From Hitler to Heimat: The Return of History as Film. Cambridge: Harvard University Press, 1989.

Kaes, Anton. "German Cultural History and the Study of Film: Ten Theses and a Postscript." New German Critique 65, Spring/Summer 1995, pp. 47-58.

Kaes, Anton. "History, Fiction, Memory: Fassbinder's 'The Marriage of Maria Braun'." In German Film and Literature: Adaptations and Transformations, edited by Eric Rentschler. New York: Methuen, 1986, pp 276-288.

Kaes, Anton. “In Search of Germany: Alexander Kluge’s The Patriot.” In: Alexander Kluge: Raw Materials for the Imagination, edited by Tara Forrest. Amsterdam: Amsterdam U P, 2012, pp. 95-126.

Kellner, Douglas. "Fassbinder, Women, and Melodrama: Critical Interrogations." In Triangulated Visions: Women in Recent German Cinema, edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Albany: State University of New York Press, 1998, pp. 219-228.

Kinder, Marsha. "Ideological Parody in the New German Cinema: Reading 'The State of Things', 'The Desire of Veronika Voss', and 'Germany Pale Mother' as Postmodernist Rewritings of 'The Searchers', 'Sunset Boulevard' and 'Blonde Venus'." Quarterly Review of Film and Video XII/1-2, May 1990, pp.73-103.

Knight, Julia. New German Cinema: Images of a Generation. London/ New York: Wallflower, 2004.

Knight, Julia. Women and the New German Cinema. London/New York: Verso, 1992.

Koch, Gertrud. "Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." In: Perspectives on German Cinema, edited by Terri Ginsberg and Kirsten Moana Thompson. New York: G.K. Hall: 1996, pp. 221-30.

Koepnick, Lutz. The Dark Mirror: German Cinema between Hitler and Hollywood. Berkeley: University of California Press, 2002.

Langford, Michelle. "A Cinema on the Margins: Contextualzing the Films of Werner Schroeter”. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006, pp. 17-52.

Langford, Michelle. Allegorical Images: Tableau, Time and Gesture in the Cinema of Werner Schroeter. Bristol: Intellect, 2006.

Langford, Michelle. "Film Figures: Rainer Werner Fassbinder's 'The Marriage of Maria Braun' and Alexander Kluge's 'The Female Patriot'." In: Kiss Me Deadly: Feminism and Cinema for the Moment, edited by Laleen Jayamanne. Sydney: Power Publications, 1995, pp. 147-79.

Langston, Richard. "Alexander Kluge's Impossible Film." In: Visions of Violence: German Avant-Gardes after Fascism. Evanston: Northwestern University Press, 2008, pp. 198-228.

Linville, Susan E. Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany. Austin: University of Texas Press, 1998.

Linville, Susan E. "The Mother-Daughter Plot in History: Helma Sanders-Brahms's Germany, Pale Mother." New German Critique 55, Winter 1992, pp. 51-70.

Linville, Susan E. "Retrieving History: Margarethe von Trotta's Marianne and Juliane." In: Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany. Austin: University of Texas Press, 1998, pp. 84-108.

Lüke, Martina G. "Nosferatu the Vampyre (1979) as a Legacy of Romanticism." In Draculas, Vampires, and Other Undead Forms: Essays on Gender, Race, and Culture, edited by John Edgar Browning & Caroline Joan (Kay) Picart. Lanham: Scarecrow Press, 2009, pp. 153-166.

Lutze, Peter C. Alexander Kluge: The Last Modernist. Detroit: Wayne State University Press, 1998.

Malpas, Jeff. "Wim Wenders: The Role of Memory." In: Cinematic Thinking: Philosophical Approaches to the New Cinema, edited by James Phillips. Stanford: Stanford University Press, 2008, pp. 146-159.

Mayne, Judith. "Female Narration, Women's Cinema: Helke Sander's The All-Round Reduced Personality/Redupers." New German Critique 24/25, Fall-Winter 1981-1982, pp.155-171.

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