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Deterritorializing the New German Cinema

John E. Davidson
Copyright Date: 1999
Edition: NED - New edition
Pages: 216
https://www.jstor.org/stable/10.5749/j.ctttshsf
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  • Book Info
    Deterritorializing the New German Cinema
    Book Description:

    Between 1961 and 1989, the New German Cinema came into being, the product of the diverse efforts of West German politicians, West German filmmakers, and foreign—chiefly American—film enthusiasts. This book takes the story of the New German Cinema beyond its strictly German context to show its relation to the international constellations of the Cold War and postcolonial politics.

    eISBN: 978-0-8166-8828-9
    Subjects: Film Studies

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Preface
    (pp. ix-xii)
  4. Introduction
    (pp. 1-34)

    In this book I undertake a close study of the New German Cinema (NGC), the national cinema brought about over time by the parallel, though hardly unified, efforts of West German politicians, West German filmmakers, and, to a great extent, U.S. film enthusiasts. As the label has come to be understood in a number of ways, I should note at the outset that I use the designation NGC to refer to the state-supported, but relatively independent film production of the Federal Republic of Germany between 1962 and 1989. This broad time frame encompasses a number of phases and shifts, making...

  5. 1 Conceiving, Producing, and Remembering the New German Cinema
    (pp. 35-64)

    The recovery that rejuvenated nearly every sector of the West German economy in the 1950s did not include the film industry. The young West German state was unable or unwilling to take steps to protect the domestic film market and nurture the struggling industry, at a time when Hollywood adopted a “divide and rule” strategy that established the primacy of distributors rather than filmmakers in determining the market. The industrial weakness of West German film was compounded, as Heide Fehrenbach has noted, by the younger generation’s turn away from the perceived weakness of the charactersinWest German films after...

  6. 2 Resettling the West Of Familial Spats and Spots, and the End of the Road Movie
    (pp. 65-106)

    In arguing for an understanding of NGC as a kind of international film genre, I have maintained the importance of the United States as a site of reception in shaping the expectations of what “German vision” should look like. Though I have concentrated on films set outside of the geographic borders of “America” to this point, the United States must be acknowledged as the most important foreign setting for West German film after the mid-1960s. This should come as no great surprise, given that the “land of unlimited opportunities”—both its cinematic exports and its own geography and mythos—has...

  7. 3 Railing against Convention, or Camping Out in Mongolia The Performative Dispacements of Ulrike Ottinger’s Johanna D’Arc of Mongolia
    (pp. 107-154)

    In chapter 2 I spent considerable time tracing out the tension between movement and place, mobility and stasis, traveling and being at home inParis, TexasandOut of Rosenheim,culminating in the observation that cultural markers of identity have entered the computer age. As markers of cultural identity become legible globally, the stress on “home” as a geopolitical site for constructing identity ceases to have the urgency it once had. The markers signify that absent place of ethnographic identity, regardless of where they are encountered. At the same time, the notion of travel shifts considerably—in some cases it...

  8. Epilogue Beyond the New German Cinema?
    (pp. 155-164)

    In this volume I have stressed the role of cultural legitimation as the flip side of the oppositional impulses—aesthetic, political, and industrial—of NGC. Although it was perhaps far from the minds of the filmmakers, the drive to be integrated back into the West as an economic (and hence cultural) power against the East bloc and in competition for influence in the so-called developing world was the motive force behind the renewal of a German cinema outside the mainstream market. The West German economic recovery initiated the movement back into the West, which needed a cultural veneer that NGC...

  9. Notes
    (pp. 165-194)
  10. Index
    (pp. 195-202)
  11. Back Matter
    (pp. 203-203)