qAn original, intelligent, and insightful book. Over the past twenty years, the New German Cinema has been the topic of some of our most sophisticated studies of memory, history, and political identity. Flinn extends, deepens, and expands on this work to offer necessary insights about music, cinema, and national identity in postwar Germany. With wit, rigor, and an engaging prose style, Flinn exposes the New German Cinema in its ability to dramatize a commitment to historical memory that is not sentimental, romanticized, or fueled by nationalist fervor. This is a remarkably innovative, transformative, and important work.q--Patrice Petro, author of Aftershocks of the New: Feminism a Film History qUsing the musical soundtrack as her 'Auftakt, ' Caryl Flinn revisits melodrama and melancholia, camp and kitsch, and memory and shock in the works of such filmmakers as Fassbinder, Kluge, Ottinger, Treut, and Schroeter. The resulting intellectual counterpoint is dazzling. In the wake of this articulate analysis, the New German Cinema will never be the same again. In these 'leaden times' of ours, Flinn reminds us of the hope that an alternative aesthetics has to offer.q--Alice Kuzniar, Professor of German and Comparative Literature, author of The Queer German CinemaPerhaps most famous is Sonja in Michael Verhoevena#39;s Das Schreckliche Madchen I The Nasty Girl (1990), who digs into the local archives for a school essay, aquot;My Hometown During the Third Reich, aquot; and exposes her towna#39;s complicity with theanbsp;...
|Title||:||The New German Cinema|
|Publisher||:||Univ of California Press - 2004|