Both politically and aesthetically, the contemporary German and Austrian film landscape is a far cry from the early days of the medium, when critics like Siegfried Kracauer produced foundational works of film theory amid the tumult of the early twentieth century. Yet, as Leila Mukhida demonstrates in this innovative study, the writings of figures like Kracauer and Walter Benjamin in fact remain an undervalued tool for understanding political cinema today. Through illuminating explorations of Michael Haneke, Valeska Grisebach, Andreas Dresen, and other filmmakers of the post-reunification era, Mukhida develops an analysis centered on film aesthetics and experience, showing how medium-specific devices like lighting, sound, and mise-en-scène can help to cultivate political sensitivity in spectators.
Inhaltsverzeichnis
List of Illustrations
Acknowledgements
List of Abbreviations
Introduction
Chapter 1. The Twenty-First-Century Worker Film: Workingman's Death (2004) by Michael Glawogger and Karger (2007) by Elke Hauck
Chapter 2. Radical Realisms: Angela Schanelec's Marseille (2004), Andreas Dresen's Halt Auf Freier Strecke (2011), and Gerhard Friedl's Hat Wolff Von Amerongen Konkursdelikte Begangen? (2004)
Chapter 3. Fragmented Stories for Fragmented Viewers: 71 Fragmente einer Chronologie des Zufalls (1994) and Code Inconnu: Ré cit incomplet de divers voyages (2000) by Michael Haneke
Chapter 4. Sensitive Subjects: Shock and Distraction in Hundstage (2001) by Ulrich Seidl, and in Sehnsucht (2006) by Valeska Grisebach
Conclusion
Filmography
Bibliography
Index
