Sensitive Subjects examines how contemporary German-language cinema may be read as seeking to produce greater political sensitivity in audiences through its form-that is, by employing medium-specific devices such as lighting, sound, editing and mise-en-scène in ways that prompt a more critical stance towards the societies it depicts.
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: Récit 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
