Counter-Cinema of the Berlin School

Regular price €41.99
Quantity:
In stock with our UK publisher. 14-28 days
Delivery/Collection within 10-20 working days
14 days return policy Shipping & Delivery
1970s
A01=Marco Abel
Age Group_Uncategorized
Age Group_Uncategorized
Author_Marco Abel
automatic-update
Berlin School
Category1=Non-Fiction
Category=APFA
Category=ATFA
COP=United States
Counter-Cinema
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Film Movement
Filmmakers
Filmmaking
Germany
Language_English
New Film Language
PA=Available
Price_€20 to €50
PS=Active
softlaunch

Product details

  • ISBN 9781571139412
  • Weight: 538g
  • Dimensions: 152 x 229mm
  • Publication Date: 15 Jul 2015
  • Publisher: Boydell & Brewer Ltd
  • Publication City/Country: US
  • Product Form: Paperback
  • Language: English
Secure checkout Fast Shipping Easy returns
The first book-length study in any language of the "Berlin School," the most significant filmmaking movement to come out of Germany since the 1970s. WINNER: 2014 German Studies Association Award The contemporary German directors collectively known as the "Berlin School" constitute the most significant filmmaking movement to come out of Germany since the New German Cinema of the 1970s, not least because their films mark the emergence of a new film language. The Berlin School filmmakers, including Christian Petzold, Thomas Arslan, Angela Schanelec, Christoph Hochhäusler, Ulrich Köhler, Benjamin Heisenberg, Maren Ade, and Valeska Grisebach, are reminiscent of the directors of the New German Autorenkino and of French cinéma des auteurs of the 1960s. This is the first book-length study of the Berlin School in any language. Its central thesis - that the movement should be regarded as a "counter-cinema" - is built around the unusual style of realism employed in its films, a realism that presents images of a Germany that does not yet exist. Abel concludes that it is precisely how these films' images and sounds work that renders them political: they are political not because they are message-driven films but because they are made politically, thus performing a "redistribution of the sensible" - a direct artistic intervention in the way politics partitions ways of doing and making, saying and seeing. Marco Abel is Professor of English and Film Studies at the University of Nebraska, Lincoln.

More from this author