The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insights into what constituted German cinema around 1968 and beyond. Contributors engage a range of cinemas, spanning experimental and avant-garde cinema, installations and exhibits; short films, animated films, and crime films; collectively produced cinemas, feminist films, and Arbeiterfilme (workers' films); as well as their relationship to cinemas of other countries, such as French cinéma vérité and US direct cinema.
Author(s): Marco Abel, Christina Gerhardt
Series: Screen Cultures: German Film And The Visual
Publisher: Camden House/Boydell & Brewer
Year: 2019
Language: English
Pages: 340
City: Melton
Tags: Motion Pictures: Germany (West): History, Motion Pictures: Germany (East): History, Motion Pictures: Austria: History: 20th Century
Frontcover
Contents
Acknowledgments
Introduction: German Screen Cultures and the Long 1968
Part I
1: Peter Zadek's Ich bin ein Elefant, Madame: Discussing "1968" by Means of "1968 Thinking"
2: "Break the Power of the Manipulators": Film and the West German 1968
3: Ideological Rupture in the dffb: An Analysis of Hans-Rüdiger Minow's Berlin, 2. Juni
4: Helke Sander's dffb Films and West Germany's Feminist Movement
5: Film Feminisms in West German Cinema: A Public Sphere for Feminist Politics 6: A Laboratory for Political Film: The Formative Years of the German Film and Television Academy and Participatory Filmmaking from Workerism to Feminism7: West Germany's "Workers' Films": A Cinema in the Service of Television?
8: Guns, Girls, and Gynecologists: West German Exploitation Cinema and the St. Pauli Film Wave in the Late 1960s
9: Mediation, Expansion, Event: Reframing the Austrian Filmmakers Cooperative
10: Prague Displaced: Political Tourism in the East German Blockbuster Heißer Sommer
11: Animating the Socialist Personality: DEFA Fairy Tale Trickfilme in the Shadow of 1968 12: Allegories of Resistance: The Legacy of 1968 in GDR Visual Cultures13: "You Say You Want a Revolution": East German Film at the Crossroads between the Cinemas
14: Cruel Optimism, Post-68 Nostalgia, and the Limits of Political Activism in Helma Sanders-Brahms's Unter dem Pflaster ist der Strand
15: Revolting Formats: Hellmuth Costard's Der kleine Godard: An das Kuratorium Junger Deutscher Film
Part II. In Conversation: Interviews with Filmmakers
16: An Interview with Harun Farocki: "Holger Thought about Aesthetics and Politics Together." 17: An Interview with Birgit Hein: "Art communicates knowledge that cannot be expressed in any other information system"18: An Interview with Klaus Lemke: "Being Smart Does Not Make Good Films"
Notes on the Contributors
Index
