04944nam 2201033Ia 450 99624820220331620240410062621.097866123597050-520-93715-51-59734-773-61-282-35970-310.1525/9780520937154(CKB)1000000000005542(EBL)222990(OCoLC)475926865(SSID)ssj0000210353(PQKBManifestationID)11912098(PQKBTitleCode)TC0000210353(PQKBWorkID)10283393(PQKB)10819649(OCoLC)55741763(MdBmJHUP)muse30478(DE-B1597)519347(OCoLC)990750634(DE-B1597)9780520937154(Au-PeEL)EBL222990(CaPaEBR)ebr10058536(CaONFJC)MIL235970(MiAaPQ)EBC222990(dli)HEB08191(MiU)MIU01000000000000009852076(EXLCZ)99100000000000554220040815d2004 my 0engurun#---uu|uutxtccrThe new German cinema music, history, and the matter of style /Caryl Flinn1st ed.Berkeley University of California Pressc20041 online resource (332 p.)Description based upon print version of record.0-520-22895-2 0-520-23823-0 Includes bibliographical references and index.Front matter --Contents --Acknowledgments --Introduction: "Strategies Of Remembrance" --1. Mourning, Melancholia, And "New German Melodrama" --2. Modernism's Aftershocks: Peer Raben's Film Music For Fassbinder --3. Kluge's Assault On History: Trauma, Testimony, And Difference In The Patriot --4. Undoing Act 5: History, Bodies, And Operatic Remains: Kluge's The Power Of Emotion --5. Restaging History With Fantasy: Body, Camp, And Sound In The Films Of Treut, Ottinger, And Von Praunheim --6. Introjecting Kitsch: Werner Schroeter, Music, And Alterity --Coda: Working The Pieces --Notes --IndexWhen New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity-national, political, personal, and sexual-music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference-including that embodied in Germany's difficult history-rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.Motion picture musicGermanyHistory and criticismMotion picturesGermanycinema historians.contemporary germany.famous films.film buffs.film students.film styles.film textbooks.german cinema.german cinematic style.german culture.german directors.german music.germany.historical contexts.historical review.kitsch.music styles.music.national identity.new german cinema.nonfiction.personal identity.political identity.r w fassbinder.sexual identity.transnational contexts.ulrike ottinger.werner schroeter.Motion picture musicHistory and criticism.Motion pictures791.43/657Flinn Caryl792581MiAaPQMiAaPQMiAaPQBOOK996248202203316The new German cinema2320195UNISA