LEADER 04041nam 2200697Ia 450 001 9910449664203321 005 20200520144314.0 010 $a9786612359705 010 $a0-520-93715-5 010 $a1-59734-773-6 010 $a1-282-35970-3 024 7 $a10.1525/9780520937154 035 $a(CKB)1000000000005542 035 $a(EBL)222990 035 $a(OCoLC)475926865 035 $a(SSID)ssj0000210353 035 $a(PQKBManifestationID)11912098 035 $a(PQKBTitleCode)TC0000210353 035 $a(PQKBWorkID)10283393 035 $a(PQKB)10819649 035 $a(OCoLC)55741763 035 $a(MdBmJHUP)muse30478 035 $a(DE-B1597)519347 035 $a(OCoLC)990750634 035 $a(DE-B1597)9780520937154 035 $a(Au-PeEL)EBL222990 035 $a(CaPaEBR)ebr10058536 035 $a(CaONFJC)MIL235970 035 $a(MiAaPQ)EBC222990 035 $a(dli)HEB08191 035 $a(MiU)MIU01000000000000009852076 035 $a(EXLCZ)991000000000005542 100 $a20040815d2004 my 0 101 0 $aeng 135 $aurun#---uu|uu 181 $ctxt 182 $cc 183 $acr 200 14$aThe new German cinema $emusic, history, and the matter of style /$fCaryl Flinn 205 $a1st ed. 210 $aBerkeley $cUniversity of California Press$dc2004 215 $a1 online resource (332 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-22895-2 311 0 $a0-520-23823-0 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction: "Strategies Of Remembrance" --$t1. Mourning, Melancholia, And "New German Melodrama" --$t2. Modernism's Aftershocks: Peer Raben's Film Music For Fassbinder --$t3. Kluge's Assault On History: Trauma, Testimony, And Difference In The Patriot --$t4. Undoing Act 5: History, Bodies, And Operatic Remains: Kluge's The Power Of Emotion --$t5. Restaging History With Fantasy: Body, Camp, And Sound In The Films Of Treut, Ottinger, And Von Praunheim --$t6. Introjecting Kitsch: Werner Schroeter, Music, And Alterity --$tCoda: Working The Pieces --$tNotes --$tIndex 330 $aWhen 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. 606 $aMotion picture music$zGermany$xHistory and criticism 606 $aMotion pictures$zGermany 615 0$aMotion picture music$xHistory and criticism. 615 0$aMotion pictures 676 $a791.43/657 700 $aFlinn$b Caryl$0792581 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910449664203321 996 $aThe new German cinema$92320195 997 $aUNINA