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101 0 $aeng
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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
610   $acinema historians.
610   $acontemporary germany.
610   $afamous films.
610   $afilm buffs.
610   $afilm students.
610   $afilm styles.
610   $afilm textbooks.
610   $agerman cinema.
610   $agerman cinematic style.
610   $agerman culture.
610   $agerman directors.
610   $agerman music.
610   $agermany.
610   $ahistorical contexts.
610   $ahistorical review.
610   $akitsch.
610   $amusic styles.
610   $amusic.
610   $anational identity.
610   $anew german cinema.
610   $anonfiction.
610   $apersonal identity.
610   $apolitical identity.
610   $ar w fassbinder.
610   $asexual identity.
610   $atransnational contexts.
610   $aulrike ottinger.
610   $awerner schroeter.
615  0$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