LEADER 04094nam 2200745Ia 450 001 9910974227903321 005 20200520144314.0 010 $a9786613431950 010 $a9781283431958 010 $a1283431955 010 $a9780252091445 010 $a0252091442 035 $a(CKB)2550000000088910 035 $a(OCoLC)654670515 035 $a(CaPaEBR)ebrary10532321 035 $a(SSID)ssj0000600794 035 $a(PQKBManifestationID)11356597 035 $a(PQKBTitleCode)TC0000600794 035 $a(PQKBWorkID)10602093 035 $a(PQKB)11335414 035 $a(MiAaPQ)EBC3413849 035 $a(MdBmJHUP)muse23787 035 $a(Au-PeEL)EBL3413849 035 $a(CaPaEBR)ebr10532321 035 $a(CaONFJC)MIL343195 035 $a(OCoLC)923493023 035 $a(Perlego)2382400 035 $a(EXLCZ)992550000000088910 100 $a20071121d2008 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aGerman film after Germany $etoward a transnational aesthetic /$fRandall Halle 205 $a1st ed. 210 $aUrbana $cUniversity of Illinois Press$dc2008 215 $a1 online resource (255 pages) 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9780252075384 311 08$a0252075382 311 08$a9780252033292 311 08$a0252033299 320 $aIncludes bibliographical references (p. [219]-228) and indexes. 327 $aCover -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Abbreviations -- Introduction: The Work of Film in the Age of Transnational Production -- 1. Apprehending Transnationalism -- 2. German Film, Aufgehoben: Ensembles of Transnational Cinema -- 3. The Transnational Aesthetic: Volker Schlondorff, Studio Babelsberg, and Vivendi Universal -- 4. The Historical Genre and the Transnational Aesthetic -- 5. Inhabitant, Exhabitant, Cohabitant: Filming Migrants and the Borders of Europe -- 6. Transfrontier Broadcasting, Transnational Civil Society -- Notes -- Bibliography -- Subject Index -- Film Index. 330 8 $aWhat is the work of film in the age of transnational production? To answer that question, Randall Halle focuses on the film industry of Germany, one of Europe's largest film markets and one of the world's largest film-producing nations. In the 1990s Germany experienced an extreme transition from a state-subsidized mode of film production that was free of anxious concerns about profit and audience entertainment to a mode dominated by private interest and big capital. At the same time, the European Union began actively drawing together the national markets of Germany and other European nations, sublating their individual significances into a synergistic whole. This book studies these changes broadly, but also focuses on the transformations in their particular national context. It balances film politics and film aesthetics, tracing transformations in financing along with analyses of particular films to describe the effects on the film object itself. Halle concludes that we witness currently the emergence of a new transnational aesthetic, a fundamental shift in cultural production with ramifications for communal identifications, state cohesion, and national economies. 606 $aMotion picture industry$zGermany 606 $aMotion picture industry$xFinance 606 $aCoproduction (Motion pictures, television, etc.)$zEurope 606 $aNoncitizens in motion pictures 606 $aMotion pictures$zGermany 615 0$aMotion picture industry 615 0$aMotion picture industry$xFinance. 615 0$aCoproduction (Motion pictures, television, etc.) 615 0$aNoncitizens in motion pictures. 615 0$aMotion pictures 676 $a384/.8094309049 700 $aHalle$b Randall$01615793 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910974227903321 996 $aGerman film after Germany$94365510 997 $aUNINA