Looking East: Christian Petzold's Barbara (2012)

@article{Gerhardt2016LookingEC,
  title={Looking East: Christian Petzold's Barbara (2012)},
  author={C. Gerhardt},
  journal={Quarterly Review of Film and Video},
  year={2016},
  volume={33},
  pages={550 - 566}
}
  • C. Gerhardt
  • Published 2016
  • Art
  • Quarterly Review of Film and Video
In a manner not seen since the heyday of New German Cinema of the 1970s and 1980s, German cinema is again turning heads at international film festivals. This time, it is the Berlin School, a moniker first used by film critic Merten Worthmann in a review of Angela Schanelec’s 2001 Mein langsames Leben (Passing Summer). Popularized by critics, not the filmmakers, the term Berlin School originally referred to directors associated with the Deutsche Filmund Fernsehakademie Berlin (dffb, the German… Expand
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The Province Always Rings Twice: Christian Petzold’s Heimatfilm noir
After achieving critical success as one of Germany’s leading contemporary film makers with his Gespenster/Ghosts trilogy (2000, 2005, 2007), Christian Petzold’s subsequent film, Jerichow (2008) hasExpand
The Collapse of the Conventional: German Film and its Politics at the Turn of the Twenty-First Century
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Winning a (Hi)story Out of Places: Christian Petzold's Germany in Etwas Besseres als den Tod (2011)
How to make a genre film that touches on Hollywood cinema and yet is not ashamed of being set in Germany? It seems to be the question that Christian Petzold's Etwas Besseres als den Tod (Beats BeingExpand
The Counter-Cinema of the Berlin School
In attempting to answer the vexed question of what the so-called Berlin School is—the question that pervades this stimulating, first comprehensive monograph on the topic—Marco Abel deploys theExpand
Facts of Migration, Demands on Identity: Christian Petzold's Yella and Jerichow in Comparison1
This article explores Christian Petzold's cinematic contribution to processes of identity-formation in a unified Germany by comparing the treatment of migration in his films Yella and Jerichow. InExpand
Negotiating Nostalgia: The GDR Past in Berlin Is in Germany and Good Bye, Lenin!
This article examines the representation of the GDR past and the treatment of Ostalgie in Wolfgang Becker's Good Bye, Lenin! and Hannes Stöhr's Berlin Is in Germany, arguing that the films evidence aExpand
Reframing the Past: Heritage Cinema and Holocaust in the 1990s
A journey in time, 1999. A medium close-up shot shows a woman with curly blond hair, her eyes radiating bliss and exuberance. We see her right hand fiddling with a vintage camera. She has no patienceExpand
No Place Like Home: Locations of Heimat in German Cinema
List of Illustrations Acknowledgments Introduction: Locating Heimat PART I. ROOTS 1. Evergreens: The Place of Heimat in German Film History 2. Therapeutic Topographies: From Ludwig Ganghofer to theExpand
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Education in the United States is dominated by discourse surrounding the poor performance of American students, especially emergent-bilingual Latino students, on high-stakes standardized exams inExpand
The Surveillance Camera's Quarry in Hochhäusler's Eine Minute Dunkel
“The World Changes When You Stare Straight at It”1 When a surveillance camera fixes on the world, it transforms what it sees. In Christoph Hochhausler’s Eine Minute Dunkel (One Minute of Darkness,Expand
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