Kino - german films

A VIEW FURTHER AFIELD
Wider political contexts, forms and consequences of globalization
or political-theoretical reflections may be found more often in
German documentary film work of recent years. As such, a tremendous
wealth of form developed particularly during the 90s. In
this context, four current German productions should be mentioned:
War at a Distance (Erkennen und Verfolgen,
2002, Harun Farocki), an essay about the connections between
production processes and war (technology), which complements
Farocki’s consistent film work on the relation between images and
politics; Jericho – Verschwoerung (2002, Agenten Kollektiv,
Robert Bosshard & Friedhelm Schrooten), a documentary fragment
that thematizes the ”Middle East conflict“ in a radically different way
and becomes a plea against any kind of nationalism expressed with
a liberating irony; Die Helfer und die Frauen (2003), a film
presented by Karin Jurschick examining the trade with women as a
consequence of the presence of international organizations.
Jurschick casts light on the structure of the phenomenon with all its
complexity and minor scenes – a production demonstrating what
first-class television is capable of, in a political sense. And finally,
Tarifa Traffic (2003, Joakim Demmer) shows a political tragedy
beyond politics. In quiet images, the film tells the story of the thousands
of immigrants who attempt to illegally cross the straits between
Morocco and Spain each month, and the inhabitants of the
surfer paradise Tarifa, for whom it has become almost a daily routine
to find dead bodies on the beach. A film ballad evincing the
new Europe …
Hilde Hoffmann, member of the staff at the
Institute for Media Sciences, Ruhr-University of Bochum
Lettenewitsch, Natalie / Mang, Nadine-Carina (2002)
Helden und Gespenster. Die RAF untot auf der Leinwand.
In: Politik im deutschen Kino. Aesthetik & Kommunikation 117, p. 29-34
Rancière, Jaques (2003) Politisches Denken heute.
Die normale Ordnung der Dinge und die Logik des Dissenses.
In: Lettre International 3/03, p. 5-7
Seesslen, Georg (2000) Das Kino der doppelten Kulturen.
Erster Streifzug durch ein unbekanntes Kino-Terrain.
Under: http://www.epd.de/film/2000/12.htm
Stauff, Markus (1998) Man weiß nie, was man filmt.
Ueber die Politisierung der Bilder in Rot liegt in der Luft und Beruf Neonazi.
In: Adelmann, Ralf; Stauff, Markus (ed.)
Politik und Bilder. KultuRRevolution 37, p. 19-28.
Scene from ”Die Helfer und die Frauen“
Further literary references and websites:
Adelmann, Ralf, Stauff, Markus (ed.) (1998) Politik und Bilder.
KultuRRevolution., 37
Bergfelder, Tim/Carter, Erica/Goektuerk, Deniz (ed.) (2002)
The German Cinema Book. London
Combs, James (ed.) (1993) Movies and Politics.
The Dynamic Relationship. New York/London
Elsaesser, Thomas (1999)
The BFI Companion To German Cinema. London
Hake, Sabine (2002) German National Cinema.
London/New York
Landy, Marcia (1994) Film, Politics and Gramsci.
Minneapolis
Politik im deutschen Kino (2002)
Aesthetik & Kommunikation, 117
Post-Wall German Cinema. (2000)
Camera Qbscura, 44
Shapiro, Michael (1999) Cinematic Political Thought.
Narrating Race, Nation and Gender. Edinburgh
Silverman, Kaja (1996) The Threshold of the Visible World.
New York/London
Wayne, Mike (2002) The Politics of Contemporary
European Cinema. Histories, Borders, Diasporas. Bristol
http://www.bundesarchiv.de
http://www.cinegraph.de
http://www.defa-stiftung.de
http://www.deutsches-filminstitut.de
http://www.filmmuseum-berlin.de
http://www.filmmuseum-potsdam.de
http://www.revolver-film.de
kino 4 focus on politics in german film
2003 11
Scene from ”Tarifa Traffic“