Hans Jürgen Syberberg The Film Director As Critical Thinker
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Hans-Jürgen Syberberg, the Film Director as Critical Thinker by R. J. Cardullo Pdf
"Hans-Jürgen Syberberg is an original, the most controversial of all the New German directors and a figure who has long been at the vanguard of the resurgence of experimental filmmaking in his homeland. Syberberg’s most characteristic films examine recent German history: a documentary, for example, about Richard Wagner’s daughter-in-law, who was a close friend of Hitler (The Confessions of Winifred Wagner [1975]). But especially “historical” is his trilogy covering one hundred years of Germany’s past, including, most famously, Hitler—A Film from Germany, also known as Our Hitler (1977). In this film and other works, Syberberg unites fictional narrative and documentary footage in a style that is at once cinematic and theatrical, mystical and magical. Hans-Jürgen Syberberg, the Film Director as Critical Thinker: Essays and Interviews is the first edited book in English devoted to this director’s work, and includes his most important English-language interviews as well as some of the best English-language essays on his work. In sum, this book is a significant contribution not only to the study of Syberberg’s oeuvre, but also to the study of German history and politics in the second half of the twentieth century."
Hans-Jürgen Syberberg, the Film Director as Critical Thinker by Xue Lan Rong,Jeremy Hilburn Pdf
"Fourth-wave immigration, with its vast economic, ethnic, cultural, linguistic, and religious diversities, have brought new dynamics into the existing social and demographic structures and added both opportunities and challenges to educational systems in North Carolina, a Southern U.S. state with the fastest growing rate of foreign-born population in the nation in 1990-2010 and unique geopolitical history.This book brings together 17 scholars who have extensive experience working with immigrants in North Carolina and represent a wide range of educational expertise. Together, their studies illustrate the intersections between historical contexts (geopolitical, historical constraints), structural factors (power, policies and laws, institutions and organization), cultural issues (philosophies, ideologies, identities, beliefs, values, and traditions), and immigrant students’ characteristics on the development of educational practices, policies, reforms, and resistance.divMost importantly, studying how North Carolina education systems and actors adapt to meet the challenges may offer valuable opportunities for researchers to understand the transformation of educational systems in other new gateway states. Collectively, studies in this book deconstruct the framework of the traditional hierarchical assimilation and linguisticism policies in recasting the concept of becoming Americans in the New South. The authors utilize frameworks that recognize the structural barriers that disadvantage immigrants in new gateway states but also position youth, families, and communities as possessing and utilizing valuable resources to promote educational access and achievement. In this sense, this book contributes significantly to major contemporary empirical and theoretical debates relating to educating immigrant children. It is our hope that this critical dialogue will continue at a national platform to promote discussion of these timely issues."div div>
Stan Brakhage in Rolling Stock, 1980-1990 by Jerry White Pdf
This is a collection of writings by the giant of experimental cinema, Stan Brakhage, that shows him in a completely new light, as part of world cinema. For the duration of the 1980s, Brakhage contributed to the Boulder literary magazine Rolling Stock, mostly publishing reports from the Telluride Film Festival. These reports show that Brakhage was keenly interested in world cinema, anxious to meet and dialogue with filmmakers of many different stripes. The book also contains substantial discussion of Brakhage's work in light of the filmmakers he encountered at Telluride and discussed in Rolling Stock. Long chapters are given over to Soviet filmmakers such as Andrei Tarkovsky, Larissa Shepitko, and Sergei Parajanov, as well as the German filmmaker Hans-Jürgen Syberberg. Brakhage was a keen viewer of these filmmakers and their contemporaries, both at Telluride and in his role as teacher at the University of Colorado, and Stan Brakhage and Rolling Stock attempts to place his work alongside theirs and thus reclaim him for world cinema. The book's appendices reprint letters Brakhage wrote to Stella Pence (Telluride's co-founder and managing director), as well as summaries of his work for Telluride and a brace of difficult-to-find reviews.
Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.
Perspectives on German Cinema by Terri Ginsberg,Kirsten Moana Thompson Pdf
This series is devoted to supplying comprehensive coverage of several topics: directors, individual films, national film traditions, film genres, and other categories that scholars have devised for organizing the rich history of film as expressive form, cultural force, and industrial and technological enterprise. It offers perspectives on every significant aspect of its subject within the context of an innovative and exemplary organization of its contributions.
Peacebuilding and the Arts by Jolyon Mitchell,Giselle Vincett,Theodora Hawksley,Hal Culbertson Pdf
"Ending violent conflict requires societies to take leaps of political imagination. Artistic communities are often uniquely placed to help promote new thinking by enabling people to see things differently. In place of conflict’s binary divisions, artists are often charged with exploring the ambiguities and possibilities of the excluded middle. Yet, their role in peacebuilding remains little explored. This excellent and agenda-setting volume provides a ground-breaking look at a range of artistic practices, and the ways in which they have attempted to support peacebuilding – a must-read for all practitioners and policy-makers, and indeed other peacemakers looking for inspiration."Professor Christine Bell, FBA, Professor of Constitutional Law, Assistant Principal (Global Justice), and co-director of the Global Justice Academy, The University of Edinburgh, UK "Peacebuilding and the Arts offers an impressive and impressively comprehensive engagement with the role that visual art, music, literature, film and theatre play in building peaceful and just societies. Without idealizing the role of the arts, the authors explore their potential and limits in a wide range of cases, from Korea, Cambodia, Colombia and Northern Ireland to Uganda, Rwanda, South Africa and Israel-Palestine."Roland Bleiker, Professor of International Relations, University of Queensland, Australia, and author of Aesthetics and World Politics and Visual Global Politics "Peacebuilding and the Arts is the first publication to focus critically and comprehensively on the relations between the creative arts and peacebuilding, expanding the conventional boundaries of peacebuilding and conflict transformation to include the artist, actor, poet, novelist, dramatist, musician, dancer and film director. The sections on the visual arts, music, literature, film and theatre, include case studies from very different cultures, contexts and settings but a central theme is that the creative arts can play a unique and crucial role in the building of peaceful and just societies, with the power to transform relationships, heal wounds, and nurture compassion and empathy. Peacebuilding and the Arts is a vital and unique resource which will stimulate critical discussion and further research, but it will also help to refine and reframe our understanding of peacebuilding. While it will undoubtedly become mandatory reading for students of peacebuilding and the arts, its original approach and dynamic exploratory style should attract a much wider interdisciplinary audience."Professor Anna King, Professor of Religious Studies and Social Anthropology and Director of Research, Centre of Religion, Reconciliation and Peace (WCRRP), University of Winchester, UK This volume explores the relationship between peacebuilding and the arts. Through a series of original essays, authors consider some of the ways that different art forms (including film, theatre, music, literature, dance, and other forms of visual art) can contribute to the processes and practices of building peace. This book breaks new ground, by setting out fresh ways of analysing the relationship between peacebuilding and the arts. Divided into five sections on the Visual Arts, Music, Literature, Film and Theatre/Dance, over 20 authors offer conceptual overviews of each art form as well as new case studies from around the globe and critical reflections on how the arts can contribute to peacebuilding. As interest in the topic increases, no other book approaches this complex relationship in the way that Peacebuilding and the Arts does. By bringing together the insights of scholars and practitioners working at the intersection of the arts and peacebuilding, this book develops a series of unique, critical perspectives on the interaction of diverse art forms with a range of peacebuilding endeavours.
Thinking about the Holocaust by Alvin H. Rosenfeld Pdf
"... stimulating and important anthology..." -- Holocaust and Genocide Studies "... a useful and competent volume that can serve as a good introduction to scholarship on the aftermath of the Holocaust." -- Times Literary Supplement More than 50 years after the end of World War II, how do we look back upon and understand the nature and consequences of that catastrophic event? What kind of historical consciousness has developed over the past half century with respect to the Nazi destruction of European Jewry? These questions are explored by a distinguished international group of scholars who draw on history, literature, memory, memorials, and the representation of the Holocaust in the culture to assess the impact of the Holocaust on postwar consciousness.
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.
Gilles Deleuze and Félix Guattari by Francois Dosse Pdf
In May 1968, Gilles Deleuze was an established philosopher teaching at the innovative Vincennes University, just outside of Paris. Félix Guattari was a political militant and the director of an unusual psychiatric clinic at La Borde. Their meeting was quite unlikely, yet the two were introduced in an arranged encounter of epic consequence. From that moment on, Deleuze and Guattari engaged in a surprising, productive partnership, collaborating on several groundbreaking works, including Anti-Oedipus, What Is Philosophy? and A Thousand Plateaus. François Dosse, a prominent French intellectual known for his work on the Annales School, structuralism, and biographies of the pivotal intellectuals Paul Ricoeur, Pierre Chaunu, and Michel de Certeau, examines the prolific if improbable relationship between two men of distinct and differing sensibilities. Drawing on unpublished archives and hundreds of personal interviews, Dosse elucidates a collaboration that lasted more than two decades, underscoring the role that family and history particularly the turbulent time of May 1968 play in their monumental work. He also takes the measure of Deleuze and Guattari's posthumous fortunes and the impact of their thought on intellectual, academic, and professional circles.
Hans Jürgen Syberberg and His Film of Wagner's Parsifal by Solveig Olsen Pdf
While much has been published abroad about the German filmmaker and author Hans J rgen Syberberg, this is the first English monograph about him. Author Solveig Olsen presents a biographical overview of the controversial artist and his body of work, and offers an in-depth analysis of Syberberg's film of Richard Wagner's Parsifal and his later works. Syberberg gained international fame as a filmmaker with the films of his "German Cycle," which included Our Hitler, a study of the Hitler potential in human nature. Parsifal of 1982 concluded the German Cycle. Preserving Wagner's libretto and score, the film uses the visual component to imbue the work with a surprising interpretation. In addition to the medieval story about the Grail seeker, the director draws on several other frames of reference, such as the theories of Freud and Jung, alchemy, and Syberberg's main aesthetic views and philosophy that have gone unrecognized until now. Olsen explores the role of Parsifal as Wagner's artistic and philosophical testament, and the implications of Syberberg's reinterpretation.
CHOICE: OUTSTANDING ACADEMIC TITLE A scholarly and thought-provoking work that places Jewish humor at the center of a discourse about Jewish and German relations through most of the twentieth century. At Wit’s End explores the fascinating discourse on Jewish wit in the twentieth century when the Jewish joke became the subject of serious humanistic inquiry and inserted itself into the cultural and political debates among Germans and Jews against the ideologically charged backdrop of anti-Semitism, the Jewish question, and the Holocaust. The first in-depth study to explore the Jewish joke as a crucial rhetorical figure in larger cultural debates in Germany, author Louis Kaplan presents an engrossing and lucid work of scholarship that examines how “der jüdische Witz” (referring to both Jewish wit and jokes) was utilized differently in a number of texts, from the Weimar Republic to the rise of National Socialism, and how it was re-introduced into the public sphere after the Holocaust with the controversial publication of Salcia Landmann’s collection of Jewish jokes in the reparations era (Wiedergutmachung). Kaplan reviews the claims made about the Jewish joke and its provocative laughter by notable writers from a variety of ideological perspectives, demonstrating how their reflections on this complex cultural trope enable a better understanding of German–Jewish intercultural relations and their eventual breakdown in the Third Reich. He also illustrates how selfcritical and self-ironic Jewish Witz maintained a fraught and ambivalent relationship with anti-Semitism. In reviewing this critical and traumatic moment in modern German–Jewish history through the deadly discourse on the Jewish joke, At Wit’s End includes chapters on the virulent Austrian anti-Semitic racial theorist Arthur Trebitsch, the Nazi racial propagandist Siegfried Kadner, the German Marxist cultural historian Eduard Fuchs, the Jewish diasporic historian Erich Kahler, and the Jewish cabaret impresario Kurt Robitschek, among others. Shedding new light on anti-Semitism and on the Jewish question leading up to the Holocaust, At Wit’s End provides readers with a unique perspective by which to gain important insights about this crucial historical period that reverberates into the present day, when potentially offensive humor coupled with a toxic political climate and xenophobia can have deadly consequences.
