Description
Book SynopsisExplores how the mechanisms of modernism, German cinema and feminist film theory have evolved, and discusses the directions in which they are headed. The book aims to locate the debate over the place of cinema within modernity in a complex matrix of contending sensibilities, voices and impulses.
Trade ReviewIn this vibrant collection of essays, Patrice Petro draws on her capacious understanding of feminist theory and German film theory to articulate what is, was, and should be at stake in our interpretive practices. Whether analyzing the disorienting photomontages of Hannah H÷ch, the disturbing portraits of Otto Dix, or the charged performance of Marlene Dietrich in Blonde Venus, Petro remains firmly in command of historical contexts, theoretical implications, and ideological consequences. -- Maria Tatar * author of Lustmord: Sexual Murder in Weimar Germany *
Patrice PetroÆs Aftershocks of the New is unified by a focus on the connection between feminist film criticism and historical research. It also invokes a history of the film studies discipline (including television) as she rehearses and comments upon some of the major debates in the field over the past two decades. -- Lucy Fischer * director of the film studies program, University of Pittsburgh *
Table of ContentsIntroduction
The "place" of television in film studies
Feminism and film history
German film theory and Anglo-American film studies
After shock, between boredom and history
Historical ennui, feminist boredom
World weariness, Weimar women, and visual culture
Nazi cinema at the intersection of the classical and the popular
The Hottentot and the Blonde Venus
Film feminism and nostalgia for the seventies
