Description
Book SynopsisTrade ReviewLandry's book should be of great interest to both scholars of German film history and those who are invested in thinking of moving images from a theoretically rigorous perspective as primarily material forces (rather than signs to be interpreted) that can effect change in viewers' apperceptions and thus intervene in the world.
* GERMAN STUDIES REVIEW *
The book is a rich and welcome addition to the surge of scholarly interest in the Berlin School (and spends refreshingly little time on questions of its label). Landry not only challenges dominant approaches to Berlin School aesthetics, but also moves beyond frames of national cinema and/or neoliberalism to focus on productive collisions of theory and film. . . . Movement and Performance in Berlin School Cinema is an essential reading for understanding the aesthetics and spectatorship of this contemporary film movement and its resonances across global art cinema. Theoretically capacious and incisive, Landry's book is a vital contribution to thinking the (mobile) body onscreen and its turn to performance studies illuminates compelling new directions for film theory.
-- Hannah Pavek * Studies in European Cinema *
Landry's often breathless and exhilarating prose gives form to the motion and vitality she finds in these contemporary films. The book's style makes it a pleasure to read.
-- Hester Baer * Monatshefte *
Table of ContentsAcknowledgements
Introduction: A Cinema Against Stasis
1. Media, Death, and Liveness
2. Theatricality Bleeds, the Presence of Dance
3. Between Movement and Affect: The Body's Shared Point of Sense
4. Accelerating Performance: From Car Travel to Car Crash
5. Nina Hoss's Performance of the Fugitive Body; or, What to Do with Movement
Conclusion: Performance on the Move
Filmography
Bibliography
Index
