Description
Book Synopsis As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.
Trade Review “The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point…Highly Recommended.” • Choice
Table of Contents List of Illustrations
Acknowledgments
Introduction: Photographs as Rupture and Affect in German Film
Carrie Collenberg-González and Martin P. Sheehan
Chapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925)
Jason Doerre
Chapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)
Martin P. Sheehan
Chapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer Cinema
John E. Davidson
Chapter 4. Filming After Walker Evans: Wim Wenders’ “American Pictures” in Kings of the Road (1976)
Stefanie Harris
Chapter 5. The Transgression of Overpainting: Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981)
Matthew Bauman
Chapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)
Cynthia Porter
Chapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)
Reinhard Zachau
Chapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya–Welcome to Germany (2011)
Carrie Collenberg-González
Chapter 9. Imaging the “Good Life”: Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)
Simone Pfleger
Chapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)
Melissa Etzler
Chapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)
Anke Pinkert
Afterword: Toward a Camera Ludica: Agency and Photography in Videogame Ecologies
Curtis L. Maughan
Index
