New German Cinema: A History: A History - Softcover

Elsaesser, Thomas

Softcover

ISBN 10: 0813513928 ISBN 13: 9780813513928

Publisher: Rutgers University Press, 1989

Synopsis

From Publishers Weekly
In this exemplary analysis of what is arguably the most vital national cinema since the French New Wave, Elsaesser, a British professor, defines New German Cinema as the fruit of government sponsorship of independent filmmaking that peaked during the 1970s. Works by its disparate talents, from Rainer Werner Fassbinder and Wim Wenders to Werner Herzog and Volker Schlondorff, are illumined by close readings here that adopt a variety of perspectives: political, biographical, historical, literary, generic, etc. Elsaesser's examination of German culture, customs and regional character is especially edifying. An equal triumph is his skilled unraveling of West Germany's unique film-subsidy system, which arose to fill the void of postwar German filmmaking; ironically, gifted artists of the New German Cinema had access to funding, but found it nearly impossible to market their films domestically, despite foreign acclaim. Illustrations not seen by PW. 
From Library Journal
In the mid-1970s, a talented collection of German filmmakers burst onto the international scene, revitalizing that country's long-dormant film industry. Werner Herzog, Wim Wenders, Volker Schlondorff, and especially Rainer Werner Fassbinder were the leading lights of this movement. Elsaesser's meticulous and well-informed study is virtually a history of postwar German film, providing a rich historical context (including valuable insights into financing and TV production) for his subject. With Fassbinder's death in 1982, New German Cinema seemed to lose some momentum, but the author points out that the movement had already been subsumed into the mainstream of international coproductions. A masterly study, aimed at an academic audience.

About this title

About the Author

Thomas Elsaesser was born in 1943 in Berlin. The grandson of the architect Martin Elsaesser, he spent his childhood in Upper Franconia and in 1951 moved with his family to Mannheim, where from 1955 to 1962 he attended a Humanist Gymnasium, before studying English and German Literature at the Ruprecht-Karl University in Heidelberg. In 1963 Elsaesser left Germany for the United Kingdom, where he studied English literature at the University of Sussex (1963–1966); after receiving his B.A. degree there, he spent a year at the Sorbonne in Paris (1967–68). In 1971 he received his doctorate in Comparative Literature with a thesis on Jules Michelet and Thomas Carlyle’s Histories of the French Revolution from the University of Sussex.

Between 1968 and 1970, he contributed to and co-edited a film journal published by the University of Sussex Film Society (Brighton Film Review). Other editors included Phil Hardy, David Morse and Gary Herman. He subsequently edited a similar journal (Monogram) from 1971 to 1975 in London, encouraged by Peter Wollen and supported by a grant from the Education Department of the British Film Institute. Writing as a film critic and theorist of classical Hollywood cinema, it was his essay on Hollywood melodrama (Tales of Sound and Fury, 1972) that made Elsaesser known internationally.

From 1972 to 1976 Elsaesser taught English, French and Comparative Literature at the University of East Anglia. In 1976 he established there, together with Charles Barr, one of the first independent centres for Film Studies in the UK, with a full undergraduate, MA and PhD program. In addition to seminars on early cinema, on Alfred Hitchcock and Fritz Lang, Elsaesser also initiated a course on the cinema of the Weimar Republic, which he co-taught with his colleague W.G. Sebald.

In 1991, Elsaesser was appointed to a chair at the University of Amsterdam. There he founded the Department of Film and Television Studies, which he headed until 2000. In 1992 he initiated an international Master's and Doctoral Program, a book series (Film Culture in Transition, published by Amsterdam University Press / Chicago University Press) and he was co-founder of the Amsterdam School of Cultural Analysis (ASCA), set up after the US-American model of a Humanities Graduate School. In 2005 Elsaesser founded the international MA Programme in Preservation and Presentation of the Moving Image.[1]

Since 1976 Elsaesser regularly teaches as a visiting professor at American universities notably at the University of Iowa, University of California (Los Angeles, San Diego, Berkeley, Irvine, Santa Barbara), New York University and Yale University. From 1993-1999 he was Professor II at the University of Bergen, Norway, and in 2005-2006 he held the Ingmar Bergman Chair at Stockholm University. In 2006-2007 he was a Leverhulme Professor at the University of Cambridge. In addition, he taught several times as a visiting professor at the University of Hamburg, the Free University of Berlin and the University of Vienna. In 2003 he was a Fellow at the IFK-International Research Center for Cultural Studies Vienna, in 2004 Fellow at the Sackler Institute of the University of Tel Aviv and in 2007 Overseas Fellow at Churchill College, Cambridge. Since 2005 Elsaesser has also taught one semester a year at Yale University as a visiting professor. He is currently a visiting Professor at Columbia University.

From 2000-2005 he was in charge of an international research project on "Cinema Europe" at the University of Amsterdam. The project resulted in several book publications on European cinema and film history, such as a study on the relationship between Hollywood and Europe (European Cinema - Face to Face with Hollywood), on Contemporary Cinephilia (Cinephilia - Movies, Love and Memory), on the European film avant-garde and film society movement (Moving Forward Looking Back), on Lars von Trier’s cinema as gaming prototype (Playing the Waves) and the European Film Festival circuit (Film Festivals - From European Geopolitics to Global Cinephilia). Other studies from the project were devoted to comparative studies, such as Post-classical Narration and World Cinema, Cinema, War and Memory, Finnish Visual Culture, Music in European cinema of the 1990s and several studies on European Cities and Media Culture.

Elsaesser is an important representative of international film studies, whose books and essays on film theory, genre theory, Hollywood, film, history, archeology media and new media, the European cinema d'auteur and installation art have been published in more than 20 languages. Elsaesser is known primarily for his studies on almost every period of German film history, from early film (A Second Life: German Cinema’s First Decade), the cinema of the Weimar Republic (Weimar Cinema and After: Germany’s Historical Imaginary) and Fritz Lang (Metropolis), including the much-cited New German Cinema – A History, as well as a monograph on Rainer Werner Fassbinder, a study on the afterlife of the Nazi era in German post-war film, an anthology on the work of Harun Farocki and The BFI Companion to German Cinema.

Besides his publications on German cinema, Elsaesser has also edited and co-edited collections on Early Cinema, Television, New Media, as well as co-authoring a book on Contemporary Hollywood (Studying Contemporary American Film, with Warren Buckland) and an innovative Introduction to Film Theory (Film Theory: An Introduction through the Senses, with Malte Hagener).

From Library Journal

In the mid-1970s, a talented collection of German filmmakers burst onto the international scene, revitalizing that country's long-dormant film industry. Werner Herzog, Wim Wenders, Volker Schlondorff, and especially Rainer Werner Fassbinder were the leading lights of this movement. Elsaesser's meticulous and well-informed study is virtually a history of postwar German film, providing a rich historical context (including valuable insights into financing and TV production) for his subject. With Fassbinder's death in 1982, New German Cinema seemed to lose some momentum, but the author points out that the movement had already been subsumed into the mainstream of international coproductions. A masterly study, aimed at an academic audience.
- Thomas Wiener, formerly with "American Film," Washington, D.C.
Copyright 1989 Reed Business Information, Inc.

About this edition

• Publisher: Rutgers University Press
• Publication date: 1989
• ISBN 10: 0813513928
• ISBN 13: 9780813513928
• Binding: Paperback
• Edition number: 1
• Number of pages: 430