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The contemporary German directors collectively known as the "Berlin School" constitute the most significant filmmaking movement to come out of Germany since the New German Cinema of the 1970s, not least because their films mark the emergence of a new filmThis is the first book-length study of the Berlin School in any language. Its central thesis - that the movement should be regarded as a "counter-cinema" - is built around the unusual style of realism employed in its films, a realism that presents images Marco Abel is Professor of English and Film Studies at the University of Nebraska, Lincoln.
"synopsis" may belong to another edition of this title.
Review:
Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
(The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
(P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. Here he applies no standard scheme, but instead thoroughly analyzes the career and most important films of each member of the movement . . . . In this way he succeeds in presenting portraits that are very rich. . . . The utopian gaze of the Berlin School not only brings together the longing for an end to the search (for a better Germany and an alternative to mainstream cinema); it instead also provides a look at a nation that despite the distance from 1989 still hasn't found itself. If one goes along with Abel's philosophical way of proceeding, deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATTWINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014! (From the prize committee's laudatio: ) Abel's book impresses through its theoretical ambition, wide-ranging archival research - including in-depth interviews with many of its key directors - and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. The Counter-Cinema of the Berlin School has the makings of an instant classic. Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE
Provides the first thorough account of the contemporary German art film movement known as the Berlin School. . . . (A) comprehensive overview . . . . Recommended. CHOICE Abel has produced a seminal reference work for all scholars working in the field of German Studies. Moreover, by virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES FILMBLATTWINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014! (From the prize committee's laudatio: ) Abel's book impresses through its theoretical ambition, wide-ranging archival research - including in-depth interviews with many of its key directors - and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. The Counter-Cinema of the Berlin School has the makings of an instant classic. Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE
Abel's close readings of (the Berlin School) films outline the ways in which the attempt to map "the very sociopolitical, economic, cultural, and emotional forces that have paralyzed post-wall Germany" is realized in an effort to create a body of films that, rather than purporting to speak for Germany, instead prompts its audience to reconsider what Germany is or could be. FOCUS ON GERMAN STUDIES WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee FILM BOOK OF THE MONTH, December 2013, HHPRINZLER.DE They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT
WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee FILM BOOK OF THE MONTH, December 2013, HHPRINZLER.DE They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT (A) rich examination of a body of compelling work, which . . . signals the development of an ongoing critical engagement with these films. GERMANIC REVIEW
"The publication of Abel's book (now also available in paperback) represents a certain milestone, for bringing a cultural, historical, and aesthetic coherence and systematicity to the way these ?lms are now perceived. . . . Abel's interventions ( ) open new conversations within the discipline, while also bringing contemporary German cinema to the attention of scholars of affect whose gaze has otherwise seldom strayed beyond US, French, and British ?lm production . . . ." SEMINAR WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT
-The publication of Abel's book (now also available in paperback) represents a certain milestone, for bringing a cultural, historical, and aesthetic coherence and systematicity to the way these ?lms are now perceived. . . . Abel's interventions ( ) open new conversations within the discipline, while also bringing contemporary German cinema to the attention of scholars of affect whose gaze has otherwise seldom strayed beyond US, French, and British ?lm production . . . .- SEMINAR WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work f...
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(The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
(P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE Abel . . . engages with (the Berlin School filmmakers) at a high theoretical level. . . . One can assume that Abel has seen all of the films by these directors. If he places some of the films more in the foreground, this leads to accentuations and intensifications of the reader's interest. HHPRINZLER.DE
The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. Here he applies no standard scheme, but instead thoroughly analyzes the career and most important films of each member of the movement . . . . In this way he succeeds in presenting portraits that are very rich. . . . The utopian gaze of the Berlin School not only brings together the longing for an end to the search (for a better Germany and an alternative to mainstream cinema); it instead also provides a look at a nation that despite the distance from 1989 still hasn't found itself. If one goes along with Abel's philosophical way of proceeding, deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATTWINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014! (From the prize committee's laudatio: ) Abel's book impresses through its theoretical ambition, wide-ranging archival research - including in-depth interviews with many of its key directors - and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. The Counter-Cinema of the Berlin School has the makings of an instant classic. Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE (The) most ambitious (of several recent English-language studies on the Berlin School). . . . (A)n essential resource for aspiring students of a vital current of contemporary German cinema. FILM COMMENT Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE
Provides the first thorough account of the contemporary German art film movement known as the Berlin School. . . . (A) comprehensive overview . . . . Recommended. CHOICE Abel has produced a seminal reference work for all scholars working in the field of German Studies. Moreover, by virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES FILMBLATTWINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014! (From the prize committee's laudatio: ) Abel's book impresses through its theoretical ambition, wide-ranging archival research - including in-depth interviews with many of its key directors - and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. The Counter-Cinema of the Berlin School has the makings of an instant classic. Abel considers each filmmaker's body of work in its entirety, which is a remarkable achievement in its own right. . . . As the first monograph devoted to the subject, The Counter-Cinema of the Berlin School covers all the major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . This book in effect puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY (P)rovides not only helpful contextualizing historical and political as well as film-historical information . . . but also an analysis of what the films do or how they affect the viewer's" ability to sense and make sense." . . . (B)reak(s) important ground on the Berlin School. . . . Christina Gerhardt, CINEASTE Named Film Book of the Month, December 2013, by Hans Helmut Prinzler, HHPRINZLER.DE
Abel's close readings of (the Berlin School) films outline the ways in which the attempt to map "the very sociopolitical, economic, cultural, and emotional forces that have paralyzed post-wall Germany" is realized in an effort to create a body of films that, rather than purporting to speak for Germany, instead prompts its audience to reconsider what Germany is or could be. FOCUS ON GERMAN STUDIES WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee FILM BOOK OF THE MONTH, December 2013, HHPRINZLER.DE They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT
WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee FILM BOOK OF THE MONTH, December 2013, HHPRINZLER.DE They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT (A) rich examination of a body of compelling work, which . . . signals the development of an ongoing critical engagement with these films. GERMANIC REVIEW
"The publication of Abel's book (now also available in paperback) represents a certain milestone, for bringing a cultural, historical, and aesthetic coherence and systematicity to the way these ?lms are now perceived. . . . Abel's interventions ( ) open new conversations within the discipline, while also bringing contemporary German cinema to the attention of scholars of affect whose gaze has otherwise seldom strayed beyond US, French, and British ?lm production . . . ." SEMINAR WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work for all scholars working in the field of German Studies. By virtue of his meditations on form, texture, and aesthetics, Abel's work deserves to be seen alongside the work of John Orr in its thoughtful reflections on contemporary cinema's innovative engagement with reality. JOURNAL OF CONTEMPORARY EUROPEAN STUDIES Abel considers each filmmaker's body of work in its entirety, a remarkable achievement in its own right. (This book) covers all the (Berlin School's) major films, filmmakers, and developments to date. Future scholarship will certainly need to reckon with it. . . . (It) puts the Berlin School on the map of film and media scholarship. FILM QUARTERLY The big payoff of the book is the care with which Abel devotes himself to the individual filmmakers. He applies no standard scheme, but instead thoroughly analyzes the career and most important films of each . . . . He succeeds in presenting portraits that are very rich. . . . Deep and convincing interpretations and insights arise into a film movement and its way of thinking. FILMBLATT
-The publication of Abel's book (now also available in paperback) represents a certain milestone, for bringing a cultural, historical, and aesthetic coherence and systematicity to the way these ?lms are now perceived. . . . Abel's interventions ( ) open new conversations within the discipline, while also bringing contemporary German cinema to the attention of scholars of affect whose gaze has otherwise seldom strayed beyond US, French, and British ?lm production . . . .- SEMINAR WINNER, GERMAN STUDIES ASSOCIATION BOOK PRIZE, 2014 Impresses through its theoretical ambition, wide-ranging archival research-including in-depth interviews with many of its key directors-and lucid analyses of films, making a convincing case why these films matter. . . .This newest wave of German cinema has attracted its fair share of critics, but Abel can claim to have written its definitive account. (His book) has the makings of an instant classic. -GSA Prize Committee They are bound together by no manifesto, have no common training, live in different places, and the directors even reject the label that has been given them. . . . (Yet) their films have aesthetic parallels; they distinguish themselves formally from the German mainstream. Abel . . . engages with them (here) on a high theoretical level: America has discovered the Berlin School. -Hans Helmut Prinzler A seminal reference work f...
Marco Abel is Associate Professor of English and Film Studies at the University of Nebraska, Lincoln.
"About this title" may belong to another edition of this title.
- PublisherNot Avail
- ISBN 10 1571138730
- ISBN 13 9781571138736
- BindingPaperback
- Number of pages362
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