Moving Frames : : Photographs in German Cinema / / ed. by Martin P. Sheehan, Carrie Collenberg-González.

• Superior document: Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2022
• MitwirkendeR: Bauman, Matthew,; Collenberg-González, Carrie,; Davidson, John E.,; Doerre, Jason,; Maughan, Curtis L.,; Pfleger, Simone,; Pinkert, Anke,; Porter, Cynthia,; Sheehan, Martin P.,; Zachau, Reinhard,
• HerausgeberIn: Etzler, Melissa,; Harris, Stefanie,
• Place / Publishing House: New York; , Oxford : : Berghahn Books, , [2022]; ©2022
• Year of Publication: 2022
• Language: English
• Series: Film Europa ; 26
• Physical Description: 1 online resource (258 p.)

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.

Table of Contents

Frontmatter -- CONTENTS -- ILLUSTRATIONS -- ACKNOWLEDGMENTS -- Introduction PHOTOGRAPHS AS RUPTURE AND AFFECT IN GERMAN FILM -- Chapter 1 LAYERS OF EXPOSURE The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925) -- Chapter 2 OBJECTING OBJECTS Photographs and Subjectivity in The Blue Angel (1930) -- Chapter 3 BEFORE- AND AFTERLIVES On the Stillness of Photographs at the Outset of Adenauer Cinema -- Chapter 4 FILMING AFTER WALKER EVANS Wim Wenders’ “American Photographs” in Kings of the Road (1976) -- Chapter 5 THE TRANSGRESSION OF OVERPAINTING Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981) -- Chapter 6 THE PROMISE OF AGENCY Photographs and Value in Tattoo (2002) -- Chapter 7 CURATING THE IMAGE Visual Intertextuality in The Baader Meinhof Complex (2008) -- Chapter 8 RE-PRESENTING GERMAN HERITAGE FILMS Photographic Memory in Aimée & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya: Welcome to Germany (2011) -- Chapter 9 IMAGING THE “GOOD LIFE” Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005) -- Chapter 10 VIOLENCE, DEATH, AND PHOTOGRAPHS Capturing the (Un)Dead in Rammbock (2010) -- Chapter 11 POSSIBLE ARCHIVES Encountering a Surveillance Photo in Karl Marx City (2016) -- Afterword TOWARD A CAMERA LUDICA Agency and Photography in Videogame Ecologies -- INDEX