German/Austrian Cinema:
A Selected Bibliography of Materials in the UC Berkeley Library
General Works: Books

General Works: Journal Articles

Books and Articles About DEFA

Works on individual film makers

German film resources page

Alter, Nora M.
Projecting history: German nonfiction cinema, 1967-2000 / Nora M. Alter. Ann Arbor: University of Michigan Press, c2002. Social history, popular culture, and politics in Germany.
Main Stack PN1995.9.D6.A39 2002

Ascheid, Antje
Hitler's heroines: stardom and womanhood in Nazi cinema Philadelphia: Temple University Press, 2003.
PFA: PN1995.9.N36 A83 2003
MAIN: PN1995.9.N36 A83 2003
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/fy035/2002071460.html

Bahr, Ehrhard.
Weimar on the Pacific : German exile culture in Los Angeles and the crisis of modernism Berkeley : University of California Press, c2007.
MAIN: BH301.M54 B34 2007
BANC: BH301.M54 B34 2007
Table of contents http://www.loc.gov/catdir/toc/ecip079/2007000207.html

Bar, Gerald.
Das Motiv des Doppelgangers als Spaltungsphantasie in der Literatur und im deutschen Stummfilm Amsterdam ; New York : Rodopi, c2005.
MAIN: PT134.D67 B37 2005

Barlow, John D.
German Expressionist Film / John D. Barlow. Boston: Twayne, 1982. Series title: Twayne's filmmakers series.
Main PN1993.5.G3 .B314
Moffitt PN1993.5.G3 .B314 1982 *c2 copies

Bathrick, David.
"State of the Art as Art of the Nazi State: The Limits of Cinematic Resistance." In: Flight of fantasy: new perspectives on inner emigration in German literature, 1933-1945 / edited by Neil H. Donahue and Doris Kirchner. pp: 292-304. New York: Berghahn Books, 2003.
Main Stack PT405.F54 2003

Berghahn, Daniela
Hollywood behind the wall : the cinema of East Germany Manchester ; New York : Manchester University Press, 2005.
MAIN: PN1993.5.G3 B37 2005

Bergfelder, Tim.
International adventures : German popular cinema and European co-productions in the 1960s New York : Berghahn Books, 2005.
MAIN: PN1993.5.G3 B37 2005

Berlin, images in progress : contemporary Berlin filmmaking
Edited by Jurgen Bruning and Andreas Wildfang. Buffalo, N.Y. : Hallwalls Contemporary Arts Center, 1989.
PFA : PN1993.5.G3 B47 1989; OS\
Contents: The gay/Super 8 connection : Berlin / Jurgen Bruning -- A cinematically divided city / Karen Rosenberg -- Self portrait with skull / Birgit Hein -- Interview with Michael Brynntrup / Steff Ulbrich -- Moderns in ruins / Madeleine Leskin -- Sucking the city pulse : interview with Penelope Buitenhuis / Torsten Alisch -- "The inter-view!" (with Michael Krause) / Niels Kruger -- A story from a Berliner courtyard / Katarina Peters -- Excerpt from an interview with Katarina Peters / Masud Rajai -- Die Alten Filme / Andreas Dohler.

Beyer, Frank
Wenn der Wind sich dreht: meine Filme, mein Leben Munchen: Econ, 2001.
MAIN: PN1998.3.B53 A38 2001

Boa, Elizabeth.
Heimat: a German dream: regional loyalties and national identity in German culture, 1890-1990 Oxford; New York: Oxford University Press, 2000.
Main PT749.N3 B63 2000

Brady, Martin and Helen Hughes
"German cinema." In: The Cambridge companion to modern German culture / edited by Eva Kolinsky and Wilfried van der Will. Cambridge, UK ; New York, NY: Cambridge University Press, 1998. companions to culture.
Main Stack DD204.C36 1998

Brauerhoch, Annette.
"Frauleins" und GIs : Geschichte und Filmgeschichte Frankfurt am Main : Stroemfeld/Nexus, c2006.
MAIN: D743.23 .B73 2006

Byg, Barton
Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub / Barton Byg. Berkeley: University of California Press, c1995.
Main PN1998.3.S77 B94 1995

Byrne, Richard Burdick
German Cinematic Expressionism: 1919-1924. Ann Arbor, Mich, University Microfilms 1970.
Main PN1993.5.G3 B9 1970

Caligari's heirs : the German cinema of fear after 1945
Edited by Steffen Hantke. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1995.9.H6.C37 2007

Carter, Erica.
Dietrich's ghosts : the sublime and the beautiful in Third Reich film London : British Film Institute, 2004.
MAIN: PN1995.9.N36 C37 2004

Coates, Paul
The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror / Paul Coates. Cambridge [England]; New York: Cambridge University Press, 1991. Series title: Cambridge studies in film.
Main PN1993.5.G3 C64 1991
Moffitt PN1993.5.G3 C64 1991

Collier, Jo Leslie
From Wagner to Murnau: The Transposition of Romanticism from Stage to Screen / by Jo Leslie Collier. Ann Arbor, Mich.: UMI Research Press, c1988. Series title: Studies in cinema; no. 45.
Main PN1998.3.M87 C641 1988

Cooke, Paul
Representing East Germany since unification : from colonization to nostalgia Oxford ; New York : Berg, 2005.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: DD289.5 .C66 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005010966.html

Corrigan, Timothy.
New German Film: The Displaced Image / Timothy Corrigan. Rev. ed. Bloomington: Indiana University Press, c1994.
Main PN1993.5.G3 C67 1994

Coury, David N.
"Servus Deutschland: Nostalgia for Heimat in Contemporary West German Cinema." In: Moving pictures, migrating identities / Eva Rueschmann. pp: 72-89. Jackson: University Press of Mississippi, c2003.
Main Stack PN1995.9.E44.R84 2003
Compar Ethn PN1995.9.E44.R84 2003

Cultural history through a National Socialist lens : essays on the cinema of the Third Reich Rochester, NY: Camden House, 2000.
Main PN1995.9.N36 C85 2000

Davidson, John E.
Deterritorializing the New German Cinema / John E. Davidson. Minneapolis, Minn.: University of Minnesota Press, c1999.
Full-text of this book available online via ebrary [UC Berkeley users only]
UCB Main PN1993.5.G3 D34 1999

Deutsche Universal: transatlantische Verleih- und Produktionsstrategien eines Hollywood-Studios in den 20er und 30er Jahren
Munchen: Edition Text + Kritik, 2001.
MAIN: PN1999.U585 D48 2001

Diethe, Carol
"Beauty and the beast: an investigation into the role and function of women in German expressionist film." In: Visions of the "Neue Frau": women and the visual arts in Weimar Germany / edited by Marsha Meskimmon and Shearer West. Aldershot, England: Scolar Press ; Brookfield, Vt., USA: Ashgate Pub. Co., c1995.
Main Stack NX550.A1.V57 1995

Dickos, Andrew
"German expressionism and the roots of the film noir." In: Street with no name: a history of the classic American film noir Lexington: University Press of Kentucky, c2002.
Main Stack PN1995.9.F54.D53 2002
Moffitt PN1995.9.F54.D53 2002

Eisner, Lotte H.
The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt / by Lotte H. Eisner; [translated from the French by Roger Greaves]. Berkeley: University of California Press, 1973, c1969.
Main PN1993.5.G3 E512 1973
Moffitt PN1993.5.G3E513 1969

Dziergwa, Roman
Am Vorabend des Grauens : Studien zum Spannungsfeld Politik, Literatur, Film in Deutschland und Polen in den 30er Jahren des 20. Jahrhunderts Frankfurt am Main ; New York : P. Lang, c2005.
MAIN: PT405 .D85 2005;

Elsaesser, Thomas.
New German Cinema: A History / Thomas Elsaesser. New Brunswick, N.J.:Rutgers University Press, 1989.
Main PN1993.5.G3 E571 1989
Moffitt PN1993.5.G3 E57 1989

Elsaesser, Thomas.
"Film history and visual pleasure: Weimar cinemar." In:Cinema histories, cinema practices / edited by Patricia Mellencamp and Philip Rosen. Frederick, MD: University Publications of America, c1984. American Film Institute monograph series ; v. 4
Main Stack PN1995.C4971 1984

Elsaesser, Thomas.
Weimar cinema and after: Germany's historical imaginary London; New York: Routledge, 2000.
Main PN1993.5.G3 E58 2000

Es geht auch anders : Gesprache uber Leben, Film und Fernsehen
Berlin : Bertz + Fischer, c2006.
MAIN: PN1993.5.G3 E8 2006

Expressionist film--new perspectives
Edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003
Contents: Activating the differences: expressionist film and early Weimar cinema / Dietrich Scheunemann -- Weimar cinema, mobile selves, and anxious males: Kracauer and Eisner revisited / Thomas Elsaesser -- Revolution, power, and desire in Ernst Lubitsch's Madame Dubarry / Marc Silberman -- "Bringing the ghostly to life": Fritz Lang and his early Dr. Mabuse films / Norbert Grob -- Murnau, a conservative filmmaker?: on film history as intellectual history / Thomas Koebner -- The double, the decor, and the framing device: once more on Robert Wiene's The cabinet of Dr. Caligari / Dietrich Scheunemann -- Film as graphic art: on Karl Heinz Martin's From morn to midnight / Jurgen Kasten -- Episodic patchwork: the bric-a-brac principle in Paul Leni's Waxworks / Jurgen Kasten -- Entrapment and escape: readings of the city in Karl Grune's The street and G.W. Pabst's The joyless street / Anthony Coulson -- Fragmenting the space: on E.A. Dupont's Variete / Thomas Brandlmeier -- On Murnau's Faust: a generic Gesamtkunstwerk? / Helmut Schanze -- "Painting in time" and "visual music": on German avant-garde films of the 1920s / Walter Schobert -- Ruttmann, rhythm, and "reality": a response to Siegfried Kracauer's interpretation of Berlin, the symphony of a great city / David Macrae.
Fehrenbach, Heide.
Cinema in Democratizing Germany: Reconstructing National Identity After HitlerChapel Hill: University of North Carolina Press, c1995.
UCB Main PN1993.5.G3 F35 1995

Feinstein, Joshua.
The triumph of the ordinary: depictions of daily life in the East German cinema, 1949-1989 Chapel Hill: University of North Carolina Press, c2002.
UCB Main MAIN: PN1993.5.G3 F37 2002

Films from the Federal Republic of Germany.
Bonn: Press and Information Office of the Federal Government: Inter Nationes, 1986-
Main PN1993.8.G3 F4 1986 v.1, suppl (1986-1989)

The Films of Hellmuth Costard
Compiled and edited by Jan Dawson. London: Riverside Studios, 1979.
Main PN1988.A3 .C786

Fisher, Jaimey
"On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film." In: Italian neorealism and global cinema / edited by Laura E. Ruberto & Kristi M. Wilson. Detroit : Wayne State University Press, 2007.
Main Stack PN1993.5.I88.I76 2007

Flinn, Caryl.
The new German cinema: music, history, and the matter of style Berkeley: University of California Press, c2004.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1993.5.G3 F57 2004
Moffitt PN1993.5.G3 F57 2004

Fox, Jo.
Film propaganda in Britain and Nazi Germany : World War II cinema Oxford ; New York : Berg, 2007.
MAIN: PN1993.5.G7 F68 2007
Table of contents only http://www.loc.gov/catdir/enhancements/fy0701/2006031633-t.html

Fox, Jo.
Filming women in the Third Reich Oxford; New York: Berg, c2000.
Main PN1995.6.W6 F69 2000

Fox, Thomas C.
Stated memory: East Germany and the Holocaust / Rochester, NY; Camden House, 1999.
Main DS135.G332 F69 1999

Framing the Past: The Historiography of German Cinema and Television /
Edited by Bruce A. Murray and Christopher J. Wickham. Carbondale: Southern Illinois University Press, c1992.
Main PN1993.5.G3 F67 1992
Moffitt PN1993.5.G3 F67 1992

Franklin, James C.
New German Cinema: from Oberhausen to Hamburg / James Franklin. Boston: Twayne, 1983.Series title: Twayne's Filmmakers Series.
Main PN1993.5.G3 F7
Moffitt PN1993.5.G3 F7

Gender and German Cinema: Feminist Interventions
Edited by Sandra Frieden ... [et al.]. Providence: Berg, 1993.
Main PN1993.5.G3 G357 1993 v.1-2 (1993)

German essays on film
Edited by Richard W. McCormick and Alison Guenther-Pal. New York: Continuum, 2004.
MAIN: PN1994 .G425 2004
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004001986.html

The German Experimental Film of the Seventies
Edited by Ulrich Gregor. Munchen: Goethe-Institut, 1980.
Main PN1993.5.G3 G47 1980

German Film & Literature: Adaptations and Transformations
Edited by Eric Rentschler. New York: Methuen, 1986.
Main PN1993.5.G3 G361 1986
Moffitt PN1993.5.G3 G36 1986

German cinema : since unification
Edited by David Clarke. London ; New York : Continuum, c2006.
MAIN: PN1993.5.G3 G359 2006

Gersch, Wolfgang.
Szenen eines Landes : die DDR und ihre Filme Berlin : Aufbau-Verlag, 2006.
MAIN: PN1993.5.G3 G375 2006

Giesen, Rolf.
Nazi propaganda films: a history and filmography Jefferson, N.C: McFarland & Co., c2003.
MAIN: PN1995.9.N36 G54 2003
MoffittPN1995.9.N36 G54 2003

Gleber, Anke
The art of taking a walk: flanerie, literature, and film in Weimar culture / Anke Gleber. Princeton, N.J.: Princeton University Press, c1999.
Main Stack NX652.F55.G64 1999

Goss, Mimi Tennyson.
The Democratic Spirit of the Weimar Cinema / Mimi Tennyson Goss.[Cambridge, Mass.]: Research Programs, John F. Kennedy School of Government, Harvard University, 1994.Series title: Faculty research Working Paper Series; R94-12.
IGS A9533 R94-12

Guerin, Frances.
A culture of light: cinema and technology in 1920s Germany Minneapolis: University of Minnesota Press, c2005.
MAIN: PN1993.5.G3 G84 2005
Full-text of this book available online via ebrary [UC Berkeley users only]
Table of contents http://www.loc.gov/catdir/toc/ecip051/2004022373.html

Hake, Sabine
German national cinema London; New York: Routledge, 2002.
Main PN1993.5.G3 H28 2002

Hake, Sabine
Popular cinema of the Third Reich. Austin: University of Texas Press, 2001.
Full-text of this book available online via ebrary [UC Berkeley users only]
MainPN1995.9.N36 H34 2001

Hales, Barbara.
"Blonde Satan: Weimar Constructions of the Criminal Femme Fatale." In: Commodities of desire: the prostitute in modern German literature / Eited by Christiane Schonfeld. pp: 131-52. Rochester, NY: Camden House, 2000. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PT345.C58 2000

Hardt, Ursula.
From Caligari to California: Erich Pommer's life in the international film wars. Providence: Berghahn Books, 1996.
Main PN1998.3.P66 H37 1996

Helt, Richard C.
West German Cinema, 1985-1990: A Reference Handbook / by Richard C. Helt and Marie E. Helt. Metuchen, N.J.: Scarecrow Press, 1992.
Main PN1993.5.G3 H426 1992

Heckmann-Yalcin, Lale.
"Negotiating Identities: Media Representations of Different Generations of Turkish Migrants in Germany." In: Fragments of culture: the everyday of modern Turkey / edited by Deniz Kandiyoti and Ayse Saktanber. London ; New York: I.B. Tauris, 2002.
Anthropology DR432.F73 2002b

Heimann, Thomas.
Bilder von Buchenwald : die Visualisierung des Antifaschismus in der DDR (1945-1990) Koln : Bohlau, 2005.
MAIN: D805.5.B83 H45 2005

Helt, Richard C.
West German Cinema Since 1945: A Reference Handbook / by Richard C. Helt and Marie E. Helt. Metuchen, N.J.: Scarecrow Press, 1987.
Main PN1993.5.G3 H435 1987
Moffitt PN1993.5.G3 H435 1987 Ref.

Hillman, Roger.
Unsettling scores: German film, music, and ideology Bloomington: Indiana University Press, c2005.
MUSI: ML2075 .H54 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004019209.html

Hoffmann, Hilmar.
The triumph of propaganda : film and national socialism, 1933-1945 Providence : Berghahn Books, 1996-
MAIN: PN1995.9.N36 H6413 1996

Hull, David Stewart.
Film in the Third Reich; a study of the German cinema, 1933-1945. Berkeley, University of California Press, 1969.
Main PN1993.5.G3 H84

Jelavich, Peter.
Berlin Alexanderplatz: radio, film, and the death of Weimar culture Berkeley: University of California Press, c2006.
MAIN: PT2607.O35 B51353 2006
Table of contents http://www.loc.gov/catdir/toc/ecip058/2005005285.html

Kaes, Anton.
From Hitler to Heimat: The Return of History as Film / Anton Kaes. Cambridge, Mass.: Harvard University Press, 1989.
Main PN1993.5.G3 K29131 1989
Moffitt PN1993.5.G3 K2913 1989

Kannapin, Detlef.
Dialektik der Bilder : der Nationalsozialismus im deutschen Film ; ein Ost-West-Vergleich Berlin : Karl Dietz, 2005.
MAIN: PN1995.9.N36 K36 2005;

Kester, Bernadette
Film front Weimar: representations of the First World War in German films on the Weimar period (1919-1933) Amsterdam: Amsterdam University Press, c2003.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: D522.22 .K4713 200

Klotzer, Sylvia.
Satire und Macht : Film, Zeitung, Kabarett in der DDR Koln : Bohlau, 2006.
MAIN: PT405 .K564 2006

Knight, Julia.
"From Hitler to Heimat: the return of history as film" (review articleScreen (London, England) v 33 Summer 1992. p. 215-19.

Knight, Julia.
New German cinema: images of a generation London ; New York: Wallflower, 2004.
MAIN: PN1993.5.G3 K578 2004

Knight, Julia.
New German cinema: images of a generation London ; New York: Wallflower, 2004.
MAIN: PN1993.5.G3 K578 2004;

Knight, Julia.
Women and the New German Cinema / Julia Knight. London; New York: Verso, 1992.Series title: Questions for Feminism.
Main PN1993.5.G3 K58 1992

Koch, Gertrud
Siegfried Kracauer: an introduction / Gertrud Koch;translated by Jeremy Gaines. Princeton, N.J.: Princeton University Press, c2000.
Main PT2621.R135; Z7613 2000

Koepnick, Lutz.
The dark mirror: German cinema between Hitler and Hollywood / Berkeley: University of California Press, c2002.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1993.5.G3 K645 2002
Moffitt PN1993.5.G3 K645 2002

Koepnick, Lutz.
Framing attention : windows on modern German culture / Lutz Koepnick. Baltimore : Johns Hopkins University Press, 2007.
Main Stack NX650.W57.K64 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010570.html

Kracauer, Siegfried
From Caligari to Hitler: a psychological history of the German film Princeton, N.J.: Princeton University Press, 2004.
MAIN: PN1993.5.G3 K7 2004
PFA: PN1993.5.G3 K72 2004
Main PN1993.5.G3 K71 1947 [earlier edition]
Moffitt PN1993.5.G3 K7 [earlier edition]

Kuzniar, Alice A.
The queer German cinema Stanford, Calif.: Stanford University Press, c2000.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main PN1995.9.H55 K89 2000

Leiser, Erwin
Nazi Cinema / Erwin Leiser; translated from the German by Gertrud Mander and David Wilson. London: Secker and Warburg, 1974.Series title: Cinema Two.
Main PN1993.5.G3 L38131 1974
Moffitt PN1993.5.G3 L3813 *c2 copies

Light motives: German popular film in perspective
Edited by Randall Halle and Margaret McCarthy. Detroit, Mich.: Wayne State University Press, c2003. Contemporary film and television series.
Main Stack PN1993.5.G3.L54 2003

Linville, Susan E., (Susan Elizabeth)
Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany / Susan E. Linville. 1st University of Texas Press ed. Austin: University of Texas Press, 1998.
Full-text of this book available online via ebrary [UC Berkeley users only]
UCB Main PN1993.5.G3 L56 1998

Manvell, Roger
The German Cinema [by] Roger Manvell and Heinrich Fraenkel. New York, Praeger Publishers [1971].
Moffitt PN1993.5.G3 M3

McCormick, Richard W.
Gender and sexuality in Weimar modernity: film, literature, and "new objectivity" New York: Palgrave, 2001.
MAIN: PN1993.5.G3 M39 2001

McCormick, Richard W.
"Gender, film, and German history: filmmaking by German women directors from Weimar to the present." In: Facing fascism and confronting the past: German women writers from Weimar to the present / edited by Elke P. Frederiksen, et al. Albany, NY: State University of New York Press, c2000.
Main Stack PT405.F295 2000

Meurer, Hans Joachim.
Cinema and national identity in a divided Germany, 1979-1989: the split screen Lewiston, N.Y.: Edwin Mellen Press, 2000.
UCB Main PN1993.5.G3 M48 2000

Moeller, Felix
The film minister: Goebbels and the cinema in the Third Reich Stuttgart: Edition Axel Menges, c2000.
UCB Main PN1993.5.G3 M6413 2000

Monaco, Paul.
Cinema and Society: France and Germany During the Twenties / Paul Monaco. New York: Elsevier, c1976.
Main PN1995.9.S6 M61
Moffitt PN1995.9.S6 M61

Muhl-Benninghaus, Wolfgang.
Vom Augusterlebnis zur Ufa-Grundung : der deutsche Film im 1. Weltkrieg / <2004> Berlin : Avinus, [2004]
MAIN: PN1999.U35 M85 2004

Murray, Bruce Arthur.
Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wumpe / by Bruce Murray. 1st ed. Austin: University of Texas Press, 1990.
Main PN1993.5.G3 M87 1990
Moffitt PN1993.5.G3 M87 1990

Naughton, Leonie.
That was the wild East: film culture, unification, and the "new" Germany Ann Arbor: University of Michigan Press, c2002.
Main PN1993.5.G3 N28 20

New German Filmmakers: From Oberhausen Through the 1970s
Edited by Klaus Phillips. New York: Ungar Pub. Co., c1984.
Main PN1993.5.G3 N481 1984

Novikoff, Melvin.
The Film as Propaganda: Soviet Russia (1924-1930) and Nazi Germany (1933-1940) / by Melvin Novikoff. 1960.
NRLF C 2 945 822

O'Brien, Mary-Elizabeth
Nazi cinema as enchantment: the politics of entertainment in the Third Reich Rochester, NY: Camden House, 2004.
MAIN: PN1995.9.N36 O27 2004

Offermanns, Ernst.
Internationalitat und europaischer Hegemonialanspruch des Spielfilms der NS-Zeit Hamburg: Dr. Kovac, 2001.
MAIN: PN1995.9.N36 O43 2001

Oksiloff, Assenka
Picturing the primitive: visual culture, ethnography, andearly German cinema. New York: Palgrave, , 2001.
Anthropology GN347; .O38 2001

Ott, Frederick W.
The Great German Films / by Frederick W. Ott. Secaucus, N.J.: Citadel Press, c1986.
Main PN1993.5.G3 O881 1986
Moffitt PN1993.5.G3 O881 1986

Paech, Anne.
Menschen im Kino: Film und Literatur erzahlen Stuttgart: Metzler, 2000.
Main PN1993.5.G3 P34 2000

Peripheral visions: the hidden stages of Weimar cinema
Edited by Kenneth S. Calhoon. Detroit: Wayne State University Press, c2001.
Main Stack PN1993.5.G3; P39 2001

Performance and performativity in German cultural studies
Carolin Duttlinger, Lucia Ruprecht, Andrew Webber (eds.). Oxford ; New York: P. Lang, c2003. German linguistic and cultural studies ; v. 14
Main Stack PF3074.8.P47 2003

Perspectives on German Cinema
Edited by Terri Ginsberg and Kirsten Moana Thompson. New York: G.K. Hall; London: Prentice Hall International, c1996.Series title: Perspectives on film.
UCB Main PN1993.5.G3 P42 1996

Petley, Julian.
Capital and Culture: German Cinema, 1933-45 / Julian Petley. London: Educational Advisory Service, British Film Institute, 1979.
Main PN1993.5.G3 .P44

Petro, Patrice
Joyless Streets: Women and Melodramatic Representation in Weimar Germany Patrice Petro. Princeton, N.J.: Princeton University Press, c1989.
Main PN1993.5.G3 P435 1989
Moffitt PN1993.5.G3 P435 1989

Petro, Patrice
"Nazi cinema at the intersection of the classical and the popular." In: Aftershocks of the new: feminism and film history / Patrice Petro. New Brunswick, N.J.: Rutgers University Press, c2002.
Main Stack PN1995.9.W6.P485 2002

Petro, Patrice
"Perceptions of Difference: Woman as Spectator and Spectacle." In: Women in the metropolis: gender and modernity in Weimar culture / edited by Katharina von Ankum. pp: 41-66. Berkeley: University of California Press, c1997. Weimar and now ; 11
Main Stack HQ1623.W66 1997

Petro, Patrice
"World weariness, Weimar women, and visual culture." In: Aftershocks of the new: feminism and film history / Patrice Petro. New Brunswick, N.J.: Rutgers University Press, c2002.
Main Stack PN1995.9.W6.P485 2002

Pflaum, Hans Gunther.
Germany on Film: Theme and Content in the Cinema of the Federal Republic of Germany / Hans Gunther Pflaum; edited by Robert Picht; translated by Richard C. Helt and Roland Richter. Detroit: Wayne State University Press, 1990.Series title: Contemporary film and television studies and readers.
Main PN1993.5.G3 P4413 1990
Moffitt PN1993.5.G3 P4413 1990

Pilgert, Henry P.
Press, Radio and Film in West Germany, 1945-1953, [n.p.] Historical Division, Office of the Executive Secretary, Office of the U. S. High Commissioner for Germany, 1953.

Prawer, Siegbert Salomon
Between two worlds : the Jewish presence in German and Austrian film, 1910-1933 New York : Berghahn Books, 2005.
Main Stack PN1995.9.J46.P73 2005

Reimer, Robert C. (Robert Charles)
Nazi-retro Film: How German Narrative Cinema Remembers the Past / Robert C. Reimer, Carol J. Reimer. New York: Twayne; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1992.Series title: Twayne's Filmmakers Series.
Main PN1995.9.N36 R45 1992
Moffitt PN1995.9.N36 R45 1992

Rentschler, Eric.
The Ministry of Illusion: Nazi Cinema and its Afterlife / Eric Rentschler. Cambridge, Mass.: Harvard University Press, 1996.
UCB Main PN1995.9.N36 R46 1996

Rentschler, Eric.
West German Film in the Course of Time: Reflections on the Twenty Years Since Oberhausen / Eric Rentschler. Bedford Hills, N.Y.: Redgrave Pub. Co., 1984.
Main PN1993.5.G3 R44 1984
Moffitt PN1993.5.G3 R44 1984

Rentschler, Eric.
The Ministry of Illusion: Nazi Cinema and Its Afterlife / Eric Rentschler. Cambridge, Mass.: Harvard University Press, 1996.
UCB Main PN1995.9.N36 R46 1996

Rhiel, Mary
Re-viewing Kleist: The Discursive Construction of Authorial Subjectivity in West German Kleist Films / Mary Rhiel. New York: P. Lang, c1991.Series title: Studies in Modern German Literature vol. 44.
Main PT2379.Z5 R45 1991

Rickels, Laurence.
"The Demonization of the Home Front: War Neurosis and Weimar Cinema." In: Dancing on the volcano: essays on the culture of the Weimar Republic / edited by Thomas W. Kniesche, Stephen Brockmann. pp: 181-93. Columbia, SC, USA: Camden House, c1994. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack DD239.D36 1994

Rinke, Andrea.
Images of women in East German cinema, 1972-1982 : socialist models, private dreamers and rebels Lewiston, N.Y. : Edwin Mellen Press, c2006.
MAIN: PN1995.9.W6 R495 2006

Rinke, Andrea.
"Models or Misfits? The Role of Screen Heroines in GDR Cinema." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. pp: 207-18. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Romani, Cinzia.
Tainted Goddesses: Female Film Stars of the Third Reich / Cinzia Romani; translated from the Italian by Robert Connolly; foreword by Richard C. Hottelet. New York: Sarpedon, c1992.
Main PN1995.6.W6 R5513 1992

Sandford, John
The New German Cinema / John Sandford. New York: Da Capo Press, [1982] c1980. Series title: A Da Capo paperback.
Main PN1993.5.G3 S3 1982

Santner, Eric L.
Stranded Objects: Mourning, Memory, and Film in Postwar Germany / Eric L. Santner. Ithaca, N.Y.: Cornell University Press, 1990.
Main PN1993.5.G3 S33 1990
Moffitt PN1993.5.G3 S33 1990

Saunders, Thomas J.
Hollywood in Berlin: American Cinema and Weimar Germany / Thomas J. Saunders. Berkeley: University of California Press, c1994. Series title: Weimar and now; 6.
UC users only
Main PN1993.5.G3 S34 1994
Moffitt PN1993.5.G3 S34 1994

Schmidt, Klaus M.
Lexikon Literaturverfilmungen: Verzeichnis deutschsprachige Filme, 1945-2000 Stuttgart: Metzler, 2001.
MAIN: PN1993.5.G3 S5 2001

Schoeps, Karl-Heinz
Literature and film in the Third Reich Rochester, N.Y.: Camden House, c2004.
MAIN: PT405 .S3495 2004
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/ecip047/2003017324.html

Science, technology and German cultural imagination : papers from the Conference 'The fragile tradition', Cambridge 2002.
Christian Emden & David Midgley (eds). Vol. 3 Oxford ; New York : P. Lang, c2005.
Main Stack D208.P36 2004 v.3

Schulte-Sasse, Linda.
Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema/ Linda Schulte-Sasse. Durham: Duke University Press, 1996. Series title: Post-contemporary interventions.
UCB Main PN1995.9.N36 S38 1996

A Second life: German Cinema's First Decades
Edited by Thomas Elsaesser, with Michael Wedel. Amsterdam: Amsterdam University Press, c1996.Series title: Film culture in transition.
UCB Main PN1993.5.G3 S42 1996

Shandley, Robert R.
Rubble films: German cinema in the shadow of the Third Reich / Robert R. Philadelphia, PA: Temple University Press, c2001.
Main PN1993.5.G3; S53 2001

Silberman, Marc
German Cinema: Texts in Context / Marc Silberman. Detroit: Wayne State University Press, c1995.Series title: Contemporary film and television series.
UCB Main PN1993.5.G3 S54 1995

Siodmak Bros.: Berlin-Paris-London-Hollywood
Berlin: Argon, 1998.
MAIN: PN1998.3.S54 S56 1998

Siodmak, Robert
Zwischen Berlin und Hollywood: Erinnerungen eines grossen Filmregisseurs Munchen: Herbig, 1980.
MAIN: PN1998.A3 S54327 1980

Staskowski, Andrea.
Conversations with experience: feminist hermeneutics and the autobiographical films of German women New York: P. Lang, c2004.
MAIN: PN1995.9.W6 S77 2004

Stemmer, Michael
Western Movie Composers: A Selected, Annotated Listing of 2006 Genre Films Shown in Germany
Compiled and edited by Michael Stemmer. Berlin: Wiesjahn, 1996, c1995.
UCB MusicML128.M7 S84 1996 Ref

Taylor, Richard
Film Propaganda: Soviet Russia and Nazi Germany / Richard Taylor. London: Croom Helm; New York: Barnes & Noble Books, 1979.
Main PN1993.5.R9 .T25
Moffitt PN1993.5.R9 .T25

Textual responses to German unification: processing historical and social change in literature and film
Edited by Carol Anne Costabile-Heming, Rachel J. Halverson, Kristie A. Foell. \Berlin; New York: W. de Gruyter, 2001.
Main Stack PT405 .T435 2001

Thomas, Douglas B.
The early history of German motion pictures, 1895-1935 / Washington, D.C.: Thomas International, c1999.
Main PN1993.5.G3 T46 1999

Triangulated Visions: Women in Recent German Cinema
Edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory SUNY series, cultural studies in cinema/video
Main Stack PN1995.9.W6.T75 1998

Vaupel, Angela.
Frauen im NS-Film : unter besonderer Berucksichtigung des Spielfilms Hamburg : Kovac, 2005.
MAIN: PN1995.9.N36 V38 2005

Voghelaer, Nathalie de.
Le cinema allemand sous Hitler: un age d'or ruine Paris: Harmattan, c2001.
Main Stack PN1993.5.G3 V64 2001;

Vogt, Guntram.
Die Stadt im Film: deutsche Spielfilme 1900-2000 Marburg: Schuren, 2001.
MAIN: PN1995.9.C513 V648 2001

Von Moltke, Johannes
No place like home: locations of Heimat in German cinema Berkeley: University of California Press, c2005.
Full-text of this book available online via ebrary [UC Berkeley users only]
MOFF: PN1995.9.H4 V66 2005
Table of contents http://www.loc.gov/catdir/toc/ecip051/2004023017.html

Wager, Jans B.
Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir / Jans B. Wager. Athens: Ohio University Press, c1999.
Main Stack PN1995.9.F44.W35 1999

Ward, Janet
Weimar surfaces: urban visual culture in 1920s Germany / Janet Ward. Berkeley: University of California Press, c2001. Weimar and now ; 27
Main Stack NX550.A1.W37 2001

Wayne, Mike.
"After The Fall: Cinema and Central and Eastern Europe" In: The politics of contemporary European cinema : histories, borders, diasporas Bristol, UK ; Portland, Or. : Intellect Books, 2002.
Full-text of this book available online via ebrary [UC Berkeley users only]
PFA : PN1993.5.E82 W29 2002

Weidauer, Friedemann. From
"'World Conspiracy' to 'Cultural Imperialism': The History of Anti-Plutocratic Rhetoric in German Film." In:The Terministic screen: rhetorical perspectives on film / edited by David Blakesley. pp: 190-210. Carbondale: Southern Illinois University Press, c2003.
Main Stack PN1994.T47 2003

Weinberger, Gabriele.
Nazi Germany and its Aftermath in Women Directors' Autobiographical Films of the Late 1970: In the Murderers' House / Gabriele Weinberger. San Francisco: Mellen Research University Press, c1992.
Main PN1995.9.N36 W44 1992

Welch, David.
Propaganda and the German Cinema, 1933-1945 / David Welch. Oxford: Clarendon Press; New York: Oxford University Press, 1983.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main PN1993.5.G3 W4 1983
Moffitt PN1993.5.G3 W4 1983

West German Filmmakers on Film: Visions and Voices
Edited by Eric Rentschler. New York: Holmes & Meier, c1988.Series title: Modern German Voices Series.
Main PN1993.5.G3 W441 1988
Moffitt PN1993.5.G3 W44 1988

Wilharm, Irmgard.
Bewegte Spuren : Studien zur Zeitgeschichte im Film Hannover : Offizin, 2006.
Main: PN1993.5.G3 W57 2006

Williams, Bruce
"'Life is very precious, even right now': (un)happy camping in the new German cinema." Post Script; Vol.XVI nr.3 (Summer 1997); p.51-64
"Describes the camp aesthetics of the German filmmakers Fassbinder, Praunheim and Schroeter and their creation of a sexually ambivalent discourse in which the boundries of gender and sexuality are problematized." [FIAF]

Wollenberg, Hans H.
Fifty Years of German Film [tr. by Ernst Sigler]. London, Falcon Press [1948].Series title: National cinema series.
Main PN1993.5.G3 W63 1948

Zonal Film Archives (Hamburg, Germany)
Catalogue of forbidden German feature and short film productions held in Zonal Film Archives of Film Section, Information Services Division, Control Commission for Germany, (BE) / original text by John F. Kelson. Westport, Conn.: Greenwood Press, 1996.
UCB Main PN1995.65.G5 Z66 1996

Zwischen Bluejeans und Blauhemden : Jugendfilm in Ost und West
Herausgegeben von Ingelore Konig, Dieter Wiedemann und Lothar Wolf.Berlin: Henschel, 1995.
MAIN: PN1995.9.Y6 Z89 1995

Journal Articles

Anderson, Susan C.
"Outsiders, foreigners, and aliens in cinematic or literary narratives by Bohm, Dische, Dorrie and Oren." The German Quarterly Spring 2002 v75 i2 p144(15)
Depictions of the German and foreigner in films and authors appearing in West Germany in the 1980s and 1990s are discussed. The films are "Yasemin" and "Keiner liebt mich," while the literature is by Irene Dische and Aras Oren. Traditional German figures become outsiders while the foreigner assumes more of a German identity.

Baker, Mark.
""Trummerfilme:" postwar German cinema, 1946-1948." Film Criticism v 20 Fall/Winter 1995/1996. p. 88-101.
"The writer discusses film in Germany in the period between 1946 and 1948. Both the Soviet and the British-American authorities recognized the German public's need for information and entertainment through film, for reasons that included showing films from their own countries to reeducate the brainwashed German Volk and documenting the war crimes of the German nation. German postwar film is considered to have begun in October 1946 with the release of Wolfgang Staudte's Die Morder sind unter uns (The murderers are among us), the most important example of the "Trummerfilm" genre. This genre involved Germany's own attempt to come to terms with the war and Nazism, and the film reached back past the vulgarity and kitsch of Nazi film to the period of classical German cinema of the 1920s, the Expressionist era, where the crooked streets and painted shadows of Expressionism have become reality in Germany's ruined cities. The Trummerfilm died out in the 1950s with the onslaught of the Cold War and the division of Germany. This genre reflected the need of a people in a specific situation at a specific period in time." [Art Abstracts]

Bathrick, David (ed.). Rentschler, Eric (ed.).
"Special Issue on Weimar Mass Culture." New German Critique. 51. 1990 Fall

Berghahn, Daniela
"Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust." German Life and Letters Volume 59, Issue 2, Date: April 2006, Pages: 294-308
UC users only

Chaouli, Michel (ed.). Levin, David (ed.).
"Distractions: A Dossier on Weimar Culture." Qui Parle: Literature, Philosophy, Visual Arts, History. 5(2):49-142. 1992 Spring-Summer

Colm Hogan, Patrick.
"Narrative Universals, Nationalism, and Sacrificial Terror: From Nosferatu to Nazism." Film Studies, Summer2006, Vol. 8 Issue 0, p93-105, 105p
UC users only

Dawson, Jan
"The sacred terror - shadows of terrorism in the new German cinema." Sight & Sound; Vol.XLVIII nr.4 (Autumn 1979); p.242-245
On problems faced by filmmakers in West Germany today, and the taboo subjects they are not supposed to film, although some directors, like Fassbinder, are getting round this.

Dimendberg, Edward.
"Down These Seen Streets A Man Must Go: Siegfried Kracauer, Hollywood's Terror Films and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies. 89: 113-43. 2003 Spring-Summer.

Durgnat, Raymond
"From Caligari to 'Hitler'." Film Comment Vol XVI nr 4 (July-Aug 1980); p 59-70.
Analyses the evolution of the 'New German Cinema' by discussing specific trends and filmmakers

Dyer, Richard.
"Less and More Than Women and Men: Lesbian and Gay Cinema in Weimar Germany." New German Critique. 51:5-60. 1990 Fall

Elsaesser, Thomas
"Early German cinema: audiences, style and paradigms." Screen v 33 Summer 1992. p. 205-14.

Elsaesser, Thomas
"Filming fascism: is history just an old movie?" (German films of the 70s and 80s preoccupied with fascism and its relationship to spectacle) Sight and Sound v 2 Sept 1992. p. 18-21

Elsaesser, Thomas.
"Hollywood Berlin." (wit of Nazi entertainment films) Sight and Sound, Nov 1997 v8 n11 p14(4)
"History played a role in the popularity of Nazi entertainment films. One reason for their popularity is their attempt to replace reason with subtle fantasies. In the so-called Weimar Germany period, the cinema formed a part of popular culture. The Weimar cinema was considered as an avant-garde involving figures such as Hans Richter, Walter Ruttmann and Lotte Reiniger. The transition of the Weimar cinema to Nazi cinema was influenced by modernism. Another contributory to the German cinema's success was its sound technology which replaced most of the silent films." [Expanded Academic Index]

Elsaesser, Thomas.
"Social Mobility and the Fantastic: German Silent Cinema." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 5(2):14-25. 1982

Fay, Jennifer
"Becoming democratic: Satire, satiety, and the founding of West Germany." Film History v. 18 no. 1 (2006) p. 6-20
UC users only

Fisher, William
"Germany: a neverending story." [aftermath of the new German cinema] Sight and Sound v 54 Summer 1985. p. 174-9

Franklin, James C.
"Metamorphosis of a Metaphor: The Shadow in Early German Cinema." German Quarterly. 53 (2): 176-88. 1980 Mar.
UC users only

Fuchs. Andreas
"Kino Klatsch." (German motion picture industry)Film Journal International, August 2001 v104 i8 p148 <

Fuhrich, Angelika
"Woman and Typewriter: Gender, Technology, and Work in Late Weimar Film." Women in German Yearbook, Annual 2000 p151
UC users only

"German Cinema" Sight and Sound, vol. 16, no. 12, pp. 26-31, December 2006

Green, Peter.
"Germans abroad." Sight and Sound v 57 Spring 1988. p. 126-30

Hake, Sabine
"Review essay: the New German cinema; problems of historiography." Quarterly Review of Film and Video v 12 Sept 1991. p. 107-15.

Hake, Sabine
"Self-referentiality in early German cinema." Cinema Journal v 31 Spring 1992. p. 37-55.

Hales, Barbara.
"Woman as Sexual Criminal: Weimar Constructions of the Criminal Femme Fatale." Women in German Yearbook: Feminist Studies in German Literature & Culture. 12:101-21. 1996

Halle, Randall.
"German film, European film: transnational production, distribution and reception." Screen (London, England) v. 47 no. 2 (Summer 2006) p. 251-9
"The recent expansion of the German film industry is not merely a market effect of globalization, but also involves a process of conscious transnationalism. The fundamental premise of the national film industry has altered in a subtle yet important way: Industry experts no longer speak of German directors creating German films, but rather of a film as " made in Germany" or from "location Germany." The shift from "made for Germans" to "made in Germany" leads to products that sidestep apprehension by national-oriented approaches. The products of transformed national film industries contain models for a reconceptualization of community. Such films engage in a transnational decentering in which ethnocentrism is replaced with intersubjective openness. The resolutions of the resulting film narratives occur not within the filiative national community, but rather through the affiliative potential of the world community." [Art Index]

Halle, Randall.
"German Film, Aufgehoben: Ensembles of Transnational Cinema." New German Critique, No. 87, Special Issue on Postwall Cinema (Autumn, 2002), pp. 7-46
UC users only

Halle, Randall.
""Happy ends" to crises of heterosexual desire: toward a social psychology of recent German comedies."Camera Obscura no44 2000. p. 1-39.
"Part of a special issue on marginality and alterity in new European cinemas. Therelationship of the Comedy Wave in 1990s German film to greater social and psychologicaltransformations in Germany is examined. These films represent a specific subgenre of comedythat had a significant resonance in Germany at a time of rapid cultural change. The writerinvestigates the specific material structures and historical transformations that gave rise to thesubgenre, uses the analytic tools of queer theory to approach the dynamic of sexuality at workin the films, and concludes by examining the psychic structures involved in the films' crises andtheir relationships to social transformations." [Art Index]

Hansen, Miriam
"Messages in a bottle?" (Frauen und Film, women's cinema and feminist film theory in West Germany)Screen v 28 Autumn 1987. p. 30-9

Hoerschelmann, Olaf.
"Memoria dextera est": film and public memory in postwar Germany." Cinema Journal v 40 no2 2001. p. 78-97.
"The writer discusses German filmmakers involved in the struggles over publicmemory in postwar West Germany. West Germany's postwar culture is marked by processesof contestation and the existence of competing histories. The specific historical situation inGermany after World War II allowed collective amnesia to develop, but many Germanfilmmakers who emerged from the context of the 1960s student movement attempted tocounter this amnesia, creating alternative public memories that re-imagined German history.The German terrorist movement of the 1960s and 1970s arose from the same culturalbackground and voiced a similar criticism of German culture. The writer goes on to examinefilms from the 1970s that combine a concern with Germany's historical imagination with adebate over the treatment of terrorism in Germany." [Art Abstracts]

Jacobs, Diane
"Hitler's ungrateful grandchildren: today's German filmmakers." American Film v 5 May 1980. p. 34-7+

Jung, Uli.
"Local views: A blind spot in the historiography of early German cinema. Historical Journal of Film, Radio and Television August 2002 v22 i3 p253(21)
UC users only

Kaes, Anton and Levin, David (translator).
"Modernity and Its Discontents: Notes on Alterity in Weimar Cinema." Qui Parle: Literature, Philosophy, Visual Arts, History. 5(2):135-42. 1992 Spring-Summer

Kapczynski, Jennifer M. (ed. and introd.)
"Newer German Cinema." Germanic Review, vol. 82, no. 1, pp. 3-100, Winter 2007

Kilb, Andreas
"'68/'88: Rainer doesn't live here anymore." Film Comment v 24 July/Aug 1988. p. 47-8
"Part of a special section examining the influence of the 1960s on film. Contemporary German cinema has been paralyzed by government subsidies that prevent most films from doing well at the box office, by inept filmmakers unable to find an audience, and by nostalgic film critics searching for signs of the intellectual fervor of 1968. German cinema has been dominated recently by television comedy actors whose films are silly and anticinematic. Of the major German directors, only Wim Wenders has managed a success with his Der Himmel uber Berlin (Wings of Desire). It has become fashionable to call for the abolition of subsidies, but state support has nurtured German cinema through both its fecund and fallow periods. The current crisis is more likely a matter of talent. Rainer Werner Fassbinder, who died in 1982, could have established a lasting tradition in German film. In his absence, the critics have embraced Wenders, but this reflects desperation rather than conviction." [Art Index]

Koepnick, Lutz.
"Consuming the other: identity, alterity, and contemporary German cinema." Camera Obscura no44 2000. p. 40-73.
"Part of a special issue on marginality and alterity in new European cinemas. A discussion of the flexible accumulation of alterity in post-Wall German cinema and the postcolonial status and aspiration of contemporary German film. There is a curious uniformity to the various ways in which German film has domesticated alterity in the course of what seems to be a collective project of displacement. Fritz Baumann's 1992 film Die Reise des Lowen, no doubt intended to empower the disempowered, shows how quickly the redemption of reality through film can be transposed into a flexible accumulation of otherness. It illustrates that German Third-Worldism can not only reinforce negligence about Germany's colonial past, but also market alterity as a screen of primitivist and realist fantasies, harnessing (instead of decentering) the German viewer's own self and identity." [Art Abstracts]

Koepnick, Lutz P.
"Unsettling America: German Westerns and Modernity." Modernism/Modernity. 2(3):1-22. 1995 Sept

Liebman, Stuart.
"Weimar cinema's greatest hits." Cineaste v 21 no3 1995. p. 50-2.
"A review of video releases of films from Weimar Germany, 1918-1933. The extravagantly simplistic ideas, dynamic formulas, hyperbolic paranoia, and the sheer visual excessiveness--bordering on camp--of some of these films remain irresistible to younger viewers. The sophisticated set designs, lighting and editing strategies, and the ranging camera movements of many of the best Weimar films hold enduring appeal for the cinematically informed. Many of these films must be counted among the greatest of Weimar's achievements and have become part of the canon regularly seen by generations of enthusiastic film students." [Art Abstracts]

Mack, Michael.
"Film as Memory: Siegfried Kracauers's Psychological History of German 'National Culture'." Journal of European Studies. 30(2 (118)):157-81. 2000 June

McCormick, Richard W.
"From Caligari to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film." Signs: Journal of Women in Culture & Society. 18(3):640-68. 1993 Spring

McCormick, Richard W.
"Private Anxieties/Public Projections: 'New Objectivity,' Male Subjectivity, and Weimar Cinema." Women in German Yearbook: Feminist Studies in German Literature & Culture. 10:1-18. 1995

Mennel, Barbara.
"Local Funding and Global Movement: Minority Women's Filmmaking and the German Film Landscape of the Late 1990s." Women in German Yearbook: Feminist Studies in German Literature & Culture. 18:45-66. 2002

Moeller, H. B.
"New German Cinema and its precarious subsidy and finance system." Quarterly Review of Film Studies; Vol.V nr.2 (Spring 1980); p.157-168
Analyses the economic situation for filmmaking in the Federal Republic, esp. government subsidies. Examines the particular case of support for Fassbinder's films.

Moller, Olaf.
"Film critic Olaf Moller reflects on the current state of German cinema in the wake of Run Lola Run."Film Comment v 37 no3 May/June 2001. p. 11-13. "In Germany itself and overseas, contemporary German cinema essentially means Tom Tykwer. Many are delighted that Germany at last has a young filmmaker with major international appeal and popular and critical success. A handful of observers, however, believe that Tykwer symbolizes all that went wrong with German cinema in the 1990s. Talent was never a difficulty--Germany had talent in such abundance that it could afford to allow some of the lesser stars to go to Hollywood. The problem is that individual talent and vision have been fundamentally erased from the equation for producing good cinema, and "successful" has replaced "good." The writer discusses the true hope and beauty of German cinema, which lies with a group of former students of the DFFB, the German Film and Television School in Berlin." [Art Abstracts]

Myntefering, Matthias.
"Dubbing in Deutschland: Cultural and Industrial Considerations." Language International: the Business Resource for a Multilingual Age. 14(2):14-16. 2002 Apr

Paver, Chloe E. M..
"'Als Hitler und der Tonfilm kamen': Cinematic, Technological, and Historical Narratives in Gert Hofmann's Der Kinoerzahler." Modern Language Review. 97(3):632-52. 2002 July

Poore, Carol
"Who belongs? Disability and the German nation in postwar literature and film." German Studies Review Feb 2003 v26 i1 p21-42
The status of the visibly disabled and their portrayal in literature and film in post-reunification Germany is discussed. These works discuss who should have the full rights of a German citizen.

Rayns, Tony
"Forms of address." Sight & Sound; Vol.XLIV nr.1 (Winter 1974-75); p.2-7
The resurgent film culture in the German Federal Republic. Incl. interviews with Rainer Werner Fassbinder, Wim Wenders and Hans J?rgen Syberberg.

Reimer, Robert C. (Robert Charles)
"Nazi-retro films: experiencing the mistakes of the ordinary citizen." Journal of Popular Film and Television v 12 Fall 1984. p. 112-17.

Rentschler, Eric.
"Ministry of illusion: German film 1933-1945." Film Comment v 30 Nov/Dec 1994. p. 34-40+.
"Nazi cinema sought to reshape public imagination in accordance with the party's own beliefs. The majority of films made under Goebbels are light and frothy entertainments without overt ideology or official intervention; almost half of all features were comedies and musicals. Goebbels and his minions followed Hollywood in trying to maximize film's seductive potential and use it as a medium of emotional remote control. American movies and other aspects of American culture were highly present in Germany in the 1930s. With the onset of war, Nazi film came into its own, eliminating American competition, capturing wide foreign markets, and bringing in unparalleled profits. The Reich's consummate cinematic achievement was Josef von Baky's Agfacolor Munchhausen (1943), which enacts the heroic myth central to Nazi self-fashioning. The postwar career of Nazi films has been durable." [Art Abstracts]

Roper, Katherine.
"Looking for the German revolution in Weimar films."Central European History v31, n1-2 (Wntr-Spring, 1998):65 (26 pages).
"The German people of the 1920's felt they were living in a time of transformation, and argued about what form a Marxist revolution would take in Germany. Filmmakers were reluctant to address the issue of a German revolution directly. Instead they made films about the French Revolution of over 100 years before, or about the distant future, as in Fritz Lang's 'Metropolis.' These films represented the widely-held belief that Weimar Germany's crises would culminate in a people's uprising." [Expanded Academic Index]

Saunders, Thomas J.
"Comedy as Redemption: American Slapstick in Weimar Culture." Journal of European Studies. 17(4 (68)):253-277. 1987 Dec.

Scheib, Ronnie
"Images in exile." [European filmmakers find apt metaphor for their own situation] American Film v 10 Mar 1985. p. 28-34+

Schaal, Hans Dieter
"Spaces of the psyche in German Expressionist film." Architectural Design v 70 no1 Jan 2000. p. 12-15
"Part of a special section on film and architecture. In 1920s Germany, the Expressionist impulse transferred itself from the canvas on to the cinema screen, resulting in some of the most dramatic works of film architecture. The formulations of Expressionist paintings, which fought against impressionistic superficiality and illuminated agitated inner worlds, were realized in German Expressionist films in which the heroes roam through a labyrinth of narrow alleys that can represent both a medieval city and a spiritual space that has become visible. In The Cabinet of Dr. Caligari, the major film in this genre, the architecture consists of narrow, high rooms and lanes, inside and out, a labyrinth that is completely enclosed and apparently inescapable. Subsequent film spaces and architecture have evolved from the Expressionist space-cell. Indeed, in a number of films, including Metropolis, Key Largo, and Blade Runner, the chosen space, building, or city often becomes the leading character." [Art Abstracts]

Scheib, Ronnie
"Images in exile: European filmmakers find apt metaphor for their own situation." American Film v. 10 (March 1985) p. 28-34+

Spector, Scott.
"Was the Third Reich movie-made? Interdisciplinarity and the reframing of "Ideology"." American Historical Review v106, n2 (April, 2001):460 (2 pages).
Issues concerning the use of historical films to study society and values is discussed, with particular attention to the propaganda films made by the Nazis between 1933 and 1945.

Sanford, John.
"Chaos and Control in the Weimar Film." German Life & Letters. 48(3):311-23. 1995 July

Silberman, Marc
"What Is German in the German Cinema?" Film History, Vol. 8, No. 3, Cinema and Nation - II (1996), pp. 297-315
UC users only

Tegel, Susan.
"Nazi Film Aesthetics Historical Journal of Film, Radio and Television, vol. 26, no. 3, pp. 417-20, August 2006

Tegel, Susan.
"Veit Harlan and the Origins of 'Jud Suss,' 1938-1939: Opportunism in the Creation of Nazi Anti-Semitic Film Propaganda." Historical Journal of Film, Radio and Television v16, n4 (Oct, 1996):515 (17 pages).

Thompson, Rick.
"He and She: Weimar Screwballwerk." (Viktor und Viktoria)Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 22:(no pagination). 2002 Sept-Oct

Urang, J. G. "Realism and romance in the East German Cinema, 1952-1962." Film History v. 18 no. 1 (2006) p. 88-103
UC users only
"Part of a special issue on Cold-War German cinema. The writer examines the fraught ambivalence around the treatment of romantic plots in 1950s East German film culture. He states that love stories in East German films seem uncomfortably suspended between realism and romance and that the changing fortunes of East German romance reveal the inconsistency of an uncharacteristically erratic Communist Party line." [Art Index]

Welsch, Tricia
"Foreign exchange: German Expressionism and its legacy." Cinema Journal v 38 no4 Summer 1999. p. 98-102
"Part of a special section on the teaching of film and video courses. The writer describes "Expressionism and Its Legacy," an elective course she teaches to undergraduates that examines the influence on American cinema of the German expatriates who settled in America in the 1920s and 1930s. The course first examines the accomplishments of the Weimar studio system and subsequently investigates the links between Germany and America at the beginning of the sound era. It includes weekly screenings of German silent movies, from The Student of Prague of 1919 to M of 1930; of films made in America by first-generation emigrants; and American films that borrow from the German film industry, such as Blade Runner and Rumble Fish. The course engages issues of aesthetics, history, economics, and politics across two cultures." [Art Abstracts]

Books and Articles About DEFA

Bathrick, David.
"Holocaust Film Before the Holocaust: DEFA, Antifascism and the Camps.Preview / Les films sur l'Holocauste avant l'Holocauste : la DEFA, l'antifascisme et les camps." Cinemas, Fall2007, Vol. 18 Issue 1, p109-134, 26p
UC users only

Buffet, Cyril.
Defunte DEFA : histoire de l'autre cinema allemand Paris : Cerf, 2007.
MAIN: PN1999.D4 B84 2007

Byg, Barton.
"DEFA and the traditions of International cinema." In: The European cinema reader / edited by Catherine Fowler. London ; New York : Routledge, 2002.
Main Stack PN1993.5.E8.E97 2002
PFA PN1993.5.E8.E97 2002

Byg, Barton.
"What Might Have Been: DEFA Films of the Past and the Future of German Cinema." Cineaste 17 (4): 9-15. 1990.

"Cold-War German Cinema." [Special Issue] Film History v. 18 no. 1 (2006) p. 2-103
"A special issue on Cold-War German cinema. Topics discussed include how cinema functioned in America's Cold-War campaign in occupied Germany; four major feature films that East Germany's state-owned film company DEFA coproduced with French companies and released between 1956 and 1960; the influence of Heimatfilm, well-known as a symbol of postwar reconstruction in West German society, on early films produced by East Germany's state-owned film company DEFA; inter-German film relations during the 1950s with reference to two films made by director Hans Heinrich; musical films made by DEFA; and the fraught ambivalence around the treatment of romantic plots in 1950s East German film culture." [Art Index]

DEFA : East German cinema, 1946-1992 Edited by Sean Allan and John Sandford. New York : Berghahn Books, 1999.
Main Stack PN1999.D4.D34 1999)

DEFA NOVA--nach wie vor? : Versuch einer Spurensicherung.
Berlin : Freunde der Deutsche Kinemathek], 1993.
MAIN: PN1999.D4 D44 1993;

Deutschlandbilder Ost : Dokumentarfilme der DEFA von der Nachkriegszeit bis zur Wiedervereinigung
Herausgegeben von Peter Zimmermann. Konstanz : UVKMedien/Olschlager, 1995.
MAIN: PN1995.9.D6 D49 1995; Storage Info: B 4 131 025

Ecke, Peter
"DEFA-Märchenfilme zur Vermittlung von Deutsch als Fremdsprache DEFA-Märchenfilme zur Vermittlung von Deutsch als Fremdsprache." Die Unterrichtspraxis / Teaching German, Vol. 37, No. 1 (Spring, 2004), pp. 43-52
UC users only

Einblicke in die Lebenswirklichkeit der DDR durch dokumentare Filme der DEFA
Gebhard Moldenhauer/Volker Steinkopff (Hrsg.) ; [Redaktion: Sandra Langenhahn]. Oldenburg : Bis, 2001
Main Stack PN1994.D4.E46 2001

Elsaesser, Thomas; Wedel, Michael.
"Defining DEFA's Historical Imaginary: The Films of Konrad Wolf." New German Critique, Winter2001 Issue 82, p3, 22p
UC users only

Falcon, Richard.
"Cold warriors." Sight and Sound ns11 no11 Nov 2001. p. 28-30.
"During the 1970s, Munich stole the New German Cinema glory through Fassbinder and Wenders, but the divided city of Berlin was at the frontier of political filmmaking. As a refuge from conscription and National Service, Berlin had a large youth population, and it became the center of risk and radicalism. As the home of West Germany's major international film festival, the city was the focus of tensions arising out of the protest movement's radicalized view of the function of a non-industrial cinema. The Berlin school of filmmaking, DEFA, founded in 1965 anchored its films within the traditions of documentary and essayistic work going back to the proletarian films of late Weimar Berlin. By the 1970s, Berlin film culture was committed to a radical engagement with political reality, which led at the end of the decade to films like Solo Sunny. This film, a culmination of the trend for fiction blended with documentary realism, was remarkable in validating self-realization outside state-directed productivity, a sentiment that, a decade later, would dismantle the wall." [Art Abstracts]

Filmland DDR : ein Reader zu Geschichte, Funktion und Wirkung der DEFA
Herausgegeben von Harry Blunk und Dirk Jungnickel ; Beitrage von Harry Blunk ... [et al.]. Koln : Verlag Wissenschaft und Politik, c1990.
MAIN: PN1999.D4 F55 1990

Fisher, Jaimey.
"Children of the Rubble: Youth, Pedagogy, and Politics in Early DEFA Films." In: Disciplining Germany : youth, reeducation, and reconstruction after the Second World War / <2007> Wayne State University Press, c2007.
MAIN: DD257.2 .F57 2007

Fisher, Jaimey.
"Who's Watching the Rubble-Kids? Youth, Pedagogy, and Politics in Early DEFA Films." New German Critique, Winter2001 Issue 82, p91, 34p
UC users only

Frolich, Margrit.
"Behind the Curtains of a State-Owned Film Industry: Women Filmmakers at the DEFA ." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. pp: 43-63. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Der Geteilte Himmel : Hohepunkte des DEFA-Kinos, 1946-1992. Wien : Filmarchiv Austria, c2001.
MAIN: PN1999.D4 G48 2001

Hackbarth, Doris.
DEFA 1946-1964 : Studio fur Popularwissenschaftliche Filme (und Vorlaufer) : Filmografie / <1997> Berlin : Henschel, 1997.
MAIN: PN1995.9.D6 H22 1997

Hake, Sabine
"Anti-Americanism and the Cold War: on the DEFA Berlin films." In: Americanization and anti-Americanism : the German encounter with American culture after 1945 / edited by Alexander Stephan. New York : Berghahn Books, 2005.
Main Stack E183.8.G3.A626 2005

Halle, Randall.
"German Film, Aufgehoben: Ensembles of Transnational Cinema." New German Critique, No. 87, Special Issue on Postwall Cinema (Autumn, 2002), pp. 7-46
UC users only

Harhausen, Ralf.
Alltagsfilm in der DDR : die "Nouvelle Vague" der DEFA Marburg : Tectum, c2007.
MAIN: PN1995.9.S63 H37 2007

Hedges, Inez
"Always just over the horizon: The East German intellectual and the elusive public sphere." Socialism and Democracy. Summer 1992. Vol. 8, Iss. 2-3; pg. 59
About a dozen incomplete films from DEFA, East Germany's government-financed film studio, and a number of TV programs and works of literature were banned in a massive cultural cleanup in Dec 1965. Most of these works dealt with the positioning of women and working-class people and addressed problems related to socialism.

Kannapin1, Detlef.
"GDR Identity" in DEFA feature films." Debatte: Review of Contemporary German Affairs, Aug2005, Vol. 13 Issue 2, p185-200, 16p;
UC users only

Kramer, Karen Rouff
"Blauhemd und Bluejeans in Filmen der DEFA." In: Jeans, Rock und Vietnam : amerikanische Kultur in der DDR / herausgegeben von Therese Hornigk und Alexander Stephan. Berlin : Theater der Zeit, 2002.
Main Stack DD286.3.J43 2002

Lindenberger, Thomas.
"Home sweet home: Desperately seeking Heimat in early DEFA films." Film History, 2006, Vol. 18 Issue 1, p46-58, 13p
UC users only

Lischke-McNab, Ute.
"Women, Film, and Writing in the GDR: Helga Schubert and the DEFA: An Interview with Helga Schubert." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. pp: 199-205. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

McGee, Laura G.
""Ich wollte ewig einen richtigen Film machen! Und als es soweit war, konnte ich's nicht!" The End Phase of the GDR in Films by DEFA Nachwuchsregisseure." German Studies Review, Vol. 26, No. 2 (May, 2003), pp. 315-332
UC users only

McGee, Laura G.
"Revolution in the studio? The DEFA's fourth generation of film directors and their reform efforts in the last decade of the GDR." Film History, 2003, Vol. 15 Issue 4, p444-464, 21p
UC users only

Muckenberger, Christiane.
"The Cold War in East German Feature Film." (Special Issue: Media and the Cold War in Europe) Historical Journal of Film, Radio and Television v13, n1 (March, 1993):49 (9 pages).
East German movie portrayals of the cold war came from the national film company Deutsche Film Aktiengesellschaft (DEFA). The films did not fit rigid ideological constraints until 1989, and showed much artistic license from 1946 until 1989. There was a general sympathy with the aims of the East German government, but DEFA did show sympathetic portrayals of humanity in both sides of Germany.

Naughton, Leonie.
That was the wild East : film culture, unification, and the "new" Germany Ann Arbor : University of Michigan Press, c2002.
Main Stack PN1993.5.G3.N28 2002

Pinkert, Anke.
"Can Melodrama Cure? War Trauma and Crisis of Masculinity in Early DEFA Film." Seminar -- A Journal of Germanic Studies, Feb2008, Vol. 44 Issue 1, p118-136, 19p
UC users only

Pusch, Steffi
Exemplarisch DDR-Geschichte leben : Ostberliner Dokumentarfilme, 1989/1990 Frankfurt am Main ; New York : P. Lang c2000.
MAIN: PN1995.9.D6 P87 2000;

Raundalen, Jon
"A Communist Takeover in the Dream Factory -- Appropriation of Popular Genres by the East German Film Industry." Slavonica; 2005, Vol. 11 Issue 1, p69-86, 18p
UC users only

Reimer, Dieter
DEFA-Stars : Legenden aus Babelsberg Leipzig : Militzke, c2004.
MAIN: PN2657 .R45 2004

Schenk, Ralf
Eine kleine Geschichte der DEFA : Daten, Dokumente, Erinnerungen Berlin : DEFA-Stiftung, 2006.
MAIN: PN1999.D4 S35 2006

Schulberg, Stuart
"The German Film: Comeback or Setback? The German Film: Comeback or Setback?" The Quarterly of Film Radio and Television, Vol. 8, No. 4 (Summer, 1954), pp. 400-404
UC users only

Schwarzweiss und Farbe : DEFA-Dokumentarfilme 1946-92
Gunter Jordan, Ralf Schenk (Red.) ; mit Beitragen von Gunter Jordan ... [et al.] ; herausgegeben vom Filmmuseum Potsdam. Berlin : Jovis, 2000.
MAIN: PN1999.D4 S38 2000

Shandley, Robert R.
"Dismantling the Dream Factory: The Film Industry in Berubbled Germany." South Central Review, Vol. 16, No. 2/3, German Studies Today (Summer - Autumn, 1999), pp. 104-117
UC users only

Silberman, Marc
"Learning from the enemy: DEFA-French co-productions of the 1950s." Film History v. 18 no. 1 (2006) p. 21-45
UC users only
"Part of a special issue on Cold-War German cinema. The writer discusses four major feature films that East Germany's state-owned film company DEFA coproduced with French companies and released between 1956 and 1960. The historical context for the coproductions reveals compromises and discrepancies between ideological intentions and institutional practices in East Germany. Communists, socialists, and progressive humanists emerged or returned from exile after World War II to create a new German film that sought to contribute to the reeducation of the masses." [Art Index]

Soldovieri, Stefan
"Finding navigable waters: Inter-German film relations and modernisation in two DEFA barge films of the 1950s." Film History; 2006, Vol. 18 Issue 1, p59-72, 14p
UC users only

Spur der Filme : Zeitzeugen uber die DEFA
Ingrid Poss, Peter Warnecke (Hg.). Berlin : Ch. Links Verlag, 2006.
MAIN: PN1993.5.G47 S68 2006

Trampe, Wolfgang
Erzahlen fur den Film : Gesprache mit Autoren der DEFA Berlin : DEFA-Stiftung, 2004.
MAIN: PN1996 .T73 2004

Die Trick-Fabrik : DEFA-Animationsfilme 1955-1990
Ralf Schenk, Sabine Scholze (Red.) ; mit Beitragen von Jorg Herrmann ... [et al.]. Berlin : Bertz, c2003.
MAIN: PN1999.D4 T75 2003

Urang, John Griffith.
"Realism and romance in the East German Cinema, 1952-1962 Film History. 2006. Vol. 18, Iss. 1; p. 88 (16 pages)
UC users only

Walker, William
"GDR Film in Cultural Context GDR Film in Cultural Context." Die Unterrichtspraxis / Teaching German, Vol. 15, No. 2 (Autumn, 1982), pp. 194-206
UC users only

Das zweite Leben der Filmstadt Babelsberg : DEFA-Spielfilme, 1946-1992
Ralf Schenk (Red.) ; mit Beitragen von Christiane Muckenberger ... [et al.] ; herausgegeben vom Filmmuseum Potsdam. Berlin : Henschel, 1994.
MAIN: PN1999.D4 Z93 1994

Books and Articles on Individual Film Makers

German Cinema (for reviews and articles on individual films)

Slatan Dudow

Kuhle Wampe

Alter, Nora M.
"Dissonant visions. The politics and sounds of everyday life in Kuhle Wampe." In: Sound matters : essays on the acoustics of modern German culture / edited by Nora M. Alter and Lutz Koepnick. New York : Berghahn Books, 2004.
Music ML3845.S6835 2004 <1969>

Brecht, Bertolt
Texte fur Filme: Drehbucher, Protokoll "Kuhle Wampe", Exposes, Szenarien. Frankfurt am Main, Suhrkamp, [1969]
CMHE: PN1997 .B724; Storage Info: B 4 801 458

Brewster, Ben and MacCabe, Colin
"Making Kuhle Wampe-An interview with George Hoellering." Screen 1974 15: 71-79 UC users only

Kirn, Gal.
"Kuhle Wampe: Politics of Montage, De-montage of Politics?" Film-Philosophy; 2007, Vol. 11 Issue 2, p33-48, 16p

"Kuhle Wampe or Who Does the World Belong To?" Screen 1974 15: 41-42
UC users only

"Making Kuhle Wampe: An Interview with George Hoellering." Screen, Winter74/75, Vol. 15 Issue 4, p71-79, 9p;

Pettifer, James
"Against the Stream - Kuhle Wampe." Screen 1974 15: 49-64
UC users only

Rippey, Theodore F.
"Kuhle Wampe and the Problem of Corporal Culture." Cinema Journal 47.1 (2007) 3-25
UC users only

Scboenbaum, David.
"Brecht's Kuhle Wampe: An Expression of Communism in the Weimar Republic." Film & History May1972, Vol. 2 Issue 2, p11-17, 7p
UC users only

Valie Export

del Rio, Elena.
"Politics and Erotics of Representation: Feminist Phenomenology and Valie Export's The Practice of Love." Discourse 2000 Spring, 22:2, 46-70.

Eifler, Margret.
"Valie Export: Feministische Filmautorin." Osterreich in Amerikanischer Sicht: Das Osterreichbild im Amerikanischen Schulunterricht, 1992, 7, 1-9.

Export Lexikon : Chronologie der bewegten Bilder bei Valie Export : Sonderzahl
Sylvia Szely (Hg.). Wien : Sonderzahl, 2007.
MAIN: PN1993.5.A83 E9 2007

Export, Valie.
Valie Export: ob/de+con(struction) / exhibition organized by Elsa Longhauser ; texts by Robert Fleck ... [et al.]. Philadelphia: Goldie Paley Gallery, c1999. Moore international discovery series ; 4
Main Stack N6811.5.E94.A4 1999

Hoberman, J..
"Explorations: our movies, ourselves."American Film Vol VII nr 1 (Oct 1981); p 34-36.
Discusses current avant-garde filmmakers who take a feminist point of view: Yvonne Rainer, Vivienne Dick, Valie Export and others.

Holmlund, Chris.
"Feminist Makeovers: The Celluloid Surgery of Valie Export and Su Friedrich." In: Play it again, Sam: retakes on remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 217-37 Berkeley; University of California Press, c1998.
Media Center PN1995.9.R45.P58 1998
Main Stack PN1995.9.R45.P58 1998

Juno, Andrea
"Valie Export." In: Angry women / [editors, A. Juno and V. Vale. New York: Juno, c1999.
Main Stack NX180.F4.A53 1999

Kapke, Barry
"Body as sign: Performance and Film Works of Valie Export." High Performance 12:1=45 (1989:Spring) 34Kapke, Barry

King, Homay.
"Vision and Its Discontents: Valie Export's Invisible Adversaries." Discourse 2000 Spring, 22:2, 25-45.

Lamb-Faffelberger, Margarete.
"Avantgarde-Filmkunst und ihre Presse-Rezeption: Valie Exports feministische Asthetisierung." Modern Austrian Literature, 1996 Apr, 29:1, 93-10

Lamb-Faffelberger,-Margarete.
"Austria's Feminist Avant-Garde: Valie Export's and Elfriede Jelinek's Aesthetic Innovations." In: Out from the shadows: essays on contemporary Austrian women writers and filmmakers / edited and with an introduction by Margarete Lamb-Faffelberger. pp: 229-41. Riverside, Calif.; Ariadne Press, c1997. Studies in Austrian literature, culture, and thought.
Main Stack PT3818 .O97 1997

Lippert, R.
"Ein Millimeter schmerzfreie Zone. Valie Exports... Remote... Remote." Frauen und Film nr 39 (Dec 1985); p 73-80.
About Valie Export and one of her first short films "...Remote... Remote", about the masochistic surrender of a woman under a female ideal of beauty dictated by men.

"Masochismus."
Frauen und Film nr 39 (Dec 1985); p 3-81.
On masochism in films, with articles on directors Josef von Sternberg and Valie Export, and discussions of the films "Queen Kelly", "Raw deal" and "Letter from an unknown woman".

MacDonald, Scott
"Valie Export." In: A critical cinema: interviews with independent filmmakers / Scott MacDonald. Berkeley: University of California Press, c1988-c1992.
Main Stack PN1995.9.E96.M341 1988
Moffitt PN1995.9.E96.M34 1988 Library has: [1]-2 (c1988-c1992)

Mueller, Roswitha
"The Prosthetic Womb: Technology and Reproduction in the Work of Valie Export." In:Out from the shadows: essays on contemporary Austrian women writers and filmmakers / edited and with an introduction by Margarete Lamb-Faffelberger. pp: 242-51 Riverside, Calif.; Ariadne Press, c1997. Studies in Austrian literature, culture, and thought.
Main Stack PT3818 .O97 1997

Mueller, Roswitha
Valie Export: Fragments of the Imagination / Roswitha Mueller. Bloomington: Indiana University Press, c1994.
Main Stack NX548.Z9.E866 1994
Moffitt NX548.Z9.E866 1994

Mueller, Roswitha
"Screen Embodiments: Valie Export's Syntagma."Discourse 1991 Spring-Summer, 13:2, 39-57.

Nesweda, P.
"In Her Own Image, Export,Valie, Artist And Feminist." Arts Magazine, 1991 MAY, V65 N9:70-72.

Rickey, Carrie
"The practice of love. (movie reviews) . Ms. Magazine Dec 1985 v14 p26(1)

Sander, helke
"mann & frau & animal": "interview mit valie export" Frauen und Film 7 (1976:M?rz) 38

Sicinski, Michael.
"Valie Export and Paranoid Counter-Surveillance." Discourse 2000 Spring, 22:2, 71-91.

Rainer Werner Fassbinder

Books
Journal Articles

Works about individual films

Books

Bae, Sang-Joon
Rainer Werner Fassbinder und seine filmasthetische Stilisierung Remscheid : Gardez! Verlag, 2005.
MAIN: PN1998.3.F37 B34 2005

Baer, Harry
Schlafen kann ich, wenn ich tot bin: das atemlose Leben des Rainer Werner Fassbinder Koln: Kiepenheuer & Witsch, 1982.
MAIN: PN1998.A3 F274 1982;

Barnett, David
Rainer Werner Fassbinder and the German theatre. Cambridge, UK ; New York : Cambridge University Press, 2005.
MAIN: PN1998.3.F37 B37 2005

Braad Thomsen, Christian
Fassbinder: the life and work of a provocative genius / Christian Braad Thomsen; translated by Martin Chalmers. London; Boston: Faber and Faber, 1997.
UCB Main PN1998.3.F37 B7313 1997

Crimp, Douglas.
"Fassbinder, Franz, Fox, Elvira, Armin, and All the Others." In: Queer Looks: Perspectives on Lesbian and Gay Film and Video / editors Martha Gever, Pratibha Parmar, John Greyson. pp: 257-74. New York: Routledge, 1993.
Main Stack PN1995.9.H55.Q4 1993
Moffitt PN1995.9.H55.Q4 1993

Deutsch-judische Normalitat-- Fassbinders Sprengsatze
Frankfurt am Main: Pflasterstrand, 1985.
Main Stack DS146.G4 D481 1985

Elsaesser, Thomas.
Fassbinder's Germany: History, Identity, Subject / by Thomas Elsaesser. Amsterdam: Amsterdam University Press, c1996. Series title: Film culture in transition.
UCB Moffitt PN1998.3.F37 E45 1996

Elsaesser, Thomas.
"Primary identification and the historical subject: Fassbinder and Germany." In: Narrative, apparatus, ideology: a film theory reader / edited by Philip Rosen. New York: Columbia University Press, 1986.
Main Stack PN1995.N341 1986
Grad Svcs PN1995.N34 1986 Non-circulating; may be used only in Graduate Services.
Moffitt PN1995.N34 1986

Eckhardt, Bernd.
Rainer Werner Fassbinder in 17 Jahren 42 Filme: Stationen eines Lebens fur den deutschen Film Munchen: W. Heyne, 1982.
MAIN: PN1998.A3 F2743 1982; Storage Info: B 3 569 652

Elsaesser, Thomas.
"Primary identification and the historical subject: Fassbinder and Germany." In: Narrative, apparatus, ideology: a film theory reader / edited by Philip Rosen. New York: Columbia University Press, 1986.
Main Stack PN1995.N341 1986
Grad Svcs PN1995.N34 1986 Non-circulating; may be used only in Graduate Services.
Moffitt PN1995.N34 1986

Fassbinder
New York: Tanam Press, 1981
MAIN: PN1998.A3 .F2742
Moffitt PN1998.A3 .F273

Fassbinder
London: British Film Institute, 1976.
MAIN: PN1998.A3 F2741

Fassbinder
Edited by Tony Rayns. 2d rev. and expanded ed. London: British Film Institute, 1980.
Moffitt PN1998.A3 .F274 1979

Fassbinder
Peter Iden ... [et al.]; translated from the German by Ruth McCormick. 1st American ed. New York: Tanam Press, 1981.
Main PN1998.A3 .F2742
Moffitt PN1998.A3 .F273

Die Fassbinder-Kontroverse, oder, Das Ende der Schonzeit
Konigstein/Ts.: Athenaum, c1986.
Main DS146.G4 F371 1986;

Fassbinder, Rainer Werner
The Anarchy of the Imagination: Interviews, Essays, Notes / edited by Michael Toteberg and Leo A. Lensing; translated from the German by Krishna Winston. Baltimore: Johns Hopkins University Press, c1992. Series title: PAJ books.
Main PN1998.3.F37 A3 1992

Fassbinder, Rainer Werner
Die Anarchie der Phantasie: Gesprache und Interviews <1986> Frankfurt am Main: Fischer Taschenbuch Verlag, c1986.
Main PN1998.3.F37 A31 1986

Fassbinder, Rainer Werner
Fassbinder uber Fassbinder : die ungekurzten Interviews Frankfurt am Main : Verlag der Autoren, c2004.
MAIN: PN1998.3.F37 A5 2004

Fassbinder, Rainer Werner
Die Kinofilme Munchen: Schirmer/Mosel, c1987-
Main PN1997.A1 F37 1987

Fassbinder, Rainer Werner
Plays / edited, translated, and with an introduction by Denis Calandra. 1st ed. New York: PAJ Publications, c1985. Series title: PAJ playscripts.
Moffitt PT2666.A8 A1913 1985 *c2 copies
NRLF B 3 586 964

Firaza, Joanna.
Die Asthetik des Dramenwerks von Rainer Werner Fassbinder : die Struktur der Doppelheit Frankfurt am Main ; New York : Peter Lang, 2002.
MAIN: PN2658.F37 F57 2002;

Flinn, Caryl.
" Modernism’s Aftershocks: Peer Raben’s Film Music for Fassbinder." In: The new German cinema: music, history, and the matter of style Berkeley: University of California Press, c2004.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1993.5.G3 F57 2004
Moffitt PN1993.5.G3 F57 2004

Freybourg, Anne Marie.
Bilder lesen: Visionen von Liebe und Politik bei Godard und FassbinderWien: Passagen-Verlag, c1996.
MAIN: PN1998.3.G63 F74 1996

Firaza, Joanna.
"Die Asthetik des Dramenwerks von Rainer Werner Fassbinder: die Struktur der Doppelheit." Frankfurt am Main ; New York: Peter Lang, 2002.
MAIN: PN2658.F37 F57 2002

Flinn, Caryl
"Strategies of remembrance: music and history in the new German cinema." In: Music and cinema / edited by James Buhler, Caryl Flinn, and David Neumeyer. pp. 118-41. Hanover, NH: University Press of New England [for] Wesleyan University Press, c2000. Music/culture.
MusicML2075.M875 2000

Franklin, James C.
"The Films of Fassbinder: Form and Formula." Quarterly Review of Film Studies 5:2 (1980:Spring) 169

Ganz normale Chaos. English.
Chaos as usual: conversations about Rainer Werner Fassbinder / edited by Juliane Lorenz with Marion Schmid and Herbert Gehr; translated by Christa Armstrong and Maria Pelikan. New York; London: Applause, c1997.
UCB Main PN1998.3.F37 G3613 1997
UCB Moffitt PN1998.3.F37 G3613 1997

Gemünden, Gerd
"The gangster film and melodrama of Rainer Werner Fassbinder." In: Framed visions: popular culture, Americanization, and the contemporary German and Austrian imagination / Gerd Gemünden. Ann Arbor: University of Michigan Press, c1998. Social history, popular culture, and politics in Germany.
UCB Main NX550.A1.G385 1998

Gilliatt, Penelope.
"Fassbinder." In: Three-quarter face: reports and reflections / Penelope Gilliatt New York: Coward, McCann & Geoghegan, c1980
Main Stack PN1995.G49
Moffitt PN1995.G49

Haunschild, Jessica.
The perception of foreign films by American college students: two films of Rainer Werner Fassbinder / Jessica Haunschild. Stuttgart: Ibidem-Verlag, 1997.
UCB Main PN1998.3.F37 H38 1997

Hand, Richard J.
"History, Homage, and Horror: Fassbinder, Raab, Lommel and The Tenderness of Wolves(1973)." In: Caligari's heirs : the German cinema of fear after 1945
Edited by Steffen Hantke. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1995.9.H6.C37 2007

Hayman, Ronald
Fassbinder Film Maker / Ronald Hayman. New York: Simon & Schuster, 1984.
Main PN1998.A3 F27441 1984

Katz, Robert
Love is Colder Than Death: The Life and Times of Rainer Werner Fassbinder / Robert Katz. 1st ed. New York: Random House, c1987.
Main PN1998.A3 F274451 1987
Moffitt PN1998.A3 F27445 1987

Kellner, Douglas.
"Fassbinder, women, and melodrama: critical interrogations." In: Triangulated Visions: Women in Recent German Cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. pp: 219-28 Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Kellner, Douglas
"Fassbinder, women, and melodrama: critical interrogations." In: Triangulated visions: women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Koch, Gertrud; Spencer, Andy (translator); Hansen,-Miriam (translator)
"Torments of the Flesh, Coldness of the Spirit: Jewish Figures in the Films of Rainer Werner Fassbinder." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 221-30. New York: G.K. Hall; London: Prentice Hall International, c1996. Perspectives on film.
Main Stack PN1993.5.G3.P42 1996
also in New German Critique 38 (1986:Spring/Summer) 28

Kuzniar, Alice A.
"Now I have a different desire": transgender specularity in Zarah Leander and R. W. Fassbinder." In: The queer German cinema / Alice A. Kuzniar.p. 57-87. Stanford, Calif.: Stanford University Press, c2000.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1995.9.H55.K89 2000

Limmer, Wolfgang.
Rainer Werner Fassbinder, Filmemacher Reinbek bei Hamburg: Spiegel-Verlag, c1981.
MAIN: PN1998.A3 F2745; Storage Info: B 3 569 654

Lode, Imke.
"Terrorism, Sadomasochism, and Utopia in Fassbinder's The Third Generation." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 415-34 New York; G.K. Hall; London; Prentice Hall International, c1996. Perspectives on film.
Main Stack PN1993.5.G3.P42 1996

Militz, Klaus Ulrich.
Personal experience and the media : media interplay in Rainer Werner Fassbinder's work for theatre, cinema and television Frankfurt am Main ; New York : P. Lang, 2006.
MAIN: PN1998.3.F37 M55 2006

Monaco, Paul.
"Across the Great Divide: Young German Cinema in the 1970s." Mundus Artium: A Journal of International Literature and the Arts, vol. 11 no. 2. 1979. pp: 42-51.

Mulvey, Laura
"Fassbinder and Sirk." In: Visual and other pleasures / by Laura Mulvey. p. 45-48. Bloomington: Indiana University Press, 1989.
Main Stack PN1995.9.W6.M84 1989
Moffitt PN1995.9.W6.M84 1989

Penman, Ian
"Fassbinder: Love is colder than death." In: Vital signs: music, movies and other manias / Ian Penman. p. 103-08. London; [New York]: Serpent's Tail, c1998.
Main Stack ML3534.P46 1998

Pflaum, Hans Gunther.
Rainer Werner Fassbinder: Bilder und Dokumente Munchen: Spangenberg, c1992.
MAIN: PN1998.3.F37 P55 1992; Storage Info: B 3 798 594

Raab, Kurt
Die Sehnsucht des Rainer Werner Fassbinder Munchen: Bertelsmann, c1982.
MAIN: PN1998.A3 F2756 1982

Rainer Werner Fassbinder
Edited by Laurence Kardish, in collaboration with Juliane Lorenz. New York: Museum of Modern Art: Distributed by Harry N. Abrams, c1997.
Electronic location: http://www.moma.org/fassbinder/index.html
UCB Main PN1998.3.F37 R35 1997

Rainer Werner Fassbinder
Munchen: Hanser, 1974.
MAIN: PN1998.A3 F2761 1974

"Rainer Werner Fassbinder: I let the audience feel and think." In: The Cineaste interviews: on the art and politics of the cinema / Dan Georgakas, Lenny Rubenstein. Chicago: Lake View Press, c1983.
Main Stack PN1993.5.D44.C56 1983

Rainer Werner Fassbinder, Margarethe von Trotta, Michelangelo Antonioni
Zurich: Filmstellen VSETH/VSU, 1991.
MAIN: MAIN: PN1998.3.F37 R353 1991

Robertson, Ritchie
"Varieties of antisemitism from Herder to Fassbinder." In: The German-Jewish dilemma: from the enlightenment to the Shoah / edited by Edward Timms and Andrea Hammel ; with a preface ... Lewiston, NY: Edwin Mellen Press, 1999. Symposium series (Edwin Mellen Press) ; v. 52.
Main Stack DS147.G47 1999

Shattuc, Jane.
Television, Tabloids, and Tears: Fassbinder and Popular Culture. Minneapolis: University of Minnesota Press, c1995.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main PN1998.3.F37 S52 199

Silverman, Kaja
"Fassbinder and Lacan: a reconsideration of gaze, look, and image." In: Visual culture: images and interpretations / edited by Norman Bryson, Michael Ann Holly, and Keith Moxey. Hanover, NH: Published by University Press of New England [for] Wesleyan University Press, c1994.
Main Stack N72.S6.V59 1994
Moffitt N72.S6.V59 1994

Spaich, Herbert
Rainer Werner Fassbinder: Leben und Werk
Weinheim: Beltz, 1992.
MAIN: PN1998.3.F37 S68 1992

Toteberg, Michael
Rainer Werner Fassbinder Reinbek: Rowohlt Taschenbuch Verlag, 2002.
MAIN: PN1998.6.F37 T68 2002

Vicari, Justin
"Reading/Watching Fassbinder." Film Journal, vol. 1, no. 13, pp. [no pagination], Winter 2006

Watson, Wallace Steadman
Understanding Rainer Werner Fassbinder: Film as Private and Public Art / Wallace Steadman Watson. Columbia, S.C.: University of South Carolina Press, c1996. Understanding modern European and Latin American literature.
Main Stack PN1998.3.F37.W38 1996
Moffitt PN1998.3.F37.W38 1996

Journal Articles

Adair, Gilbert
"Fassbinder's wristwatch." Films & Filming; nr.347 (Aug 1983); p.13-16
Tribute to and assessment of R.W.F.'s films.

Anger, Cedric.
"Rainer Werner Fassbinder: theorie du groupe." Cahiers du Cinema special issue 1998. p. 94-5.
Part of a special issue on film and politics in France in 1968. The work of Rainer Werner Fassbinder is discussed. In his theater and film work, Fassbinder strove to convey a sense of a character's loss of identity and difficulties within a society of pure spectacle that hinders him from being himself. His work with the group Theatre Action embodied all the political beliefs of 1968, but his films gradually came to undermine these beliefs in a disenchanted manner. Prenez garde a la sainte putain is the key film of this disillusionment, examining how the dream of a community and the utopias that went along with 1968 were lost." [Art Abstracts]

Aufderheide, Patricia
"Fassbinder, superstar." American Film;Vol.VIII nr.7 (May 1983); p.10-11
Discusses R.W.F.'s starring role in "Kamikaze 1989".

Brown, Russell E.
"Names in the Films of R. W. Fassbinder." Names: Journal of the American Name Society,vol. 41 no. 4. 1993 Dec. pp: 239-47.

Canby, Vincent
"A beginner's baedeker to the genius of Fassbinder." The New York Times Oct 3, 1982 v132 s2 pH15(N) pH15(L) col 1 (35 col in)

Canby, Vincent
"A disturbing talent; movie maker turned skeptical eye on life; satires bitter, witty, curel, funny, tragic." The New York Times June 11, 1982 v131 p46(N) pD18(L) col 1 (17 col in)

Canby, Vincent
"Fassbinder - the movies' first great satirist." The New York Times June 20, 1982 v131 s2 pH21(N) pH21(L) col 1 (28

Corrigan, Timothy.
"The Temporality of Place, Postmodernism, and the Fassbinder Texts." New German Critique, vol. 63. 1994 Fall. pp: 139-54.

Denby, David
"Fast Times." (film director Rainer Werner Fassbinder) The New Yorker Feb 10, 2003 v78 i46 p102 (1435 words)

Durgnat, Raymond
"Obituary: Werner Fassbinder." Studio International 195:996 (1982:Sept.) 74

Elsaesser, Thomas.
"Historicizing the Subject: A Body of Work?" New German Critique, vol. 63. 1994 Fall. pp: 11-33.

Emerson, Jim
"Regarding Hanna." Film Comment; Vol.XXVII nr.4 (July-Aug 1991); p.72-74
Actress Hanna Schygulla discusses her collaborations with Rainer Werner Fassbinder.

Farber, Manny and Patterson, Patterson
"Rainer Werner Fassbinder." Film Comment 11:6 (1975:Nov./Dec.) 5

Feinstein, Howard
"BRD 1-2-3: Fassbinder's Postwar Trilogy and the Spectacle." Cinema Journal 23:1 (1983:Fall) 44
"This essay attempts to historicize Fassbinder's BRD (Bundesrepublik Deutschland) Trilogy films, "The Marriage of Maria Braun, Lola", and "Veronika Voss". He stresses the spectacular nature of the image, often embodied in the form of a female protagonist in her encounter with concrete historical forces. In terms of structure, he treats the films' basic generic mode, the melodrama, dialectically, both adhering to, and revising, its norms in their historical development." {Periodicals Content Index]

Gemünden, Gerd.
"Re-Fusing Brecht: The Cultural Politics of Fassbinder's German Hollywood." New German Critique, vol. 63. 1994 Fall. PAGES: 55-75.
UC users only

Gemünden, Gerd
"Special Issue on Rainer Werner Fassbinder." New German Critique, vol. 63. 1994 Fall.

Grenier, Richard
"Movies: Fassbinder & the Bloomingdale's Factor." Commentary 74:4 (1982:Oct.) 53

Grisham, Therese.
"Processes of subjectification in Fassbinder's I only want you to love me." Screen
"Rainer Werner Fassbinder's 1976 made-for-television family melodrama and docudrama Ich will doch nur, dass Ihr mich liebt/I Only Want You to Love Me is discussed. The plot's main action concerns Peter Trepper and his adult life--his marriage, work, hyperconsumerism, and his murder of an innkeeper, for which he is serving a prison sentence. The film can be read as a close examination of an individual's narcissistic disorder and its origins and development in his family, with hints at such things as the narcissistic disturbances in other families. However, Fassbinder works out these relations visually by using material objects as metaphors fornarcissism, and Peter's disturbed personality is so intimately linked to West German consumerism and the demand for material achievement, the legacy of the Economic Miracle of the 1950s, that it is hard to definitively state that the film portrays purely familial, individualistic psychological causation. It offers the experience of complex and acutely framed complicities between familial, social, literary, economic, political, and filmic orders." [Art Abstracts]

Gussow, Mel
"3 who worked with Fassbinder recall a demon and a magician." (the late German film director Rainer Werner Fassbinder) (Living Arts Pages) The New York Times Jan 27, 1997 v146 pB7(N) pC13(L) col 4 (33 col in

Hartsough, D..
"Cine-feminism renegotiated: Fassbinder's Ali as interventionist cinema." Wide Angle; Vol.XII nr.1 (Jan 1990); p.18-29
Feminist discussion of 'interventionist' cinema (political use of cinema in support of subordinategroups' struggle against dominant groups) and two specific interventions involving Fassbinder's "Angstessen Seele auf".

Hayman, Ronald.
"Fassbinder's Achievement."Encounter, vol. 64 no. 2. 1985 Feb.pp: 61-64.

Hoberman, J..
"The legacy of Rainer Werner Fassbinder." American Film; Vol.VII nr.10 (Sept 1982); p.72,74
Discusses the prolific, but short-lived career of director R.W.F.

Hughes, John and Riley, Brooks
"A new realism: Fassbinder interviewed." Film Comment 11:6 (1975:Nov./Dec.) 14
R.W.F. talkes about his relationship to Sirk, Warhol and Brecht, about the political and socialcontents of his films and about some of his techniques.

Hughes, John
"Why Herr R ran amok: Fassbinder and modernism." Film Comment; Vol.XI nr.6 (Nov-Dec 1975); p.11-13

Iden, P..
"The sensation maker: Rainer Werner Fassbinder and the theater." Wide Angle;Vol.II nr.1 (1978); p.4-13
P.I. discusses German film director Fassbinder's work in the theatre and its relationship to his films.

Indiana, Gary.
"All the Rage." (retrospective on director Rainer Werner Fassbinder at the Museum of Modern Art) Artforum v35, n6 (Feb, 1997):11 (2 pages).
The Museum of Modern Art is featuring a retrospective on director RainerWerner Fassbinder. The retrospective features all of Fassbinder's 43 filmsincluding a self-portrait called 'Germany in Autumn.' Fassbinder, who diedat the age of 37 from an overdose, led a lifestyle characterized byalcoholism, gluttony and drug addiction. He was a homosexual who drove hislovers to suicide and struck fear into those who were around him. His filmswere chronicles of the humiliations that he experienced during hischildhood.

Johnston, Sheila.
"A Star Is Born: Fassbinder and the New German Cinema." New German Critique, vol. 24-25. 1981-1982 Fall-Winter. pp:57-72.

Johnston, Sheila.
"Rainer Werner Fassbinder." (Obituary) Films & Filming; nr.335 (Aug 1982); p.5

Kilb, Andreas
"'68/'88: Rainer doesn't live here anymore." Film Comment v 24 July/Aug 1988. p. 47-8.
"Part of a special section examining the influence of the 1960s on film. Contemporary German cinema has been paralyzed by government subsidies that prevent most films from doing well at the box office, by inept filmmakers unable to find an audience, and by nostalgic film critics searching for signs of the intellectual fervor of 1968. German cinema has been dominated recently by television comedy actors whose films are silly and anticinematic. Of the major German directors, only Wim Wenders has managed a success with his Der Himmel uber Berlin (Wings of Desire). It has become fashionable to call for the abolition of subsidies, but state support has nurtured German cinema through both its fecund and fallow periods. The current crisis is more likely a matter of talent. Rainer Werner Fassbinder, who died in 1982, could have established a lasting tradition in German film. In his absence, the critics have embraced Wenders, but this reflects desperation rather than conviction." [Art Abstracts]

Kirby, Lynne.
"Fassbinder's Debt to Poussin." Camera Obscura, vol. 13-14. 1985 Spring-Summer. pp:5-27.

Kuhn, Anna K.
"Rainer Werner Fassbinder: The Alienated Vision." In: New German Filmmakers: From Oberhausen through the 1970's / edited by Klaus Phillips. pp: 76-123. New York: Ungar Pub. Co., c1984.
Main Stack PN1993.5.G3.N481 1984

Lardeau, Yann.
"Saint Fassbinder comedien et martyr." Cahiers du Cinema no413 Nov 1988. p. 30-2.

LaValley, A.
"The Gay Liberation of Rainer Werner Fassbinder: Male Subjectivity, Males Bodies, Male Love." New German Critique, 1994 Fall, N63:108-137.

Levy, Shawn.
"The Films of Fassbinder, Rainer Werner on Video." American Film, 1991 Jul, V16 N7:54-56.

Levy, Shawn.
"Rainer Werner Fassbinder: When the Movies are Great, Does Their Maker's Manner Matter? American Film v16, n7 (July, 1991):54 (3 pages).

MacBean, James Roy.
"Between Kitsch and Fascism: Notes on Fassbinder, Pasolini, (Homo)SexualPolitics, the Exotic, the Erotic & Other Consuming Passions." Cineaste, vol. 13 no. 4. 1984. pp: 12-19.
Discusses the homosexual and other erotic films of Fassbinder and Pasolini.

Macbean, James Roy.
"The Cinema as Self-Portrait: The Final Films of R. W. Fassbinder." Cineaste, vol. 12 no. 4. 1983. pp: 9-16.

Macbean, James Roy.
"The Success And Failure Of Fassbinder." Sight and Sound 52:1 (1982/1983:Winter) 42

"Man to man." Sight and Sound ns4 May 1994. p. 69.
"The writer comments on the work of Rainer Werner Fassbinder, singling him out as the most original, talented, and productive director/writer in German cinema after the Second World War. The writer focuses on Querelle, which is based on Jean Genet's Querelle de Brest, probably Fassbinder's most outspoken homosexual film. In this film, she contends, maleness can be studied by watching the protagonists act like members of an unknown--and at the same time familiar--tribe. For the writer, Querelle reveals as through a magnifying glass a claustrophobic, frozen environment of male paranoia." [Art Abstracts]

Mangin, Daniel.
"Rainer Werner Fassbinder." (movie reviews) Advocate, n726 (Feb 4, 1997):63 (4 pages).

Maslin, Janet
"Rainer Werner Fassbinder, 36, film maker, dead." (obituary) The New York Times June 11, 1982 v131 p46(N) pD18(L) col 1 (27 col in)

Mayne, Judith
"Fassbinder and Spectatorship." New German Critique 12 (1977:Fall) 61

McCormick, Ruth
"Fassbinder And The Politics Of Everyday Life-A Survey Of His Films." Cin?aste 8:2 (1977:Fall) 22
Survey of the films of profilic German director R.W.F. and a look at his political philosophy.

Medhurst, Andy.
"The Long Take: Still unnerving after all these years: Andy Medhurst on Fassbinder, films and sexuality." Sight and Sound v6, n2 (Feb, 1996):20 (3 pages).
"The writer reappraises the work of Rainer Werner Fassbinder. He discusses, from a 1990s perspective, the productive contentiousness of Fassbinder's sexual politics and also considers the formal strategies of Fassbinder's films. He maintains that both these elements share a bullish refusal to simplify for the sake of avoiding controversy. He asserts that Fassbinder took it for granted that to make films was to contribute politically, whether to the politics of the nation or the politics of sexuality. He argues that this assumption, which he finds typical of Fassbinder's generation, should shame the filmmakers of the 1990s. For them, he contends, stylishness has become an end in itself, whereas for Fassbinder style was the conveyor of ideological complexity." [Art Abstracts]

Moltke, Johannes von.
"Camping in the Art Closet: The Politics of Camp and Nation in German Film." New German Critique, vol. 63. 1994 Fall. pp: 77-106.

Nevers, Camille.
"R.W.F., la rumeur du monde."Cahiers du Cinema no469 June 1993. p. 52-8.

Niroumand, Miriam.
"German as a Foreign Language: Fassbinder on Video." Cineaste v20, n1 (Wntr, 1993):52 (2 pages).
"Fassbinder, the Balzac of German national cinema, portrayed the unity of life and art while refraining from distinguishing between reality and the theater. His films and plays reflect his thoughts without any reservations. Fassbinder's pessimism about the pitiful state of German society is elucidated in his films. They highlight the attitudes of the entire social strata rather than concentrating on any particular individual of a social class. Some of his films, such as 'The Marriage of Maria Braun' and 'The Merchant of Four Seasons, ' are founded on fascism, an integral feature of German history." [Expanded Academic Index]

"The other Fassbinder." Wide Angle; Vol.XII nr.1 (Jan 1990); p.1-65
Articles aiming at a fresh perspective on Fassbinder's work esp. from a Marxist, feminist and psychoanalytical viewpoint.

Pipolo, T.
"Straight from the Heart: Re-Viewing the Films of Rainer Werner Fassbinder." Cineaste v. 29 no. 4 (Fall 2004) p. 18-25
UC users only
"The films of Rainer Werner Fassbinder are discussed on the occasion of the release of 23 Fassbinder films on DVD. The person who put the New German Cinema on the map, Fassbinder transformed his obsessions and interpersonal relationships into extraordinary social parables of German life and history. More than any of his contemporaries, he appears to have taken to heart the social, political, and psychological context of his time, and its connections to the fallout of a broken and divided Germany still haunted by the war. In doing so, and by utilizing everyone around him to enact the ramifications, he may be the only filmmaker of the past 50 years who continually challenged the idea that the problems of changing society are contingent on the difficulties of changing the self: Proposed solutions by this or that ideology or political system, regardless of ethical or pragmatic parameters, are useless if they overlook this basic fact." [Art Index]

Plater, Edward M. V.
"The Externalization of the Protagonist's Mind in Fassbinder's Despair." Film Criticism, vol. 11 no. 3. 1987 Spring. pp: 29-43.

"Reflections in a broken glass." Film Comment; Vol.XI nr.6 (Nov-Dec 1975); p.4
Introduction to a series of articles on Fassbinder, Russell and Duras, with filmographies of each.

Rentschler, Eric.
"Life with Fassbinder: The Politics of Fear and Pain." Discourse: Journal for Theoretical Studies in Media and Culture, vol. 6. 1983 Fall. pp: 75-90.

Rickey, Carrie
"Fassbinder and Altman: Approaches to Filmmaking." Performing Arts Journal 2:2 (1977:Fall) 33

Riley, Brooks; Kennedy, Harlan
"Rainer Werner Fassbinder 1946-1982." Film Comment; Vol.XVIII nr.5 (Sept-Oct 1982); p.19-23
Two appreciations of R.W.F.

Robertson, Ritchie
"Varieties of antisemitism from Herder to Fassbinder." In: The German-Jewish dilemma: from the enlightenment to the Shoah / edited by Edward Timms and Andrea Hammel ; with a preface ... Lewiston, NY: Edwin Mellen Press, 1999. Symposium series (Edwin Mellen Press) ; v. 52.
Main Stack DS147.G47 1999

Ruffell, Jeff
"Rainer Werner Fassbinder." Senses of Cinema (Great Directors: A Critical Database)

Ruppert, Peter.
"Fassbinder, spectatorship, and utopian desire." Cinema Journal v 28 Winter 1989. p. 28-47.
Explores the relationship between viewer and screen, addressing Fassbinder's exploitation of both in his melodramas.

Schlumberger, Hella.
"I've Changed Along with the Characters in My Films": An Interview with Rainer Werner Fassbinder.Performing Arts Journal , n41 (May, 1992):1 (23 pages).
"German film director Rainer Werner Fassbinder discusses his work in a 1978 interviews. He did not see himself as a political leftist, but rather as an extreme believer, in democracy so much so that he had an anarchistic utopia as his ideal which motivated his film making. His depictions of women were not intended to be misogynistic but rather to show their degradation in society since he considered women more seriously than other directors." [Expanded Academic Index]

Schuckmann, Patrick.
"Masculinity, the Male Spectator and the Homoerotic Gaze." Amerikastudien/American Studies vol. 43 no. 4. 1998. pp: 671-80.

Schutte, Wolfram.
"Rainer Werner Fassbinder." Artforum International v 24 Mar 1986. p. 92-6.

"Le secret de Rainer Werner Fassbinder."Cahiers du Cinema no469 June 1993. p. 50-67.

Shattuc, Jane.
"Contra Brecht: R. W. Fassbinder and Pop Culture in the Sixties." Cinema Journal, vol. 33 no. 1. 1993 Fall. pp: 35-54.
"Rainer Weiner Fassbinder was subject to the dynamics of the elitist conception of aesthetic individualism, because of the extent to which he allowed the subject matter of his films to reflect his personality. Fassbinder, the television industry and German media journals were responsible for the creation of the 'Fassbinder film.' The director's planned orchestrations of his public image were not the only forces behind the 'Fassbinder legend.'" [Expanded Academic Index]

Shattuc, Jane (ed.)
"The Other Fassbinder."Wide Angle, vol. 12 no. 1. 1990 Jan.

Shattuc, Jane.
"R.W. Fassbinder as a Popular Auteur: The Making of an Authorial Legend."Journal of Film and Video v45, n1 (Spring, 1993):40 (18 pages).
Rainer Weiner Fassbinder was subject to the dynamics of the elitist conception of aesthetic individualism, because of the extent to which he allowed the subject matter of his films to reflect his personality. Fassbinder, the television industry and German media journals were responsible for the creation of the 'Fassbinder film.' The director's planned orchestrations of his public image were not the only forces behind the 'Fassbinder legend.'.

Shattuc, Jane.
"R. W. Fassbinder's Confessional Melodrama: Towards Historicizing Melodrama within the Art Cinema." Wide Angle, vol. 12 no. 1. 1990 Jan. pp: 44-59.

Silverman, Kaja
"Fassbinder and Lacan." Camera Obscura, 1989 Jan, N19:54+.

Sparrow, Norbert
"I Let the Audience Feel and Think -- An Interview with R.W. Fassbinder." Cin?aste 8:2 (1977:Fall) 20

Strauss, Frederic
"Martha" (motion picture review) Cahiers du Cinema no498 Jan 1996. p. 68-9.
"A review of Rainer Werner Fassbinder's film Martha, which was made for German television in 1973 and has been recently rereleased. The story of a violent encounter of love, hate, scorn, and possession between a man and a woman, the film is initially not one that is easy to enjoy. Yet despite its seriousness, Martha includes moments of humor and lightness and remains a work for which Fassbinder deserves much admiration." [Art Abstracts]

Thomas, Paul
"Fassbinder: the poetry of the inarticulate." (with filmography) Film Quarterly v 30 no2 Winter 1976/1977. p. 2-17
UC users only
An expansive analysis of the films of R.W.F.

Thomsen, C.B.
"The Doubled Individual." Wide Angle-A Film Quarterley of Theory Criticism and Practice, 1990, V12 N1:60-65.

Toulza, Pierre Olivier.
"Fassbinder: un film retrouve, une femme cloitree." Cahiers du Cinema no496 Nov 1995. p. 4-5. The writer discusses the commercial rerelease of Rainer Werner Fassbinder's Martha (1973), a film whose negative had been so badly damaged that it was thought beyond repair. Starring Margit Carstensen, this film is a study of a couple's complex sadomasochistic relationship and explores the physical effects of cruelty and confinement.

Tropiano, Stephen
"Fassbinder's Not-so-pretty Picture." Gay & Lesbian Review Worldwide v8, n2 (March, 2001):18.
UC users only

Toteberg, M.
"Fassbinder, Rainer Werner - A Bibliography of Primary and Secondary Literature."Text & Kritik, 1989 July, N103:88-99.

Vicari, Justin
"Fragments of Utopia: A Meditation on Fassbinder's Treatment of Anti-Semitism and the Third Reich." Postmodern Culture; Jan2006, Vol. 16 Issue 2, p8-8, 1p
Focuses on the depiction of Holocaust and anti-Semitism in the films of Rainer Werner Fassbinder. Themes used by Fassbinder to depict atrocities of the Holocausts in movies, including "Fear of Fear," "The Merchant of Four Seasons" and "Mother Kusters Goes to Heaven"; Approach of Fassbinder in directing documentary films; Plot of "In a Year With Thirteen Moons."

Watson, Wallace.
"The Bitter tears of RWF." Sight and Sound v 2 July 1992. p. 24-6+.
Appreciation of Fassbinder's life and career on the tenth anniversary of his death; plus letters exchanged between R.W.F. and Dirk Bogarde during and after the production of "Despair".

Watson, Wallace.
"The Bitter Tears of RWF." (the late Reiner Werner Fassbinder) Sight and Sound v2, n3 (July, 1992):24 (5 pages).

Waugh, Thomas
"Fassbinder fiction: a new biography." In: The fruit machine: twenty years of writings on queer cinema / Thomas Waugh; foreword by John Greyson. p. 156-60. Durham, NC: Duke University Press, 2000.
Main Stack PN1995.9.H55.W38 2000

Waugh, Thomas
"Rainer Werner Fassbinder." In: The fruit machine: twenty years of writings on queer cinema / Thomas Waugh; foreword by John Greyson. p. 43-58. Durham, NC: Duke University Press, 2000.
Main Stack PN1995.9.H55.W38 2000

Williams, Bruce
"'Life is very precious, even right now': (un)happy camping in the new German cinema." Post Script; Vol.XVI nr.3 (Summer 1997); p.51-64
"Describes the camp aesthetics of the German filmmakers Fassbinder, Praunheim and Schroeter and their creation of a sexually ambivalent discourse in which the boundries of gender and sexuality are problematized." [FIAF]

Wilson, David
"Anti-Cinema: Rainer Werner Fassbinder." Sight and Sound 41:2 (1972:Spring) 99

Wistrich, Robert S.
"The Fassbinder Controversy." Jerusalem Quarterly 50 (1989:Spring) 122

Woodward, Katherine S.
"European Anti-Melodrama: Godard, Truffaut, and Fassbinder." Post Script, vol. 3 no. 2. 1984 Winter. pp: 34-47.

Fassbinder: Articles on Individual Films

Berlin Alexanderplatz

Canby, Vincent .
"Berlin Alexanderplatz." (movie reviews) The New York Times July 10, 1983 v132 s2 pH17(N) pH17(L) col 1 (49 col in)

Chase, Chris
"Berlin film star recalls city in war. (Gunter Lamprecht of Berlin Alexanderplatz) (includes other film news) (column) . The New York Times August 19, 1983 v132 p18(N) pC8(L) col 4 (28 col in)

Corliss, Richard.
"Berlin Alexanderplatz." (movie reviews) Time August 15, 1983 v122 p64(1)

Elsaesser, Thomas.
"Berlin Alexanderplatz: Franz Biberkopf'/S/Exchanges." Wide-Angle 1990 Jan., 12:1, 30-

Fassbinder, Rainer Werner
Der Film Berlin Alexanderplatz: ein Arbeitsjournal / von Rainer Werner Fassbinder und Harry Baer. 1. Aufl. Frankfurt am Main: Zweitausendeins, 1980.
UCB Main PN1997 .B459 1980

Jelavich, Peter.
"Contemporary literary theory: from deconstruction back to history." (Special Issue: German Histories: Challenges in Theory, Practice, Technique) Central European History v22, n3-4 (Sept-Dec, 1989):360 (21 pages).

Markham, James M. .
"A great novel's journey to film." The New York Times August 7, 1983 v132 s2 pPH1(N) PH1(L) col 3 (36 col in)

Rentschler, Eric.
"Terms of Dismemberment: The Body in/and/of Fassbinder's Berlin Alexanderplatz (1980)." In: German film and literature: adaptations and transformations / edited by Eric Rentschler. pp: 305-321 New York: Methuen, 1986.
Main Stack PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986

Rentschler,-Eric.
"Terms of Dismemberment: The Body in-and-of Fassbinder's Berlin Alexanderplatz (1980)."New German Critique 1985 Winter, 34, 194-208.
UC users only

Scheunemann, Dietrich.
"'Collecting Shells' in the Age of Technological Reproduction: On Storytelling, Writing and the Film." In: Orality, literacy, and modern media / edited by Dietrich Scheunemann. pp: 79-94 Columbia, SC: Camden House, c1996.
Main Stack P91.O73 1996

Sontag, Susan
"Novel into film: Fassbinder's Berlin Alexanderplatz." In: Where the stress falls: essays / Susan Sontag. p. 123-31. 1st ed. New York: Farrar, Straus and Giroux, 2001.
Morrison Rm PS3569.O6547.W48 2001

Watson, Wallace.
"Sexuality wanders dark paths": Fassbinder's romanticism of Berlin Alexanderplatz. (Rainer Werner Fassbinder) Literature-Film Quarterly v18, n4 (Oct, 1990):245 (5 pages)
UC users only
Notes Fassbinder's particularly subjective treatment of Alfred Dublin's novel 'Berlin Alexanderplatz' for his tv adaptation.

Ali: Fear Eats the Soul

Burns, Rob.
"Social Reality and Stylization in Fear Eats the Soul: Fassbinder's Study in Prejudice." New German Studies, vol. 9 no. 3. 1981 Autumn. pp: 193-206.

Burns, Rob.
"Fassbinder's Angst essen Seele auf: A Mellow Brechtian Drama." German Life and Letters, vol. 48 no. 1. 1995 Jan. pp: 56-74.

Franklin, James C.
"Method and message: forms of communication in Fassbinder's 'Angst essen Seele auf'." Literature/Film Quarterly, vol. 7. 1979. pp: 182-200.
Use of language - words, silence, music and visual imagery - in Fassbinder's 'Angst essen Seele auf'.
UC users only

Hartsough, Denise.
"Cine-Feminism Renegotiated: Fassbinder's Ali as Interventionist Cinema."Wide Angle, vol. 12 no. 1. 1990 Jan. pp: 18-29. Feminist discussion of 'interventionist' cinema (political use of cinema in support of subordinate groups' struggle against dominant groups) and two specific interventions involving Fassbinder's "Angst essen Seele auf".

Katz, Robert.
"Fear ate his soul." American Film v 10 July/Aug 1985. p. 38-40+.

Levy, Shawn.
"Ali: Fear Eats the Soul." (video recording reviews)American Film v16, n7 (July, 1991):56 (1 page).

Mayne, Judith
"Fassbinder's Ali: fear eats the soul and spectatorship."In: Close viewings: an anthology of new film criticism / edited by Peter Lehman. Tallahassee: Florida State University Press ; Gainesville, FL: Orders to University Presses of Florida, c1990.
Main Stack PN1995.C543 1990

Mennel, Barbara.
"Masochistic Fantasy and Racialized Fetish in Rainer Werner Fassbinder's Ali: Fear Eats the Soul." In: One hundred years of masochism; literary texts, social and cultural contexts / edited by Michael C. Finke and Carl Niekerk. pp: 191-205 Amsterdam; Atlanta, GA; Rodopi, 2000. Series title: Psychoanalyse en cultuur; 10.
UCB Main HQ79 .O54 2000

Mayne, Judith.
"Fassbinder's Ali: Fear Eats the Soul and Spectatorship." In: Close Viewings: An Anthology of New Film Criticism / edited byPeter Lehman. pp: 353-69. Tallahassee: Florida State University Press, c1990.
Main Stack PN1995.C543 1990

Medhurst, Andy
"The Long Take." Sight & Sound VI/2, Feb 96; p.20-22. illus. Considers the contemporary significance of Fassbinder's films, referring to "Faustrecht der Freiheit", "Angst Essen Seele auf", "Die Bitteren Trenen der Petra von Kant" and "Der Amerikanische Soldat".

Paterson, Susanne F.
"Fassbinder's Ali: Fear Eats the Soul and the Expropriation of a National Heim." Post Script: Essays in Film and the Humanities vol. 18 no. 3. 1999 Summer. pp: 46-57.
UC users only

Rayns, Tony
"Fear eats the soul." Sight & Sound; Vol.XLIII nr.4 (Autumn 1974); p.245

Reimer, Robert C.
"Comparison of Douglas Sirk's All That Heaven Allows and R.W. Fassbinder's Ali: Fear Eats the Soul; or, how Hollywood's New England dropouts became Germany's marginalized Other." Literature/Film Quarterly XXIV/3, 96; p.281-287.
"Rainer Werner Fassbinder's 1973 film "Ali: Fear Eats the Soul" was influenced by Douglas Sirk's 1955 film "All That HeavenAllows" but was not a remake of the earlier film. "Ali: Fear Eats theSoul" represents Fassbinder's response to Sirk's work, paired withpersonal experiences that he was having around the time he made thefilm. "All That Heaven Allows" positioned the main characters as failingto fit into New England society. Fassbinder replaced them witheconomically and politically marginalized figures in Germany." [Expanded Academic Index]

Savage, Julian.
"The Conscious Collusion of the Stare: The Viewer Implicated in Fassbinder's Fear Eats the Soul."Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 16:(no pagination). 2001 Sept-Oct

Sharma, Shailja.
"Fassbinder's Ali and the Politics of Subject-Formation." Post Script, vol. 14 no. 1-2. 1994-1995 Fall-Winter-Spring. pp: 104-16. Examines Fassbinder's work in relation to the history of post-war German cinema, concentrating on "Angst essen Seele auf".

Woodward, K.S.
"European anti-melodrama: Godard, Truffaut, and Fassbinder." Post Script III/2,; p.34-47. On the use of the 'anti-melodramatic' form in "Sauve qui peut (la vie)", "Angst essen Seele auf" and "Le dernier metro".

Elsaesser, Thomas.
"Berlin Alexanderplatz: Franz Biberkopf'/S/Exchanges."Wide Angle, vol. 12 no. 1. 1990 Jan. pp: 30-43.

Watson, Wallace.
"Sexuality Wanders Dark Paths: Fassbinder's Romanticism of Berlin Alexanderplatz." (Rainer Werner Fassbinder) Literature-Film Quarterly v18, n4 (Oct, 1990):245 (5 pages).

The Bitter Tears of Petra Von Kant

Johnson, C.
"The Imaginary and The Bitter Tears of Petra Von Kant."Wide Angle III/4, 80; p.20-25. illus.
An Analysis of Fassbinder's attitudes, style and techniques through an examination of the film.

Kirby, L.
"Fassbinder's Debt to Poussin."Camera Obscura /13-14, Spring-Summer 85; p.5-27.
On the significance of Poussin's painting 'Midas and Dionysos' in "Die bitteren Tr?nen der Petra von Kant".

Levy, Shawn.
"The Bitter Tears of Petra von Kant." (video recording reviews)American Film v16, n7 (July, 1991):55 (2 pages).

Mennel, Barbara.
"Masochistic Fantasy and Racialized Fetish in Rainer Werner Fassbinder's Ali: Fear Eats the Soul." In: One hundred years of masochism: literary texts, social and cultural contexts / edited by Michael C. Finke and Carl Niekerk. pp: 191-205. Amsterdam; Rodopi, 2000. Psychoanalysis and culture; 10
Main Stack HQ79.O54 2000

Medhurst, Andy
"The Long Take." Sight & Sound VI/2, Feb 96; p.20-22. illus.
Rainer Werner Fassbinder's sexual politics and the formal strategies of his films make the films unabashedly political, reflecting the spirit of the time. His films such as 'Fear Eats The Soul,' which depicts German racism, bears relevance in the contemporary world in view of the rise of fascism. His films reveal the plasticity of images which can produce meanings from the configuration of objects within the frame of a camera. He has a unique style of using the camera and treats complex themes.

Reimer, Robert C.
"Comparison of Douglas Sikr's "All That Heaven Allows" and R.W. Fassbinder's "Ali: Fear Eats the Soul"; or, how Hollywood's New England dropouts became Germany's marginalized other." (International Cinema) Literature-Film Quarterly v24, n3 (July, 1996):281 (7 pages).
Rainer Werner Fassbinder's 1973 film "Ali: Fear Eats the Soul" was influenced by Douglas Sirk's 1955 film "All That Heaven Allows" but was not a remake of the earlier film. "Ali: Fear Eats the Soul" represents Fassbinder's response to Sirk's work, paired with personal experiences that he was having around the time he made the film. "All That Heaven Allows" positioned the main characters as failing to fit into New England society. Fassbinder replaced them with economically and politically marginalized figures in Germany.

Sonnenberg, Ben.
"The Bitter Tears of Petra von Kant." (video recording reviews)Nation v253, n12 (Oct 14, 1991):458 (3 pages).

Effi Briest

Borchardt, E.
"Leitmotif and Structure in Fassbinder's 'Effi Briest'." Literature/Film Quarterly; Vol.VII nr.3 (1979); p.201-207
On the adaptation of Fontane's novel into 'Effi Briest'' by Fassbinder.

Krause, Edith H.
"Effi's Endgame." Oxford German Studies. 32: 155-84. 2003.

Plater, Edward M.V.
"Reflected images in Fassbinder's 'Effi Briest.'" Literature-Film Quarterly v27, n3 (July, 1999):178 (11 pages).
UC users only
"An analysis of filmmaker Rainer Werner Fassbinder's 'Fontane Effi Briest' is presented. Topics include the film's clever use of mirrors and innovative cinematography, and how the mirror images serve as symbols for the characters' lives." [Expanded Academic Index]

Plater, Edward M.V.
"Sets, Props And The 'Havanaise' In Fassbinder's Fontane Effi Briest." German Life & Letters, Jan1999, Vol. 52 Issue 1, p28, 15p;
UC users only

Plater, Edward M. V.
"Sets, Props and the 'Havanaise' in Fassbinder's Fontane Effi Briest." German Life and Letters vol. 52 no. 1. 1999 Jan. pp: 28-42.

Fox and His Friends

Cant, B.
"Fox and his Friends." (Review).Jump Cut /16, Nov 77; p.22-23.

Levy, Shawn.
"Fox and his Friends." (Review). American Film v16, n7 (July, 1991):56 (1 page).

McCormick, R..
"Fox and his Friends." (Review). Cineaste; Vol.VII nr.2 (Spring 1976); p.43-44

Medhurst, Andy
"The Long Take." Sight & Sound VI/2, Feb 96; p.20-22. illus. Considers the contemporary significance of Fassbinder's films, referring to "Faustrecht der Freiheit", "Angst Essen Seele auf", "Die Bitteren Trenen der Petra von Kant" and "Der Amerikanische Soldat".

Wigod, Sheldon.
"The Capitalist and the Lottery Queen: Sex and Politics in Fassbinder's Fox and His Friends." In:Sex and Love in Motion Pictures: proceedings of the Second AnnualFilm Conference of Kent State University, April 11, 1984. pp: 97-100. [Kent, Ohio]: Romance Languages Dept., Kent State University,c1984.
Main Stack PN1995.9.S45.F551 1984

Germany In Autumn (Deutschland im Herbst)

Eley, Geoff.
"Deutschland im Herbst." (Germany in Autumn). (video recording reviews) American Historical Review v96, n4 (Oct, 1991):1130 (3 pages).
UC users only

Holloway, Dorothea
"Deutschland im Herbst." (Germany in Autumn). Variety; Vol.CCXC nr.8 (Mar 29 1978); p.24

McCormick, R.
"Germany in Autumn." (Review). Cineaste IX/3, Spring 79; p.53-54.

In a Year of Thirteen Moons (In Einem Jahr Mit 13 Monden)

Auty, Martyn.
"A Fassbinder Suicide." (Review). Sight and Sound, XLIX/4, Autumn 80; p.266.

Hayman, Ronald.
Fassbinder Film Maker. New York: Simon & Schuster, 1984. pp: 76-83
Main Stack PN1998.A3.F27441 1984

Iden, Peter.
Fassbinder. Tanslated from the Germanby Ruth McCormick. 1st American ed. pp: 197-206. New York: Tanam Press, 1981
Main Stack PN1998.A3.F2742
Moffitt PN1998.A3.F273

New York Times, (June 12, 1980), III, p. 18

Village Voice, (June 16, 1980), p. 41

The Marriage of Maria Braun

Cocks, Geoffrey.
"Die Ehe der Maria Braun." (The Marriage of Maria Braun). (video recording reviews) American Historical Review v96, n4 (Oct, 1991):1128 (3 pages).

Feinstein, Howard
"BRD 1-2-3: Fassbinder's Postwar Trilogy and the Spectacle." Cinema Journal 23:1 (1983:Fall) 44
"This essay attempts to historicize Fassbinder's BRD (Bundesrepublik Deutschland) Trilogy films, "The Marriage of Maria Braun, Lola", and "Veronika Voss". He stresses the spectacular nature of the image, often embodied in the form of a female protagonist in her encounter with concrete historical forces. In terms of structure, he treats the films' basic generic mode, the melodrama, dialectically, both adhering to, and revising, its norms in their historical development." {Periodicals Content Index]

Haralovich, Mary Beth
"The Sexual Politics of The Marriage of Maria Braun." Wide Angle XII/1, Jan 90; p.6-16. Theoretical analysis of "Die Ehe der Maria Braun", focusing on the role economics plays in the narrative, and the relationship between women's sexual and social identity and economics.

Hillman, Roger.
"Narrative, Sound, and Film: Fassbinder's The Marriage of Maria Braun." In:Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography / edited by Leslie Devereaux and Roger Hillman. pp: 181-95. Berkeley: University of California Press, c1995.
Main Stack PN1994.F433 1995
Moffitt PN1994.F433 1995

Kaes, Anton.
"History, Fiction, Memory: Fassbinder's The Marriage of Maria Braun." In: German Film and Literature: Adaptations and Transformations /edited by Eric Rentschler. pp: 276-288. New York: Methuen, 1986.
Grad Svcs PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986

Kaes, Anton.
The presence of the past: Rainer Werner Fassbinder's The marriage of Maria Braun." In: From Hitler to Heimat: the return of history as film / Anton Kaes. p. 73-103 Cambridge, Mass.: Harvard University Press, 1989.
Main Stack PN1993.5.G3.K29131 1989
Grad Svcs PN1993.5.G3.K2913 1989 Non-circulating; may be used only in Graduate Services.
Moffitt PN1993.5.G3.K2913 1989

Langford, Michelle.
"Film Figures: Rainer Werner Fassbinder's The Marriage of Maria Braun and Alexander Kluge's The Female Patriot." In:Kiss Me Deadly: Feminism and Cinema for the Moment / edited byLaleen Jayamanne. pp: 147-79. Sydney: Power Publications, c1995.
Main Stack PN1995.9.W6.K57 1995

Levy, Shawn.
"The Marriage of Maria Braun." (video recording reviews) American Film v16, n7 (July, 1991):56 (1 page).

McCormick, R.
"The Marriage of Maria Braun." (Review). Cineaste X/2, Spring 80; p.34-36.

Moeller, H. B.
"Fassbinder's Use of Brechtian Aesthetics."Jump Cut /35, Apr 90; p.102-107. illus. Examines Brechtian method in the critique of German society in "Lola", "Die Ehe der Maria Braun" and "Die Sehnsucht der Veronika Voss".

Noonan, Tom
"The Marriage of Maria Braun." (Review). Film Quarterly XXXIII/3, Spring 80; p.40-45.

O'Sickey, Ingeborg Majer.
"Representing Blackness: Instrumentalizing Race and Gender in Rainer Werner Fassbinder's The Marriage of Maria Braun." Women in German Yearbook: Feminist Studies in German Literature & Culture. 17:15-29. 2001

Reimer, Robert C.
"Memories from the Past: A Study of Rainer Werner Fassbinder's The Marriage of Maria Braun." Journal of Popular Film and Television, vol. 9 no. 3. 1981 Fall. pp: 138-143.

Rheuban, Joyce.
"The Marriage of Maria Braun: History, Melodrama, Ideology German Film History/German History on Film." In: Gender and German Cinema: Feminist Interventions, Part II / edited bySandra Frieden ... [et al.]. pp: 207-26. Providence: Berg, 1993.
Main Stack PN1993.5.G3.G357 1993

Triggs, Jeffery Alan.
"The Faustian Theme in Fassbinder's The Marriage of Maria Braun."Studies in the Humanities, vol. 16 no. 1. 1989 June. pp: 24-32.

Uecker, Matthias.
"A Fatal German Marriage: The National Subtext of Fassbinder's Die Ehe der Maria Braun." German Life & Letters, Jan2001, Vol. 54 Issue 1, p45, 15p
UC users only

The Desire of Veronika Voss

Blake, Richard A.
"Veronika Voss." (movie reviews) America Nov 27, 1982 v147 p334(1)

Canby, Richard
"Veronika Voss." (movie reviews) The New York Times Sept 24, 1982 v132 p22(N) pC12(L) col 3 (20 col in)

Feinstein, Howard
"BRD 1-2-3: Fassbinder's Postwar Trilogy and the Spectacle." Cinema Journal 23:1 (1983:Fall) 44
"This essay attempts to historicize Fassbinder's BRD (Bundesrepublik Deutschland) Trilogy films, "The Marriage of Maria Braun, Lola", and "Veronika Voss". He stresses the spectacular nature of the image, often embodied in the form of a female protagonist in her encounter with concrete historical forces. In terms of structure, he treats the films' basic generic mode, the melodrama, dialectically, both adhering to, and revising, its norms in their historical development." {Periodicals Content Index]

Fosha, Diana
"On the dangers of imagining a future: A review of Fassbinder's Veronika Voss." New Ideas in Psychology 3:3 (1985) 357

Kaplan, Ann E.
"Fassbinder as Political Voyeur: "Lola" and "Veronika Voss" Social Policy 14:1 (1983:Summer) 60

Kinder, Marsha
"Ideological parody in the new German cinema: reading The State of Things, The Desire of Veronika Voss, and Germany Pale Mother as postmodernist rewritings of The Searchers, Sunset Boulevard and Blonde Venus." Quarterly Review of Film and Video XII/1-2, May 90; p.73-103.
"Three German movies constitute postmodern ideological parodies of other movies. Wim Wenders' 'The State of Things' parodies 'The Searchers,' an American western. Rainer Werner Fassbinder's 'The Desire of Veronica Voss' parodies 'Sunset Boulevard,' a tale of an aging movie actress. Helma Sanders-Brahms' 'Germany Pale Mother' uses 'Blonde Venus' and other sources in a feminist parody." [Expanded Academic Index]

MacBean, J.R.
"The Cinema as Self Portrait: The Final Films of Fassbinder." Cineaste XII/4, 83; p.9-16.
An examination of two of R.W.F.'s recent films, "Lola" and "Veronika Voss", as portraits of the director himself.

McCarthy, Todd
"R.W. Fassbinder, prolific all-media director, dies in Munich aged 36." (obituary) Variety June 16, 1982 v307 p4(2)

Moeller, H. B.
"Fassbinder's Use of Brechtian Aesthetics." Jump Cut /35, Apr 90; p.102-107.
Examines Brechtian method in the critique of German society in "Lola", "Die Ehe der Maria Braun" and "Die Sehnsucht der Veronika Voss".

Michael Haneke

Chua, Lawrence.
"Michael Haneke." BOMB. 80: 54-58. 2002 Summer.
"German filmmaker Michael Haneke prefers making movies that disturb an audience's tendencies to provide a familiar emotional response. The environments of his films begin as superficially tranquil but once those worlds are disrupted, audiences begin to understand how easily they are fooled by the cinematic medium." [Expanded Academic Index]

Combs, Richard.
"Living in Never-Never Land: Michael Haneke Continues the Search for a New European Cinema." Film Comment. 38 (2): 26-28. 2002 Mar-Apr.

Frey, Mattias
"Michael Haneke." (Great Directors: A Critical Database) Senses of Cinema

Grossvogel, D. I.
"Haneke: The Coercing of Vision." Film Quarterly Jun 2007, Vol. 60, No. 4: 36–43. UC users only

Grundmann, Roy
"Auteur de Force: Michael Haneke's "Cinema of Glaciation."" Cineaste; Spring2007, Vol. 32 Issue 2, p6-14, 9p UC users only

James, Nick
"Code uncracked." (profile of Austrian film director Michael Haneke)Sight and Sound June 2001 v11 i6 p8(1)
A profile of Austrian film director Michael Haneke is presented, at the time of the release of his film 'Code Unknown'. Haneke speaks guardedly about the film, which concerns communication difficulties in multicultural cities and is comprised of short fragments.

Le Cain, Maximilian.
"Do the Right Thing: The Films of Michael Haneke." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Riemer, Willy.
"Beyond Mainstream Film: An Interview with Michael Haneke." In: After postmodernism: Austrian literature and film in transition / edited and with a preface by Willy Riemer. Riverside, Calif.: Ariadne Press, c2000. Studies in Austrian literature, culture, and thought.
Main Stack PT3818.A33 2000

Riemer, Willy.
"Michael Haneke, Funny Games: Violence and the Media." In: Conference on Austrian Literature and Culture (2001: Lafayette College) Visions and visionaries in contemporary Austrian literature and film / edited and introduced by Margarete Lamb-Faffelberger ... New York: P. Lang, c2004. Austrian culture ; v. 34
Main Stack PT3818.C66 2001

Sharrett, Christopher. Heinrichs, Jurgen (translator).
"The World That Is Known: An Interview with Michael Haneke." 28 (3): 28-31. 2003 Summer.Cineaste: America's Leading Magazine on the Art and Politics of the Cinema.
UC users only

Sorfa, David.
"Uneasy domesticity in the films of Michael Haneke." Studies in European Cinema, 2006, Vol. 3 Issue 2, p93-104, 12p UC users only

Vogel, Amos
"Of nonexisting continents: the cinema of Michael Haneke." Film Comment July-August 1996 v32 n4 p73(3) (1871 words)
UC users only
"The film style of Austrian director Michael Haneke stands in direct contrast to that of the typical Hollywood variety. Haneke believes in producing films that challenge the viewers to think for themselves by presenting them with visuals, narrative, and dialog rather than explanations and answers." [Expanded Academic Index]

Code Inconnu

Falcon, Richard.
"Code Unknown."(Film Reviews).Sight and Sound May 2001 v11 i5 p46(1)

Horton, Robert.
"Code Inconnu.." (Review) Film Comment Nov 2000 v36 i6 p18

Lane, Anthony .
"The great divide; unsettling pictures of Parisian life." ('Code Unknown') (movie review) The New Yorker Dec 3, 2001 v77 i38 p105(3)

Quart, Leonard
"Code Unknown."(Film Reviews). (movie review) Cineaste Spring 2002 v27 i2 p35(3) (1973 words)
UC users only

Wood, Robin.
"In search of the Code Inconnu." (Critical Essay) CineAction Summer 2003 i62 p41(9) (7949 words)

Funny Games

Falcon, Richard.
"The discreet harm of the bourgeoisie." (Haneke releases third of trilogy on violence) Sight and Sound May 1998 v8 i5 p10(2)
"'Funny Games' by Austrian director Michael Haneke is the third of a trilogy of films focusing on the meaning of violence. The first two films were entitled 'Benny's Video' and 'The Seventh Continent' and all three portray teenage violence. 'Funny Games' was screened at the Cannes and London Film Festivals and has been met with mixed responses as far as its portrayal of violence is concerned." [Expanded Academic Index]

Hampton, Howard
"Bored silly." (violent film 'Funny Games') Artforum International March 1998 v36 n7 p19(1) (757 words)
"Austrian director Michael Haneke's film 'Funny Games' attempts to discount typical explanations of violence by combining renderings of stale shock with alienation effects. Through these strategies, the filmmaker aims to represent violence as being inconsumable. However, he fails to realize this goal because he did not implicate his own attitudes with those of the violence-devouring public. Instead of effectively criticizing the violent acts depicted, the film actually embraces a clinical form of voyeurism, which is more pathetic than the violence it is supposed to abhor." [Expanded Academic Index]

Holden, Stephen
"Funny Games." (movie reviews) The New York Times March 11, 1998 v147 pB5(N) pE5(L) col 3 (14 col in)

Kauffmann, Stanley
"Funny Games." (movie reviews) The New Republic March 23, 1998 v218 n12 p24(2) (1415 words)
UC users only

Kermode, Mark
"Funny Games." (movie reviews) Sight and Sound Dec 1998 v8 i12 p44(2)

Riemer, Willy.
"Michael Haneke, Funny Games: Violence and the Media." In: Conference on Austrian Literature and Culture (2001: Lafayette College) Visions and visionaries in contemporary Austrian literature and film / edited and introduced by Margarete Lamb-Faffelberger ... New York: P. Lang, c2004. Austrian culture ; v. 34
Main Stack PT3818.C66 2001

Romney, Jonathan
"Funny Games." New Statesman (1996) Oct 30, 1998 pNA (815 words)
UC users only

Piano Teacher (La Pianiste)

Cardullo, Bert
"Shoot the piano player." (The Pianist)(The Piano Teacher)(Movie Review) The Hudson Review Autumn 2003 v56 i3 p521-530

Denby, David
"Play it again." ('The Piano Teacher')_(movie review) The New Yorker April 1, 2002 v78 i6 p98(2) (1461 words)
UC users only

Hohenadel, Kristin .
"A different kind of shock treatment." (the making of 'The Piano Teacher') The New York Times March 24, 2002 pAR13(N) pAR13(L) col 1 (25 col in)

Holden, Stephen
"Kinky and cruel goings-on in the conservatory." (The Piano Teacher)_(movie review) The New York Times March 29, 2002 pB12(N) pE15(L) col 2 (30 col in)

Hutchison, Nina
"Between Action and Repression: The Piano Teacher." Senses of Cinema

Kauffmann, Stanley.
"On Films - Honesties." (The Piano Teacher)(Y Tu Mama Tambien) (movie review) The New Republic April 15, 2002 p22 (1315 words)

Rayns, Tony
"The Piano Teacher." (motion picture)(Review) Sight and Sound Nov 2001 v11 i11 p54(1)

Sharrett, Christopher.
"The Piano Teacher." (Movie Review) Christopher Sharrett. Cineaste Fall 2002 v27 i4 p37(5) (2816 words)
UC users only

Wheatley, Catherine.
"The masochistic fantasy made flesh: Michael Haneke's La Pianiste as melodrama." Studies in French Cinema, 2006, Vol. 6 Issue 2, p117-127, 11p
UC users only

Wood, Robin
"Do I disgust you?" or, tirez pas sur La Pianiste." (Critical Essay) CineAction Spring 2002 p54(8) (6156 words)

Werner Herzog

Works about individual films

For books/articles about Werner Herzog's documentary works, see Documentary Bibliography

Arthur, Paul.
"Beyond the limits: Werner Herzog's metaphysical realism: 40 years of boldly going where no documentary has gone before." Film Comment 41.4 (July-August 2005)

Atkinson, Michael.
"The Wanderings Of Werner Herzog." (Critical Essay) Film Comment v36, n1 (Jan, 2000):16-27.
"Werner Herzog has never been granted his deserved acclaim nor his proper place in film history. Together with Wenders and Fassbinder, Herzog was one of the figureheads of the German New Wave. His films have been both patronized and faintly praised, although Aguirre, the Wrath of God (1972) is respected for its visual integrity. Herzog's position, methods, and very personal visual philosophy were consistently too grand for easy media absorption. His new walking-heads documentary on the late, semi-great actor Klaus Kinski, My Best Fiend, is little more than an offhand, personal portrait. Nonetheless, it is time for Herzog to be canonized at the very least for Aguirre." [Art Index]

Basoli, A. G.
"The Wrath of Klaus Kinski: An Interview with Werner Herzog." Cineaste 1999, 24:4, 32-35.
Filmmaker Werner Herzog discusses his personal history with the actor Klaus Kinski and the film he made of Kinski, "My Best Fiend." Topics include the tempestuous characters of them both, their working relationships, and Herzog's feelings about documentaries.

Berman, Russell.
"The Recipient as Spectator: West German Film and Poetry of the Seventies." TheGerman Quarterly, 1982 Nov., 55:4, 499-510.

Bis ans Ende-und dann noch Weiter [videorecording]; die ekstatischewelt des flimemachers Werner Herzog / ein essay von Peter Buchka [Videorecording]
A film essay by Peter Buchka analyzing Herzog's work through extracts from his films and statements by the filmmaker himself. From the very outset of Herzog's film career, his intellectual quest has taken him to marginal groups. In their ecstatic isolation he has sought to regain a measure of humanity and human dignity. Herzog's heroes generally fail, however, in a measure proportional to the effort they expend -- which is precisely what makes them heroes in Herzog's eyes, because it elevates their stories to the level of myths. VIDEO/C 7049

Chipperfield, Alkan
"Murmurs from a Shadowless Land: Fragmentary Reflections on the Cinema of Werner Herzog." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 15, pp. (no pagination), Summer 2001

Csicsery, George
"Ballad of the little soldier: Werner Herzog in a political hall of mirrors." Film Quarterly v. 39 (Winter 1985/1986) p. 7-15

The Films of Werner Herzog: Between Mirage and History
Edited by Timothy Corrigan. New York: Methuen, 1986.
Main PN1998.A3 H4431 1986
Moffitt PN1998.A3 H443 1986

Gabrea, Radu.
Werner Herzog et la mystique rhenane Lausanne: L'Age d'Homme, 1986.
Main PN1998.A3 H441 1986

Green, Peter.
"Germans Abroad." Sight and Sound v57, n2 (Spr, 1988):126 (5 pages).

Herzog, Werner
Of Walking in Ice: Munich - Paris, 23 November - 14 December, 1974 / Werner Herzog; translated from the German by Marje Herzog and Alan Greenberg. London: Cape, 1991, c1980. NRLF B 4 083 078 Type EXP NRLF for loan details.

Herzog, Werner
Screenplays / Werner Herzog; translated from the German by Alan Greenberg and Martje Herzog. 1st American ed. New York; Tanam Press, 1980.
Moffitt PN1997.3 .H4 NRLF B 3 629 541 Type EXP NRLF for loan details.

Hillman, Roger.
"The great eclecticism of the filmmaker Werner Herzog." In: Unsettling scores : German film, music, and ideology / Bloomington : Indiana University Press, c2005.
Music ML2075.H54 2005

Kauffmann, Stanley
"Stanley Kauffmann on Films." (New German Cinema film director Werner Herzog, and French New Wave director Philippe de Broca) The New Republic Oct 14, 2002 v227 i16 p24 (1192 words)

McDonagh, Maitland
"Behind Blue Eyes: The Wonderful, Horrible Life of Klaus Kinski." Film Comment v. 43 no. 4 (July/August 2007) p. 48-50, 52-3
"A profile of the actor Klaus Kinski. Before the collaborations with film director Werner Herzog that established Kinski's international reputation as an actor of extreme intensity, he performed soul-baring solo theatrical shows that were the talk of Europe. Kinski performed theater as therapy, as trance work, as seizure, as secular exorcism, as unrestrained nervous breakdown, culminating in 1971's Jesus Tour. Kinski could attract a capacity audience to a continental soccer stadium with his four-hour one-man tour through the wild, the beautiful, and the damned of classical theater, from Hamlet to Faust. It was his movie work from 1948 onwards that traveled, however, a hodgepodge of Eurotrash genre films and cameos in major motion pictures. Despite the much-discussed Sturm und Drang associated with it, Kinski's role in Herzog's 1972 Aguirre, the Wrath of God could have altered the direction of Kinski's career. Herzog harnessed Kinski's raw energy to a project of visionary scope and scale, demonstrating to the world that he was more than a colorful oddity." [Art Index]

Morgan, Peter.
"'A Presence...Called Germany': Personal History in the Construction of National Identity by Post-war German Intellectuals: Three Case-studies. Journal of European Studies v26, n3 (Sept, 1996):239 (28 pages).
"Left-wing post-war German intellectuals Martin Walser, Werner Herzog and Monika Maron shared a common belief that Germany can achieve a national identity via reunification. The three case studies were based on speeches made by Walser in 1984, Herzog in 1988 and Maron in 1989. Change was already taking place when Walser and Maron delivered the speeches even if the possibility of the Berlin Wall's fall seemed remote then. Future studies should address the question of how the German people perceive Nazism as it relates to the present." [Magazine Index]

O'Brien, Geoffrey.
"Werner Herzog in Conversation with Geoffrey O'Brien." Parnassus: Poetry in Review v22, n1-2 (Spring-Summer, 1997):40 (15 pages).
"Werner Herzog's recent documentary, 'Bells from Russia,' is unmistakably of the same genre as his other documentaries such as 'Herdsmen of the Sun' and 'Lessons of Darkness.' The film, subtitled, 'Faith and Superstition in Russia' depicted the soul of the country on film within 55 minutes without a commentary. It presented a series of scenes such as singers chanting by a river in Siberia following a self-proclaimed Jesus ministering to his faithful disciples, a terrifying exorcist who talks about fire and death, and a haunting image of people staring through thin ice to catch a glimpse of the legendary lost city of Kitezh." [Magazine Index]

Payne, Robert.
"New German Cinema/Old Hollywood Genres." Critical Studies (School of Cinema-TV, Univ. of Southern Calif.) vol. 5 no. 1. 1985 Fall. pp: 8-11.

Perina, Kaja.
"Werner Herzog on introspection.(FINAL ANALYSIS)(Interview)." Psychology Today 38.4 (July-August 2005): 96(1).
UC users only

Peucker, Brigitte.
"Literature and Writing in the Films of Werner Herzog." Film und Literatur : literarische Texte und der neue deutsche Film / hrsg. von Sigrid Bauschinger, Susan L. Cocalis und Henry A. Lea. Bern ; Munchen : Francke, 1984.
Main Stack PN1993.5.G3.F483 1984

Peucker, Brigitte.
"Werner Herzog: In Quest of the Sublime." In: New German Filmmakers: From Oberhausen through the 1970's / edited by Klaus Phillips. pp: 168-184. New York: Ungar Pub. Co., c1984.
Main Stack PN1993.5.G3.N481 1984

Portrait Werner Herzog
The fourth film in Vol. 6 of a 6 volume collection of documentary and short films by Werner Herzog. This self-portrait documentary by Werner Herzog presents a description of his artistic development and work. 1986. 29 min.
Media Resources Center DVD 6506

Vickery, Lucy.
"On the trail of Herzog.(Film)(Critical Essay)." Spectator 296.9198 (Nov 20, 2004): 64(1).

Watson, Scott B.
"'Harried by His Own Kind': Herzog and the Darker Dimensions of Icarus."Arete: The Journal of Sport Literature, vol. 3 no. 2. 1986 Spring. pp: 71-78.

Watson, Scott B.
"Herzog's Healing Images: Mountain Climbing and Mankind's Degeneration."Aethlon: The Journal of Sport Literature, vol. 10 no. 1. 1992 Fall. pp: 169-81.

Werner Herzog
Munchen; Wien: Hanser, 1979
MAIN: PN1998.A3 .H448

Wickham, Christopher.
"Heart and Hole: Achternbusch, Herzog and the Concept of Heimat." (film producers Werner Herzog and Herbert Achternbusch)Germanic Review v64, n3 (Summer, 1989):112 (9 pages).

Aguirre, Wrath of God

Conner, Daniel.
"Aguirre, The Wrath of God." (movie reviews)Sierra v75, n2 (March-April, 1990):18 (2 pages).

Davidson, John E.
"As Others Put Plays upon the Stage: Aguirre, Neocolonialism, and the New German Cinema." New German Critique, vol. 60. 1993 Fall. pp: 101-30.
UC users only

Fritze, R.
"Werner Herzog's Adaptation of History in Aguirre, the Wrath of God."Film & History XV/4, Dec 85; p.74-86. bibliogr. On Herzog's free interpretation of history in "Aguirre, der Zorn Gottes".
UC users only

Knepper, Wendy.
"Translation Theory, Utopia and Utopianism in Paul et Virginie, Aguirre: Wrath of God, Candide and New Atlantis." Dalhousie French Studies, vol. 37. 1996 Winter. pp: 41-58.

Koepnick, Lutz P.
"Colonial Forestry: Sylvan Politics in Werner Herzog's Aguirre and Fitzcarraldo." New German Critique, vol. 60. 1993 Fall. pp: 133-59.
UC users only

Staskowski, A.
"Film and phenomenology: being-in-the-world of Herzog's Aguirre, Wrath of God." Post Script VII/3, Summer 88; p.14-26.

Stiles, Victoria M.
"Fact and Fiction: Nature's Endgame in Werner Herzog's Aguirre, the Wrath of God."Literature/Film Quarterly XVII/3, July 89; p.161-167.
UC users only
Discusses Herzog's treatment of historical facts for "Aguirre, der Zorn Gottes."

Waldemer, Thomas P.
"Aguirre, the Wrath of God and the Chronicles of Omagua and Dorado." SECOLAS Annals: Journal of the Southeastern Council on Latin American Studies, vol. 26. 1995 Mar. pp: 42-47.

Waller, Gregory A.
"Aguirre, the Wrath of God: History, Theater, and the Camera."South Atlantic Review, vol. 46 no. 2. 1981 May. pp: 55-69.

Waller, Gregory A.
"Aguirre, the Wrath of God: History, Theater, and the Camera." South Atlantic Review, vol. 46 no. 2. 1981 May. pp: 55-69.

Weaver-Hightower, Rebecca.
"Revising the vanquished: indigenous perspectives on colonial encounters.(Critical essay)." Journal for Early Modern Cultural Studies 6.2 (Fall-Winter 2006): 84(19).
UC users only

Every Man For Himself (and God Against All)

Bloom, M.
"Woyzeck and Kaspar; the Congruities in Drama and Film." Literature/Film Quarterly VIII/4, 80; p.225-231. Discusses the similarities in the modern treatments of the two legends and the significant interchange between German drama and German cinema.
UC users only

Finger, E.
"Kaspar Hauser doubly portrayed; Peter Handke's 'Kaspar' and Werner Herzog's 'Every Man for Himself and God Against All'."Literature/Film Quarterly VII/3, 79; p.235-243.
UC users only
On two versions of the story of Kaspar Hauser, the play by Peter Handke and the film by Herzog'.

Gerulaitis, Renate.
"Recurring Cultural Patterns: Werner Herzog's Film 'Every Man for Himself and God against All, the Enigma of Caspar Hauser'" Journal of Popular Culture, vol. 22 no. 4. 1989 Spring. pp: 61-69.

Hainisch, Bernhard; Pilz, Thomas.
"Werner Herzogs 'Jeder fur sich und Gott gegen alle': Ein Film."Blimp 1994 Winter, 30, 16-22.Language: German.

Horak, Jan-Christopher
"Werner Herzog's Ecran Absurde."Literature/Film Quarterly VII/3, 79; p.223-237. On themes in Herzog's films and his Expressionist style, esp. in "Jeder f?r sich und Gott gegen alle".
UC users only

Perlmutter, Ruth.
"Ghosts of Germany: Kaspar Hauser and Woyzeck." Literature/ Film Quarterly, vol. 25 no. 3. 1997. pp: 236-39.
UC users only

Romney, Jonathan.
"The Man Who Fell to Earth." Sight and Sound, 2000 Oct, 10:10, 24-26.
UC users only
"Werner Herzog's The Enigma of Kaspar Hauser explores the romantic myth of the foundling "wild child," a cousin to Frankenstein's monster. The real Kaspar, having spent his first 16 years locked away in a cellar, gave evidence of a gentle disposition and illustrated a great ability to acquire fluency in the written and spoken language. This marked him as being akin to Jean-Jacques Rousseau's archetype of the "noble savage," and observers perceived him as naturally more civilized than the literate world around him. However, in Herzog's film, both the natural man and the culture he enters are doomed; it is a story about an education that can never be completed. Herzog presents Kaspar as a visionary, an inspired poet in the romantic sense, who receives his vision from beyond or above. But if Kaspar is a screen for dream pictures, then by implication, his entire short existence is also a dream, projected for Herzog's audience and equally as ephemeral and insubstantial." [Art Index]

Schwartz, Louis.
"Every Man for Himself and God Against All: The Enigma of Kaspar Hauser." (video recording reviews) New England Journal of Medicine v331, n15 (Oct 13, 1994):1032.

Silverman, Kaja.
"Kaspar Hauser's 'Terrible Fall' into Narrative." New German Critique, vol. 24-25. 1981-1982 Fall-Winter. pp: 73-93.
UC users only

Struve, Ulrich.
"A myth becomes reality": Kaspar Hauser as messianic wild child." Studies in Twentieth Century Literature 22.n2 (Summer 1998): 273(22).
"The topos of the "Wild Child" occupies an important place in the mythic and literary imagination of the West. The European climax of a long line of wild children, Kaspar Hauser was a nineteenth-century German foundling whose fate has inspired a host of novels, dramas, novellas, poems, songs, and movies, even an opera and a ballet. It has been treated by Paul Verlaine, R. M. Rilke, and Klaus Mann, by the Dada poet Hans Arp, by the dramatist Peter Handke, and by the filmmaker Werner Herzog. This article offers a brief historical sketch of Hauser's life before discussing a key aspect of the literary Kaspar Hauser reception: the motif of the foundling as a latter-day messiah. By examining a set of twentieth-century texts that develop this motif in an exemplary manner--Armando F. Zubizarreta novel Caspar Hauser or The Inertia of the Heart, Georg Trakl's Kaspar Hauser Song, the anthroposophist Kaspar Hauser poems by Emma Krell-Werth, and David Constantine's Caspar Hauser: A Poem in Mine Cantos--we can gain insight into our century's desire for redemption and its ethical ramifications." [Expanded Academic Index]

Fitzcarraldo

Ascarate, Richard John
"'Have You Ever Seen a Shrunken Head?': The Early Modern Roots of Ecstatic Truth in Werner Herzog's Fitzcarraldo." PMLA: Publications of the Modern Language Association of America, vol. 122, no. 2, pp. 483-501, March 2007

Caltvedt, L.
"Herzog's Fitzcarraldo and the Rubber Era." Film & History XVIII/4, Dec 88; p.74-84. bibliogr. Considers Werner Herzog's historical accuracy in "Fitzcarraldo".

Chanko, K.M.
"Fitzcarraldo." (Review). Films in Review XXXIII/9, Nov 82; p.555-556.

David, H.
"Exotic and Perverse." Jump Cut /30, Mar 85; p.8-10. illus. A report critical of the production of "Fitzcarraldo" in Peru, esp. in its exploitation of the Indian population.

Dolis, G. and Weigand, I.
"The Floating Opera." Film Comment XVIII/5, Sept-Oct 82; p.56-59. Recounts the production history of "Fitzcarraldo".

Gitlin, Todd.
"Fitzcarraldo." Film Quarterly. v. 37 Winter '83/'84, 50-54.

Goodwin, M.
"Herzog the God of Wrath."American Film VII/8, June 82; p.36-39,42-43,45-51,72-73.
Describes the problems which occurred during the filming of "Fitzcarraldo". Also recounts W.H.'s personal impressions about his massive five-year project.

Herzog, Werner
Fitzcarraldo: The Original Story / by Werner Herzog; translated from the German by Martje Herzog and Alan Greenberg. 1st ed. San Francisco: Fjord Press, 1982.
Main pN1997.3 F5
Moffitt pN1997.3 F5

Kennedy, Harlan.
"Amazon grace." Film Comment v. 22 Sept./Oct. '86, 9-10+.
"Primitive grace is in and sophistication is out now that big-budget cinema has invaded the deepest parts of the Amazon rain forest and the African bush. In films such as Fitzcarraldo, The Emerald Forest, Out of Africa, and most recently The Mission, American or Western adventurism clashes with the primitive native and his utopian world of lost or forgotten human ideals. Eventually, all these "noble savage" films fall into the same radical-romantic trap; the nonwhite primitive people are portrayed as cunningly jointed marionettes devoid of moral or psychological complexity. Perhaps the white cinema will soon cease opting for sentimentality and schematism and allow the Third World to take on a third dimension." [Art Index]

Koning, H.
"Fitzcarraldo." (Review). Cineaste XII/4, 83; p.42-43.

Koepnick, Lutz P.
"Colonial Forestry: Sylvan Politics in Werner Herzog's Aguirre and Fitzcarraldo." New German Critique, vol. 60. 1993 Fall. pp: 133-59.
UC users only

Mauch, Thomas
"Photographing Fitzcarraldo." American Cinematographer v. 64 (August 1983) p. 62-5+

Milne, Tom
"Ship on a Mountain." (Review). Sight & Sound LI/3, Summer 82; p.204-205. illus.

Prager, Brad
"Werner Herzog's Hearts of Darkness: Fitzcarraldo, Scream of Stone and Beyond." Quarterly Review of Film and Video, vol. 20, no. 1, pp. 23-35, Winter 2003
UC users only
"Many protagonists in the films of Werner Herzog are possessed by the desire to reach heights that they are told they cannot reach. This recurring theme draws the films into constellation with a number of archetypal myths-classical motifs to which German and British Romantic writers repeatedly returned. The writer outlines Herzog's use of these tropes and asserts that Herzog does not deploy them uncritically but rather uses them to reconsider Romanticism's fundamental presuppositions with respect to both national and philosophical questions." [Art Index]

Rogers, Holly
"Fitzcarraldo's Search for Aguirre: Music and Text in the Amazonian Films of Werner Herzog." Journal of the Royal Musical Association, vol. 129, no. 1, pp. 177-99, 2004

Invincible

Delorme, Stephane
"Invincible." Cahiers du Cinema no. 566 (March 2002) p. 79
"A review of Invincible, a film by Werner Herzog. The film tells the true story of Zishe Breitbart, a Polish and Jewish blacksmith who, under the name Siegfried, and because of his phenomenal strength, becomes the darling of Berlin in 1932; his strength, which is seen as a gift from God, is his sole identity. After a promising first 45 minutes, the film descends into Zishe's "true story" instead of persisting with the twisted allegory that it initially seems to offer." [Art Index]

Falcon, R.
"Invincible." Sight & Sound v. ns12 no. 4 (April 2002) p. 38-9, 46
UC users only
"Herzog's first fiction feature film since 1991 is a movie that presses familiar Herzog tropes into the service of a limpid and conventional historical fiction. It lacks his ironic and regressive sense of the power of images and feels as though it has been devised by a scholar steeped in Herzog lore, but who at an early stage mistook him for Istvan Szabo." [Art Index]

Kaufman, D.
"Herzog delves into digital effects." American Cinematographer v. 83 no. 5 (May 2002) p. 12-14

Nosferatu

Badley, Linda
"The Shadow and the Auteur: Herzog's Kinski, Kinski's Nosferatu, and the Myths of Authorship." In: Caligari's heirs : the German cinema of fear after 1945
Edited by Steffen Hantke. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1995.9.H6.C37 2007

Casper, Kent.
"Romantic Inversions in Herzog's Nosferatu." The German Quarterly (GQ), Cherry Hill, NJ. ISSUE: vol. 64 no. 1. 1991 Winter. pp: 17-24.

Chaffin-Quiray, Garrett
"An Adaptation with Fangs: Werner Herzog's Nosferatu: Phantom der Nacht."Nosferatu the Vampyre, 1979) Kinoeye, vol. 2, no. 20, pp. [no pagination], December 2002

Kawin, B.
"Nosferatu." (Review).Film Quarterly XXXIII/3, Spring 80; p.45-47.

Linville, S., & Casper, K.
"Romantic Inversions in Herzog's Nosferatu." The German Quarterly 1991 Winter, 64:1, 17-24

Luhr, William.
"Nosferatu and Postwar German Film." Michigan Academician, vol. 14 no. 4. 1982 Spring. pp: 453-458.

Michaels, Lloyd.
"Nosferatu, or the Phantom of the Cinema." In: Play It Again, Sam: Retakes on Remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 239-49. Berkeley: University of California Press, c1998.
Main Stack PN1995.9.R45.P58 1998

Perez, Gilberto.
"Nosferatu." Raritan: A Quarterly Review v13, n1 (Summer, 1993):1 (29 pages).

Ernest Prodolliet.
Nosferatu: die Entwicklung des Vampirfilms von Friedrich Wilhelm Murnau bis Werner Herzog Freiburg, Schweiz: Universitatsverlag, 1980.
MAIN: PN1995.9.V3 P76

Rogers, T.
"Nosferatu the vampyre." (Review).Films in Review XXX/10, Dec 79; p.627-628.

Strick, Philip
"Nosferatu - the Vampyre." (Review).Sight & Sound XLVIII/2, Spring 79; p.127-128.

Todd, Janet M.
"The Class-ic Vampire." In: The English Novel and the Movies / edited by Michael Klein and Gillian Parker. pp: 197-210. New York: Ungar, c1981
Main Stack PN1997.85.E53
Moffitt PN1997.85.E53

Waller, Gregory A.
The Living and the Undead: From Stoker's Dracula to Romero's Dawn of the Dead. / Gregory A. Waller. Urbana: University of Illinois Press, c1986.
Main Stack PN1995.9.V3.W31 1986

Wood, Robin.
"Burying the Undead: The Use and Obsolescence of Count Dracula." Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 16 no. 1-2. 1983 Winter-Spring. pp: 175-187.

Stroszek

Beard, William.
"American Madness: Concepts of Culture and Sanity in The American Friend and Stroszek." Yearbook of Comparative and General Literature, vol. 40. 1992. pp: 59-74.

Dawson, Jan
"Herzog's Magic Mountain." (Review).Sight & Sound XLVII/1, Winter 77-78; p.57-58.

Jaehne, Karen
"The American Fiend."Sight & Sound XLVII/2, Spring 78; p.101-103.
An examination of Wender's and Herzog's most recent films, showing how fragile the human aspect of 'Old Europe' is in the face of the American Friend/fiend.

Mouton, J.
"Werner Herzog's Stroszek: A Fairy-tale in an Age of Disenchantment." Literature/Film Quarterly XV/2, 87; p.99-106.
In "Stroszek", W.H. brings the traditional fairy-tale text into a disharmonious relation with its contemporary social context.

Sinka, M.M.
"The Viewer as Reader: Werner Herzog's Stroszek in Film and Prose." Post Script VII/3, Summer 88; p.27-41. illus., *
Discusses the relationship of W.H.'s screenplays with the films themselves, esp. "Stroszek", and the experience of reading them.

Where the Green Ants Dream

Hurley, A. W.
"Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of film-making in Werner Herzog's Where the Green Ants Dream (1983)." Studies in Australasian Cinema v. 1 no. 2 (2007) p. 175-90
UC users only
"Where the Green Ants Dream, a film by Werner Herzog that thematizes the struggles of Aboriginal groups against mining companies in Northern Australia, may be flawed, but it is valuable because it illuminates the processes and pitfalls of crosscultural collaboration. Where the Green Ants Dream is problematic on a number of levels, including the fact that its feature narrative is "heavy-handed," and its hybridized documentary aspect also fails. Herzog made liberal use of Aboriginal culture to create a "personal mythology" that can be criticized as an inadequate reflection of the complexity of contemporary Aboriginal existence(s). While it can be criticized, it still has value. As protocols continue to establish the principles to be applied in relation to films dealing with Aboriginal Australia, this film can serve as a reference point for some of the practical challenges inherent in intercultural collaboration. It squarely presents the uncomfortable possibility that, in some instances, the aims of the various parties might be irreconcilable." [Art Index]

Strick, Philip
"Where the green ants dream." Films & Filming no. {359} (August 1984) p. 42

Woyzeck

Bloom, M.
"Woyzeck and Kaspar; the Congruities in Drama and Film." Literature/Film Quarterly VIII/4, 80; p.225-231. Discusses the similarities in the modern treatments of the two legends and the significant interchange between German drama and German cinema.

Mitgutsch, Waltraud
"Faces of Dehumanization: Werner Herzog's Reading of Büchner's Woyzeck." Literature/Film Quarterly, vol. 9, no. 3, pp. 152-160, 1981Mitgutsch, Waltraud

Perlmutter, Ruth.
"Ghosts of Germany: Kaspar Hauser and Woyzeck." Literature/ Film Quarterly, vol. 25 no. 3. 1997. pp: 236-39.

Stiles, Victoria M.
"Woyzeck in Focus: Werner Herzog and His Critics." Literature/Film Quarterly, vol. 24, no. 3, pp. 226-33, 1996
"Werner Herzog's 1978 film "Woyzeck" was based on an unfinished play written by George Buchner in 1837, and some critics hailed Herzog as the ideal interpreter of Buchner's work. Buchner's influence can be seen in two other Herzog films. "Every Man for Himself and God Against All: The Enigma of Kaspar Hauser" and "Stroszek." The work is based on fact and details the events leading up to a delusional man's murder of his wife. Since the play was unfinished, Herzog and others that have adapted it to film have had to arrange the scenes themselves and write an ending." [Expanded Academic Index]

Ungurianu, Lioba
"Drilling Private Woyzeck: Two Angles on Büchner in German Film." In: Georg Buchner : Neue Perspektiven zur internationalen Rezeption / herausgegeben von Dieter Sevin. Berlin : Erich Schmidt Verlag, c2007.
Main Stack PT1828.B6.Z583 2007

Alexander Kluge

Alexander Kluge
herausgegeben von Thomas Bohm-Christl. Frankfurt am Main : Suhrkamp, 1983.
MAIN: PT2671 Kl8Z555, 1983

Bowie, Andrew.
"Alexander Kluge: an introduction." Cultural Critique, Fall 1986, Issue 4, p111-118, 8p
UC users only

Elsaesser, Thomas.
"Marathon Man." Film Comment, May/Jun2008, Vol. 44 Issue 3, p52-64, 13p
UC users only

Filmwerkschau Alexander Kluge, cineaste allemand
[herausgebende Redaktion, Robert Richter und Hans Wysseier]. Basel : Cinelibre Basel, 1987
Main Stack PN1998.3.K57.F55 1987

Forrest, Tara.
"From history's rubble: On the future of the past in the work of Alexander Kluge." Rethinking History, Dec2005, Vol. 9 Issue 4, p429-448, 20p
UC users only

Hansen, Miriam
"Reinventing the Nickelodeon: Notes on Kluge and Early CinemaReinventing the Nickelodeon: Notes on Kluge and Early Cinema." October, Vol. 46, Alexander Kluge: Theoretical Writings, Stories, and an Interview (Autumn, 1988), pp. 178-198
UC users only

Jameson, Fredric
"On Negt and Kluge." October, Vol. 46, Alexander Kluge: Theoretical Writings, Stories, and an Interview (Autumn, 1988), pp. 151-177
UC users only

Kluge, Alexander; Evans, Tamara
"The assault of the present on the rest of time." New German Critique; Winter90 Issue 49, p11, 12p
UC users only
Describes a film project being developed by Alexander Kluge which deals with elements of cinema, the illusion of the city and the people in the city. Plot as involving five women characters; Snapshot of the classical cinema from the perspective of the 80s; 'The Assault of the Present on the Rest of Time' as title of the film.

Kluge, Alexander; Levin, Thomas Y.; Hansen, Miriam B.
"On Film and the Public Sphere." New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 206-220
UC users only

Langford, Michelle.
"Film Figures: Rainer Werner Fassbinder's The Marriage of Maria Braun and Alexander Kluge's The Female Patriot." In:Kiss Me Deadly: Feminism and Cinema for the Moment / edited byLaleen Jayamanne. pp: 147-79. Sydney: Power Publications, c1995.
Main Stack PN1995.9.W6.K57 1995

Langston, Richard
"Alexander Kluge's impossible film." In: Visions of violence : German avant-gardes after fascism Evanston, Ill. : Northwestern University Press, 2008.
Main Stack PT405.L3118 2008

Lewandowski, Rainer.
Alexander Kluge Munchen : Beck ; [Munchen] : Verlag Edition Text u. Kritik, 1980.
MAIN: PT2671.L84 Z77 1980; Storage Info: $D 60 340

Liebman, Stuart.
"Alexander Kluge: filmography, selected videography." October, Fall 1988, Issue 46, p199-207, 9p

Liebman, Stuart.
"Alexander Kluge: selected publications in chronological order." October, Fall 1988, Issue 46, p208-212, 5p

Liebman, Stuart.
"On New German Cinema, Art, Enlightenment, and the Public Sphere: An Interview with Alexander Kluge." October, Vol. 46, Alexander Kluge: Theoretical Writings, Stories, and an Interview (Autumn, 1988), pp. 23-59
UC users only

Liebman, Stuart.
"Select bibliography of writings about Alexander Kluge." October, Fall 1988, Issue 46, p213-216, 4p

Liebman, Stuart.
"Why Kluge? October, Vol. 46, Alexander Kluge: Theoretical Writings, Stories, and an Interview (Autumn, 1988), pp. 4-22
UC users only

Lutze, Peter C.
Alexander Kluge : the last modernist Detroit, Mich. : Wayne State University Press, c1998.
MAIN: PN1998.3.K598 L88 1998

Möller, Olaf.
"Transformer." Sight and Sound. London: Feb 2008. Vol. 18, Iss. 2; p. 42 (4 pages)
UC users only

O'Kane, John
"History, Performance, Counter-Cinema." Screen; Nov/Dec85, Vol. 26 Issue 6, p2-17, 16p, 1 bw

Reitz, Edgar; Kluge, Alexander; Reinke, Wilfried; Hansen, Miriam
"Word and Film." October, Vol. 46, Alexander Kluge: Theoretical Writings, Stories, and an Interview (Autumn, 1988), pp. 83-95
UC users only

Rentschler, Eric
"Remembering not to forget: A retrospective reading of Kluge's Brutality in Stone." New German Critique; Winter90 Issue 49, p23, 19p
UC users only

Sander, Helke.
""You can't always get what you want": the films of Alexander Kluge." New German Critique, Winter 1990, Issue 49, p59-68, 10p
UC users only

Schluepmann, Heide.
"What is different is good": women and femininity in the films of Alexander Kluge. October, Fall 1988, Issue 46, p129-150, 22p;
UC users only

Germany In Autumn (See Fassbinder)

Miriam Hansen
"Cooperative Auteur Cinema and Oppositional Public Sphere: Alexander Kluge's Contribution to Germany in Autumn." New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 36-56
UC users only

Fritz Lang

See separate Lang bibliography

Ernst Lubitsch

See separate bibliography

F.W. Murnau

Works about individual films

Bergstrom, Janet.
"Murnau, Movietone and Mussolini." Film History, 2005, v17, pp 187-204
UCB users only

Bergstrom, Janet.
"Sexuality at a Loss: The Films of F. W. Murnau." In: The Female body in western culture: contemporary perspectives / Susan Rubin Suleiman, editor. Cambridge, Mass.: Harvard University Press, 1986, c 1985.
Anthropology NX652.W6.F461 1986
Main Stack NX652.W6.F461 1986
Moffitt NX652.W6.F461 198

Bergstrom, Janet.
"Sexuality at a Loss: The Films of F. W. Murnau." Poetics Today. 6 (1-2): 185-203. 1985.
UCB users only

Calhoon, K.S.
"FW Murnau, CD Friedrich, and the Conceit of the Absent Spectator." MLN, 2005
UCB users only

Collier, Jo Leslie
From Wagner to Murnau: The Transposition of Romanticism from Stage to Screen / by Jo Leslie Collier. Ann Arbor, Mich.: UMI Research Press, c1988. Series title: Studies in cinema; no. 45.
Main PN1998.3.M87 C641 1988

Eisner, Lotte H.
Murnau, by Lotte H. Eisner. [Rev. and enl.]. Berkeley, University of California Press [1973, c1964]. Series title: A Shadows book.
Main PN1998.A3M84 E4 1973
Moffitt PN1998.A3 M843

Elsaesser, Thomas
"Secret affinities." (a centenary tribute to F. W. Murnau) Sight and Sound v 58 Winter 1988/1989. p. 33-9

Eyman S.
"Sunrise In Bora-Bora." Film Comment, 1990 Nov-Dec, V26 N6:24+.

Franklin, James C.
"Metamorphosis of a Metaphor: The Shadow in Early German Cinema." German Quarterly. 53 (2): 176-88. 1980 Mar.

Friedrich Wilhelm Murnau
Mit Beitragen von Fritz Gottler ... [et al.]. Munchen: Hanser,
Main Stack PN1998.3.M87 F753 1990

Friedrich Wilhelm Murnau : ein Melancholiker des Films
herausgegeben von Hans Helmut Prinzler ; [Ubersetzungen, Karin Messlinger, Vera Thomas]. Berlin : Bertz, 2003.
MAIN: PN1998.3.M87 F77 2003

Gehler, Fred.
Friedrich Wilhelm Murnau Berlin: Henschelverlag Kunst und Gesellschaft, 1990.
MAIN: PN1998.A3 M8 1990; Storage Info: B 3 631 872

Roberts, Ian
"Friedrich Wilhelm Murnau, transatlantic thresholds and transcendental homelessness." Studies in European Cinema; 2007, Vol. 4 Issue 3, p223-233, 11p
UC users only

Jameux, Charles
F. W. Murnau. Paris, Editions universitaires [1965]
MAIN: PN1993 .C5 v.19
PFA : PN1998.3.M84 J35 1965

Koebner, Thomas.
"Murnau-A Conservative Filmmaker?: On Film History as Intellectual History." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. pp: 111-23 Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Murnau, Friedrich Wilhelm
"Les films du futur." Positif;nr.472 (June 2000); p.63-65
Translation of an article by Murnau publ. in 1928 in McCall's Magazine describing his vision of the future of cinema.

Murnau, Friedrich Wilhelm
Wenn ihr Affen nur ofter schreiben wolltet!: Briefwechel [sic] zwischen Friedrich Wilhelm Murnau und Lothar Muthel, 1915-1917 Bielefeld: AJZ, 1991.
MAIN: PN1998.3.M87 A4 1991; Storage Info: B 3 624 454

Pernod, P..
"F.W. Murnau ou l'élan vital de la création." Positif; nr.340 (June 1989); p.32-34
On the characteristics of films by F.W.M.

Smith, Evans Lansing.
"Framing the Underworld: Threshold Imagery in Murnau, Cocteau, and Bergman." Literature-Film Quarterly v24, n3 (July, 1996):241 (14 pages).
UC users only
"The heroic journey into the underworld is explored in F.W. Murnau's "Nosferatu," Jean Cocteau's "Orphee" and "Belle et Bete," and Ingemar Bergman's "Wild Strawberries." All the films borrow from Egyptian and Greek mythological sources to portray a descent into the underworld. The films' narratives are augmented by images of thresholds, doorways and labyrinthine passageways." [Expanded Academic Index]

City Girl

Danks, Adrian.
"Reaching Beyond the Frame: Murnau's City Girl." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct.
Faust

Hedges, Inez
Framing Faust: twentieth-century cultural struggles Carbondale: Southern Illinois University Press, c2005.
MAIN: PT937 .H44 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0513/2005015420.html

Koller, Michael
"Faust." Senses of Cinema

Schanze, Helmut.
"On Murnau's Faust: A Generic Gesamtkunstwerk?" In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. pp: 223-35 Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Last Laugh

Cardullo, Bert.
"Der Letzte Mann Gets the Last Laugh: F. W. Murnau's Comic Vision." Post Script: Essays in Film and the Humanities, vol. 1 no. 1. 1981 Fall. pp: 41-44.

Rayns, Tony
"Der letzte Mann (The last laugh). Monthly Film Bulletin; Vol.XLI nr.482 (Mar 1974); p.58

Schindler, S.
"What Makes a Man a Man: The Construction of Masculinity in F.W. Murnau's 'The Last Laugh.'" Screen, 1996 Spring, V37 N1:30-40.
"The writer examines the construction of masculinity in F. W. Murnau's 1924 film The Last Laugh. Set in Germany, this socio-epical fairy tale relates the story of an aging hotel porter who loses his job, an event marked by the loss of his beloved uniform. He becomes a lavatory attendant and, mocked by his aunt, the hotel's female employees, and the women of his lower-class neighborhood, is overcome by humiliation and seems to die. However, it is here that the author rescues him by adding a happy ending that sees him receive a legacy from a rich customer. Although he is then laughed at by the hotel's bourgeois with whom he attempts to socialize, his male autonomy is protected by the male hotel employees. The characteristics of masculinity that the film thus constructs are that a man is a man when he acquires a body armor (money/uniform), excludes women from his world, and receives the recognition women refuse him in homoerotic and homosocial relationships." [Art Abstracts]

Nosferatu

Amiel, Vincent
"Murnau. La chair des images." Positif; nr.457 (Mar 1999); p.90-91
On the theme of shadows and silhouettes in Murnau's "Nosferatu" and "Sunrise".

Auerbach, Nina
Our vampires, ourselves Chicago : University of Chicago Press, 1995.
MAIN: GR830.V3 A92 1995
MOFF: GR830.V3 A92 1995;

Brennan, Matthew C.
"Repression, Knowledge, and Saving Souls: The Role of the 'New Woman' in Stoker's Dracula and Murnau's Nosferatu." Studies in the Humanities, vol. 19 no. 1. 1992 June. pp: 1-10.

Bronski, Michael
"Nosferatu." Cineaste; Summer2008, Vol. 33 Issue 3, p68-70, 3p
UC users only

Byrne, Richard B.
Films of Tyranny; Shot Analyses of The Cabinet of Dr. Caligari, The Golem [and] Nosferatu [by] Richard B. Byrne. [Madison, Wis., College Print. & Typing Co., 1966].
UCB Main PN1997.A1 B9

Calhoon, Kenneth S.
"F. W. Murnau, C. D. Friedrich, and the Conceit of the Absent Spectator." MLN; Apr2005, Vol. 120 Issue 3, p633-653, 21p,

Cardullo, Bert.
"Expressionism and Nosferatu."San Jose Studies, vol. 11 no. 3. 1985 Fall. pp: 25-33.

Catania, Saviour
"Absent in Liminal Places: Murnau's "Nosferatu" and hitthe Otherworld of Stoker's "Dracula"." Literature/Film Quarterly 32:3 (2004) p. 229-235
UC users only

Colm Hogan, Patrick.
"Narrative Universals, Nationalism, and Sacrificial Terror: From Nosferatu to Nazism." Film Studies, Summer2006, Vol. 8 Issue 0, p93-105, 105p
UC users only

Dalle Vacche, Angela.
"Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema." Post Script: Essays in Film and the Humanities vol. 14 no. 3. 1995 Summer. pp: 25-36.

Elsaesser, Thomas
"Six degrees of Nosferatu." Sight & Sound;Vol.XI nr.2 (Feb 2001); p.12-15
UC users only
An analysis of F.W. Murnau's "Nosferatu" which unravels how the traumas in Europe in the early 20th century connect to the film. Also considers psychoanalytic studies of female sexuality related to the film.

Exertier, S.
"La lettre oubliee de Nosferatu." Positif; nr.228 (Mar 1980); p.47-51
An attempt to analyse two pages of cryptograms which appear briefly in "Nosferatu" by MurnaFilm Studies occult explanations.

Hens
UC users only
UC users only ley, Wayne E.
"The contribution of F.W. Murnau's Nosferatu to the evolution of dracula" Literature/Film Quarterly (30:1) 2002:1 , 59-64 . (2002)
UC users only
"'Dracula' has remained constantly in print since its publication in 1897, unlike most horror stories, and its most significant changes into a motion picture were in its first appearance as 'Nosferatu.' The original novel provoked no strong reaction, yet the German film raised controversy over sexually suggestive situations and romantic attraction to a monster." {Expanded Academic Index]

Hensley, Wayne E.
"The Contribution of F.W. Murnau's Nosferatu To the Evolution of Dracula." Literature Film Quarterly, 2002, Vol. 30 Issue 1, p59, 6p
UC users only

Koller, Michael.
"Nosferatu."Senses of Cinema

Luhr, William.
"Nosferatu and Postwar German Film." Michigan Academician, vol. 14 no. 4. 1982 Spring. pp: 453-458.

Mayne, Judith.
"Dracula in the Twilight: Murnau's Nosferatu." In: German Film and Literature: Adaptations and Transformations /edited by Eric Rentschler. pp: 25-39. New York; Methuen, 1986.
Grad Svcs PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986

Michaels, Lloyd.
"Nosferatu, or the Phantom of the Cinema." In: Play It Again, Sam: Retakes on Remakes / edited by Andrew Hortonand Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 239-49. Berkeley: University of California Press, c1998.
Main Stack PN1995.9.R45.P58 1998

Millet, Raphael
"Non, Nosferatu n'est pas mort. Toujours ? trainer dans les courants d'air..." Positif; SO: nr.460 (June 1999); p.97-99
Analyses the influence of the silent film "Nosferatu" by Murnau on Werner Herzog in "Nosferatu" and "Aguirre".

Milne, Tom
"Nosferatu - Eine Symphonie des Grauens (Nosferatu)." Monthly Film Bulletin; Vol.XLI nr.481 (Feb 1974); p.37-38

Papapetros, S.
"Malicious Houses: Animation, Animism, Animosity in German Architecture and Film--From Mies to Murnau." Grey Room No. 20, Fall 2005
UCB users only

Perez, Gilberto.
"Nosferatu." Raritan: A Quarterly Review v13, n1 (Summer, 1993):1 (29 pages).
UCB users only"F.W. Murnau's 1922 film 'Nosferatu' uses the figure of the vampire Nosferatu to represent death. Other characters in the film represent a variety of responses to death. Murnau juxtaposes arches and coffins throughout the film to suggest the inexorable end of life's passages. 'Nosferatu' illustrates Romanticism's influence on German expressionism and also anticipates existentalist ideas about death. Murnau's use of crosscutting, space and point of view is also discussed." [Expanded Academic Index]

Roth, Lane.
"Dracula meets the Zeitgeist: 'Nosferatu' (1922) as film adaptation." Literature/Film Quarterly (7) 309-13.
UCB users only
Roth, Lane.
"Film, Society and Ideas: Nosferatu and Horror of Dracula." In: Planks of Reason: Essays on the Horror Film / edited by BarryKeith Grant. pp: pp: 245-254. Metuchen, N.J.: Scarecrow Press, 1984.
Main Stack PN1995.9.H6.P56 1984
Moffitt PN1995.9.H6.P56 1984

Smith, Evans Lansing.
"Framing the underworld: Threshold imagery in Murnau, Cocteau, and Bergman." Literature Film Quarterly, 1996, Vol. 24 Issue 3, p241, 14p
UCB users only
Unrau, Rona.
"Eine Symphonie des Grauens or the Terror of Music: Murnau's Nosferatu." Literature/ Film Quarterly, vol. 24 no. 3. 1996. pp: 234-40.
UC users only
" F.W. Murnau's film "Nosferatu: Eine Symphonie des Grauens" demonstrates a certain musical quality in the multiplicity of themes that are weaved, but Murnau chose to de-emphasize the erotic themes that are so prevalent in Bram Stoker's "Dracula." Sexual repression and expression is the primary source of uncertainty and terror in Stoker's work, but Murnau uses the tenuous social control of bourgeois society as the balance that the vampire threatens to upset. The film was made in the early 1920s and could been seen as a criticism of the Weimar Republic." [Expanded Academic Index]

Waller, Gregory A.
The Living and the Undead: From Stoker's Dracula to Romero's Dawn of the Dead. / Gregory A. Waller. Urbana: University of Illinois Press, c1986.
Main Stack PN1995.9.V3.W31 1986

Williams, Andrew P.
"The Silent Threat: A (Re)viewing of the 'Sexual Other' in 'The Phantom of the Opera' and 'Nosferatu.'" Midwest Quarterly v38, n1 (Autumn, 1996):90 (12 pages).
UC users only
" Sexual monsters in F. W. Murnau's 'Nosferatu' and Rupert Julian's 'The Phantom of the Opera' must be eradicated in order to preserve patriarchal authority. The first film adaptations of Bram Stoker's vampire and Gaston Leroux's Phantom show the monsters' ability, despite an abhorrent appearance, to take women away from other men. This intolerable threat must be destroyed, especially because women discover their own sexual power after contact with these creatures." [Expanded Academic Index]

Wood, Robin.
"Burying the Undead: The Use and Obsolescence of Count Dracula." Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 16 no. 1-2. 1983 Winter-Spring. pp: 175-187.
Also In: The dread of difference: gender and the horror film / edited by Barry Keith Grant. 1st ed. Austin: University of Texas Press, 1996. Texas film studies series.
Main Stack PN1995.9.H6.D74 1996

Sunrise

Amiel, Vincent
"Murnau. La chair des images." Positif; nr.457 (Mar 1999); p.90-91
On the theme of shadows and silhouettes in Murnau's "Nosferatu" and "Sunrise".

Fischer, Lucy.
Sunrise: a song of two humans / Lucy Fischer. London: BFI Publishing, 1998. BFI film classics.
Main Stack PN1997.S84.F57 1998

Henry, Michael
"L'envers du paradis ('City girl' de F.W. Murnau)." Positif; nr.135 (Feb 1972); p.39-47
History of the shooting of "City girl" (shooting title: Our Daily Bread). Explains the parable of the film and compares it with other films by Murnau, esp. "Sunrise".

Louvish, Simon.
"Sunrise." Sight and Sound. 12 (9): 46. 2002

Prager, Brad
"Taming impulses: Murnau's Sunrise and the exorcism of expressionism." Literature/Film Quarterly; Vol.XXVIII nr.4 (2000); p.284-292
Discusses the formal consequences of Murnau's move to America, focusing on his film, "Sunrise".
"This article examines expressionism and the representation of psychological states in the works of German-born silent film director, Friedrich Wilhelm Murnau, focusing on 'The Last Laugh' and 'Sunrise.' Murnau's portrayal the unconscious and the libidinal desires is discussed." [Expanded Academic Index]

Rayns, Tony
"Sunrise - a song of two humans." Monthly Film Bulletin; Vol.XLII nr.495 (Apr 1975); p.92-93

Szaloky, Melinda.
"Sounding Images in Silent Film: Visual Acoustics in Murnau's Sunrise." Cinema Journal. 41 (2): 109-31. 2002.
UCB users only

Tabu

Murnau, F. W. (Friedrich Wilhelm)
Sudseebilder : Texte, Fotos und der Film Tabu Berlin : Bertz + Fischer, c2005.
MAIN: PN1997.T233 M87 2005

Tartuffe

Jacoby, Alexander.
"Tart?ff." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct.

Peacock, Noel.
"Tartuffe on Screen and/or the Metaphysics of Performance." In: Theatrum mundi: studies in honor of Ronald W. Tobin / edited by Claire L. Carlin and Kathleen Wine. Charlottesville, Va.: Rookwood Press, c2003. Carlin, Claire L. EMF critiques.
Main Stack PQ241.T443 2003

Ulrike Ottinger

Bergstrom, Janet.
"The theater of everyday life: Ulrike Ottinger's "China: the Arts, Everyday Life." Camera Obscura, Sep 1988, Issue 18, p42-51, 10p

Davidson, John E.
"Railing against Convention, or Camping Out in Mongolia: The Performative Displacements of Ulrike Ottinger's Johanna D'Arc Mongolia." In: Deterritorializing the New German Cinema / John E. Davidson. Minneapolis, Minn.: University of Minnesota Press, c1999. (UCB Main PN1993.5.G3 D34 1999;
Full-text of this book available online via ebrary - UC Berkeley users only)

Fischetti, Renate.
Das neue Kino : acht Portrats von deutschen Regisseurinnen : Helke Sander, Claudia von Alemann, Ula Stockl, Helma Sanders-Brahms, Margarethe von Trotta, Jutta Bruckner, Ulrike Ottinger, Doris Dorrie Frankfurt/M. : Tende, 1992.
MAIN: PN1993.5.G3 F473 1992; Storage Info: B 3 691 323

Grundmann, Roy; Shulevitz, Judith
"Minorities and the majority." Cineaste; 1991, Vol. 18 Issue 3, p40, 3p
UC users only
Presents an interview with film director Ulrike Ottinger. Career background; Films made; Styles and techniques; Ethnic influences; Feminism in motion pictures.

Hansen, Miriam.
"Visual Pleasure, Fetishism and the Problem of Feminine/Feminist Discourse: Ulrike Ottinger's Ticket of No Return." New German Critique, Winter84 Issue 31, p95, 14p
UC users only

Kaplan, Janet.
"Johanna d'Arc of Mongolia: Interview with Ulrike Ottinger." Art Journal, Fall2002, Vol. 61 Issue 3, p6, 16p
UC users only

Knight, Julia.
"Observing Rituals: Ulrike Ottinger's Johanna d'Arc of Mongolia." In: In: Triangulated Visions: Women in Recent German Cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Kuzniar, Alice A.
"Allegory, Androgyny, Anamorphosis: Ulrike Ottinger's Dorian Gray." In: The queer German cinema Stanford, Calif. : Stanford University Press, c2000.
Available online http://site.ebrary.com/lib/berkeley/Doc?id=10042903 [UC Berkeley users only]
MAIN: PN1995.9.H55 K89 2000

Longfellow, Brenda.
"Lesbian phantasy and the Other woman in Ottinger's Johanna d'Arc of Mongolia." Screen, Summer93, Vol. 34 Issue 2, p124-136, 13p,
UC users only

Mueller, Roswitha
"The Mirror and the Vamp." New German Critique; Winter85 Issue 34, p176, 18p
UC users only
Examines the motion picture 'The Image of Dorian Gray in the Yellow Press,' directed by Ulrike Ottinger. Story line; Reducing the film to its story content; Causal logic which characterizes the stylistic oddities of cheap journalism; Parody and irony employed to subvert straight-forward narrative meaning.

Ottinger, Ulrike
"Encounter Between Two Cultures." Screen; Autumn87, Vol. 28 Issue 4, p74-79, 6p,

Perlmutter, Ruth.
"Two New Films By Helke Sander and Ulrike Ottinger." Film Criticism, Winter84/85, Vol. 9 Issue 2, p67-73, 7p
UC users only
"The article focuses on the style and method used in two German films such as "The Trouble With Love," by Helke Sander and "The Mirror Image of Dorian Gray in the Yellow Press," by Ulrike Ottinger which are both feminist satires and modernist narratives. In her film, she used a paratactic method which is a string of disjunctive sequences, repeated images, and shifting female narrative voices that opposes metaphoric relationships. Meanwhile, Ottinger's method is to blend estrangement techniques with anti-illusionist allegory that able bizarre personalities to appear in a series of demythifications of cinema/video and theatre." [Ebsco]

Robertson, Pamela
" In: "Fine and Dandy Masquerades." In: Guilty pleasures : feminist camp from Mae West to Madonna Durham : Duke University Press, 1996. p. 149
Main Stack PN1995.9.W6.R52 1996
Moffitt PN1995.9.W6.R52 1996

Silberman, Marc
"Interview with Ulrike Ottinger: Surreal Images." In: Gender and German cinema : feminist interventions / edited by Sandra Frieden ... [et al.]. Providence : Berg, 1993.
Main Stack PN1993.5.G3.G357 1993

Trumpener, Katie.
"Johanna D'arc Of Mongolia In The Mirror of Dorian Gray: Ethnographic Recordings and the Aesthetics of the Market in The Recent Films of Ulrike Ottinger." New German Critique, Fall93, Issue 60
UC users only

Villarejo, Amy
"Archiving the Diaspora: A Lesbian Impression of/in Ulrike Ottinger's "Exile Shanghai"." New German Critique, No. 87, Special Issue on Postwall Cinema (Autumn, 2002), pp. 157-191
UC users only

Whissel, Kristen.
"Racialized spectacle, exchange relations, and the Western in Johanna d'Arc of Mongolia." Screen, Spring96, Vol. 37 Issue 1, p41-67, 27p

G.W. Pabst

Works about individual films

Atwell, Lee
G. W. Pabst / Lee Atwell. Boston: Twayne Publishers, 1977. Series title: Twayne's theatrical arts series.
Main PN1998.A3 P2622
Moffitt PN1998.A3 P2622

Bergstrom, Janet.
"Psychological Explanation in the Films of Lang and Pabst." In:Psychoanalysis & Cinema / edited by E. Ann Kaplan. pp: 163-180. New York; Routledge, 1989. AFI film readers.
Main Stack PN1995.9.P78.P79 1989
Moffitt PN1995.9.P78.P79 1989

The Films of G.W. Pabst: An Extraterritorial Cinema
Edited by Eric Rentschler. New Brunswick: Rutgers University Press, c1990.
Main PN1998.3.P34 F5 1990
Moffitt PN1998.3.P34 F5 1990

Horak, Jan-Christopher
"G.W. Pabst in Hollywood or Every Modern Hero Deserves a Mother. Film History, I/1, 87; p.53-64. UC users only
Details of G.W. Pabst's only US film, "A modern hero"; its divergence from the Louis Bromfield novel, Pabst's treatment in Hollywood and his return to Nazi Germany in 1939.

Leduc, J.; Poirier, A.; Theberge, P.
"Entretien avec Louise Brooks." Positif; nr.297 (Nov 1985); p.6-11
L.B. talks about her career, comparing filming in the USA and Germany; directors, esp. Pabst, Chaplin and Von Stroheim; and her attitude to sex (Reprinted from 'Objectif', 1964). AT: Interview; Illustrations

The Joyless Street

Brunsdon, Charlotte
"Little shop girls (and other women) go to the movies."(Joyless streets: women and melodramatic representation in Weimar Germany) Screen (London, England) v 30 Summer 1989. p. 69-73

Coulson, Anthony
"Entrapment and Escape: Readings of the City in Karl Grune's The Street and G. W. Pabst's The Joyless Street." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Horak, Jan-Christopher
"Film history and film preservation: reconstructing the text of The joyless street (1925)" Screening the Past, Issue 5 (16 November 1998) pp: 32-

Myers, Tracy.
"History and Realism: Representations of Women in G. W. Pabst's The Joyless Street German Film History/German History on Film." In: Gender and German Cinema: Feminist Interventions, Part II / edited by Sandra Frieden ... [et al.].
Main Stack PN1993.5.G3.G357 1993

Petro, Patrice.
"Film Censorship and the Female Spectator: The Joyless Street (1925)." In: The Films of G. W. Pabst: An Extraterritorial Cinema / edited by Eric Rentschler. pp: 30-40. New Brunswick: Rutgers University Press, c1990.
Main Stack PN1998.3.P34.F5 1990
Moffitt PN1998.3.P34.F5 1990

Petro, Patrice
Joyless Streets: Women and Melodramatic Representation in Weimar Germany/ Patrice Petro. Princeton, N.J.: Princeton University Press, c1989.
Main PN1993.5.G3 P435 1989
Moffitt PN1993.5.G3 P435 1989

Pandora's Box

Burkett, Andrew
"The Image beyond the Image: G. W. Pabst's Pandora's Box (1929) and the Aesthetics of the Cinematic Image-Object." Quarterly Review of Film and Video, vol. 24, no. 3, pp. 233-47, May 2007

Davidson, D.
"From Virgin to Dynamo: the 'Amoral Woman' in European Cinema." Cinema Journal XXI/1, Fall 81; p.31-58.
Discusses the role of the sexually-unrepressed woman in films, esp. in "Die Buchse der Pandora", "Der Blaue Engel" and "Jules et Jim".

Doane, Mary Ann.
"The Erotic Barter: Pandora's Box (1929)" In: The Films of G. W. Pabst: An Extraterritorial Cinema / edited by Eric Rentschler. pp: 62-79. New Brunswick: Rutgers University Press, c1990.
Main Stack PN1998.3.P34.F5 1990
Moffitt PN1998.3.P34.F5 1990

Elsaesser, Thomas.
"Lulu and the Meter Man: Pabst's Pandora's Box (1929)." Screen; SO: Vol.XXIV nr.4-5 (July-Oct 1983); p.4-36
Examines "Die Buchse der Pandora", the choice of Louise Brooks and the role she plays, the social and economic climate of the Weimar cinema in which the film was produced, and critical attitudes to the film.

Elsaesser, Thomas.
"Lulu and the Meter Man: Pabst's Pandora's Box (1929)." German Film and Literature: Adaptations and Transformations / edited by Eric Rentschler. pp: 40-59. New York: Methuen, 1986.
Grad Svcs PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986

Littau, Karin.
"Refractions of the Feminine: The Monstrous Transformations of Lulu." MLN, vol. 110 no. 4. 1995 Sept. pp: 888-912.

Pandora's Box (Lulu): A Film
By G.W. Pabst; translated from the German by Christopher Holme. Rev. ed. London: Lorrimer, 1984, c1971.
Main Stack PN1997 .V22413 1984
Moffitt PN1997 .V22413

Ramasse, François
"Le sexe de pandore." Positif; nr.244-245 (July-Aug 1981); p.15-19

Thomas, Gordon
"Of Sexual Hate and Lonely Death: The Mysteries of Pandora's Box." Bright Lights Films Journal, May 2007 | Issue 56

Secrets of a Soul

Friedberg, Anne.
"An Unheimlich Maneuver Between Psychoanalysis and the Cinema: Secrets of a Soul (1926)." In: The Films of G. W. Pabst: An Extraterritorial Cinema / edited by Eric Rentschler. pp: 41-51. New Brunswick: Rutgers University Press, c1990.
Main Stack PN1998.3.P34.F5 1990
Moffitt PN1998.3.P34.F5 1990

Konigsberg, Ira.
"Cinema, Psychoanalysis, and Hermeneutics: G. W. Pabst's Secrets of a Soul." In: The Movies: Texts, Receptions, Exposures / edited by Laurence Goldstein and Ira Konigsberg. pp: 11-39. Ann Arbor: University of Michigan Press, c1996.
Main Stack PN1994.M78 1996
Moffitt PN1994.M78 1996)

Sunrise

Prager, Brad:
"Taming impulses: Murnau's Sunrise and the exorcism of expressionism" Literature/Film Quarterly (28:4) 2000:4 , 284-292 . (2000)
UC users only

Threepenny Opera

Brewster, Ben
"The fundamental reproach: Bertold Brecht and the cinema." In: Explorations in film theory: selected essays from Cine-tracts / edited by Ron Burnett. Bloomington: Indiana University Press, c1991.
Main Stack PN1995.E98 1991

Brewster, Ben
"Brecht and the film industry." Screen; Vol.XVI nr.4 (Winter 1975-76); p.16-33
The paper discusses Brecht's account of the 'Threepenny lawsuit', his and Weill's disput with Nero-Film and Brecht's relations with Lang during the making of 'Hangmen also die'.

Elsaesser, Thomas.
"Transparent Duplicities: The Threepenny Opera." In:The Films of G. W. Pabst: An Extraterritorial Cinema / edited byEric Rentschler. pp: 103-15. New Brunswick: Rutgers University Press, c1990. (Main Stack PN1998.3.P34.F5 1990; Moffitt PN1998.3.P34.F5 1990)

Glass, Erlis.
"Entrepreneurial Empowerment of Women in Brecht's Dreigroschenoper: Film versus Theaterstuck." Anuario de Cine y Literatura en Espanol: An International Journal on Film and Literature, vol. 2. 1996. PAGES: 81-91.

Kemp, Philip.
"Mud in Your Eye." (Bertolt Brecht's remaking of 'The Threepenny Opera. Sight and Sound v8, n10 (Oct, 1998):26 (4 pages).
Writer Bertolt Brecht did a remake of G.W. Pabst's 'The Threepenny Opera' because the film reportedly infringed on his copyright. Although both films characterized bankers as criminals, Brecht's 'Kuhle Wampe' incorporated a different plot, style, tone and method for producing the motion picture. However, Brecht's work had the same ending as Pabst's work which critics

Williams, Bruce
"The Threepenny Opera." Senses of Cinema

Edgar Reitz

Angier, Carole
"Edgar Reitz." Sight and Sound, vol. 60, no. 1, pp. 33-40, Winter 1990

Bachman, Gideon
"The Reitz Stuff." Film Comment. Jul/Aug 1985. Vol. 21, Iss. 4; p. 16 (5 pages)

Barkin, Kenneth
"Heimat: Eine Deutsche Chronik by Edgar Reitz." The American Historical Review, Vol. 96, No. 4 (Oct., 1991), pp. 1124-1126
UC users only

Birgel, Franz A.
"You Can Go Home Again: An Interview with Edgar Reitz." Film Quarterly July 1986, Vol. 39, No. 4, Pages 2-10
UC users only

Brady, Martin
"Heimat 3: Parts 1 and 2." Sight & Sound May 2005. Vol. 15, Iss. 5; p. 57 (2 pages)

Brady, Martin
"Heimat 3: Parts 3 - 6." Sight & Sound Jun 2005. Vol. 15, Iss. 6; p. 56 (2 pages)

Confino, A.
"Edgar Reitz's Heimat and German Nationhood: Film, Memory, and Understandings of the Past." German History, Jun98, Vol. 16 Issue 2, p185-208, 24p
UC users only

Edgar Reitz : eine Wurdigung
[Herausgeber, Ministerprasident des Landes Rheinland-Pfalz ; Bearbeitung, Thomas Daum und Karl-Friedrich Geissler] Frankfurt, a. M. : Brandes & Apsel, 2005.
MAIN: PN1998.3.R454 E34 2005

Elsaesser, T.
"The new German cinema's historical imaginary." In: Framing the past : the historiography of German cinema and television / edited by Bruce A. Murray and Christopher J. Wickham. Carbondale : Southern Illinois University Press, 1992
Main Stack PN1993.5.G3.F67 1992
Moffitt PN1993.5.G3.F67 1992

Gabriel, Barbara
"The Unbearable Strangeness of Being: Edgar Reitz's Heimat and the Ethics of the Unheimlich." In: Postmodernism and the ethical subject / edited by Barbara Gabriel and Suzan Ilcan. Montreal : McGill-Queen's University Press, 2004
Available online [UC Berkeley users only]
MAIN: BJ319 .P68 2004

Geisler, Michael E.
"'Heimat' and the German Left: The Anamnesis of a Trauma." New German Critique, Fall85 Issue 36, p25, 42p
UC users only

Hansen, Miriam.
"Dossier on Heimat." New German Critique, Fall85 Issue 36, p3, 22p
UC users only

Hartlieb, G. (Gundolf) .
In diesem Ozean von Erinnerung : Edgar Reitz' Filmroman Heimat : ein Fernsehereignis und seine Kontexte Siegen : Fachbereich 3, Sprach-, Literatur- und Medienwissenschaften an der Universitat Siegen, 2004.
MAIN: PN1997.H437 H37 2004

Kilborn, Richard
"Remembering and Retrieving the Past: Edgar Reitz's Heimat (1984)." Forum for Modern Language Studies, vol. 31, no. 1, pp. 84-98, Jan 1995

Kaes, Anton.
"Germany as memory: Edgar Reitz's Heimat." In: From Hitler to Heimat : the return of history as film Cambridge, Mass. ; London : Harvard University Press, 1989 (1992[printing])
MAIN: PN1993.5.G3 K2913 1992

Klimek, Julia F.
Elusive Images of Women, Home, and History: Deconstructing the Use of Film and Photography in Edgar Reitz's Heimat." Women in German Yearbook, 1999 Issue 15, p228, 20p

Meinhof, Ulrike Hanna
"Dialekt als Metapher: Ein Vergleich der beiden 'Heimat'-filme von Edgar Reitz." In: Sprache--Verstehen und Verstandigkeit : Kongressbeitrage zur 25. Jahrestagung der Gesellschaft fur Angewandte Linguistik / <1995> Frankfurt am Main ; New York : P. Lang, c1995.
MAIN: BF325 .S67 1995; Storage Info: B 4 126 729

Palfreyman, Rachel
"Reflections Of The 'Heimat' Genre: Intertextual Reference In Reitz's Heimat." German Life and Letters Volume 50, Issue 4, Date: October 1997, Pages: 529-543
UC users only

Palfreyman, Rachel
"Viewers and Villagers: Realism and Authenticity in Edgar Reitz's Heimat." In: Towards the millennium : interpreting the Austrian novel 1971-1996 = Zur Interpretation des osterreichischen Romans 1971-1996 Tubingen : Stauffenburg, 2000.
MAIN: PT3818 .T68 2000

Perlmutter. R.
"German Revisionism, Reitz,Edgar 'Heimat'." Wide Angle-A Quarterly Journal Of Film History Theory Criticism & Practice Volume: 9 Issue: 3 Pages: 21-37 1987

Preusser, Heinz-Peter
"Eine romantische Synthese und ihr notwendiges Scheitern: Edgar Reitz' filmische Chronik Heimat 1-3." Seminar: A Journal of Germanic Studies, vol. 43, no. 2, pp. 234-50, May 2007

Rauh, Reinhold.
Edgar Reitz : Film als Heimat Munchen : W. Heyne, c1993.
MAIN: PN1998.3.R45 R38 1993

Reitz E.
" Heimat: the integral - "Today still, the discussions are very animated" - Interview with Edgar Reitz, director." Historia, Issue: 718 Pages: 9-9 OCT 2006

Saalmann, D.
"The New Religion Of Regionalism And The Concept Of 'Heimat'." Germanic Notes, Volume: 19 Issue: 1-2 Pages: 8-14 Published: 1988

Santner, Eric L.
"On the Difficulty of Saying 'We': The Historians' Debate and Edgar Reitz's Heimat." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. New York : G.K. Hall ; London : Prentice Hall International, 1996.
Main Stack PN1993.5.G3.P42 1996

Santner, Eric L.
Stranded objects : mourning, memory, and film in postwar Germany Ithaca, N.Y. : Cornell University Press, 1990.
MAIN: PN1993.5.G3 S33 1990

Schürer, Susan M.
"Three Generations of Highs and Lows: Elevation and Emotion in Edgar Reitz' Heimat." Glossen: Eine Internationale Zweisprachige Publikation zu Literatur, Film, und Kunst in den Deutschsprachigen Ländern nach 1945, vol. 9, pp. (no pagination), 2000

Stern, Dagmar C.
"A German History Lesson: Edgar Reitz's Heimat." Film and History Issue: 17:1 (1987:Feb.) p.9
UC users only

Taberner, Stuart
"Authenticity and Nostalgia: Edgar Reitz's Heimat as Tourism and Folk Museum." New German Studies, vol. 18, no. 3, pp. 171-83, 1994

Von Moltke, Johannes.
"Home Again: Revisiting the New German Cinema in Edgar Reitz's Die Zweite Heimat (1993)." Cinema Journal, Spring2003, Vol. 42 Issue 3, p114-143, 30
UC users only

Von Moltke, Johannes.
No place like home locations of Heimat in German cinema. Berkeley : University of California Press, 2005.
Available online (UC Berkeley users only)
MAIN: PN1995.9.H4 V66 2005
MOFF: PN1995.9.H4 V66)

Würffel, Stefan Bodo
"Die Fremde in der Heimat: Anmerkungen zum Film 'Die Zweite Heimat' von Edgar Reitz." In: Fremdverstehen in Sprache, Literatur und Medien / Ernest W.B. Hess-Luttich, Christoph Siegrist, Stefan Bodo Wurffel (Hg.). Frankfurt am Main ; New York : P. Lang, 1996.
MAIN: P40 .F74 1996;

Wickham, Christopher J.
"Representation and Mediation in Edgar Reitz's Heimat." German Quarterly, vol. 64, no. 1, pp. 35-45, Winter 1991
UC users only

Leni Riefenstahl

Alexander, Victoria.
"Adolph, Leni and Jesse." Films in Review v47, n7-8 (July-August, 1996):76 (2 pages).
German actress Leni Riefenstahl, handpicked by Adolph Hitler to shoot the annual Nazi rally, left a mark in the film history by making two documentary films. Riefenstahl's film on the rally 'Triumph of the Will' portrayed Hitler's dynamic power and became a masterpiece. At Hitler's request she filmed 'Olympia' on the 1936 Olympics held in Germany. Although her film turned the Olympics into an event for filmgoers, she chose not to record Hitler's hasty exit which involved overlooking Jesse Owens, the winner of four gold medals.

"American Intelligence Report on Leni Riefenstahl - May 30th, 1945." (motion picture actress and producer who was given special treatment by Hitler) Film Culture, n77 (Fall, 1992):34 (5 pages).
Leni Riefenstahl was a film producer and actress in Germany when Hitler rose to power. Her dedication to her art linked her life with that of the dictator. She enjoyed special treatment and received juicy production assignments from the Fuhrer. She spoke about her encounters with Hitler during interrogations conducted by American intelligence authorities whoarrested her in her residence in Kitzbuhel, Austria, after the fall of the dictator. The actress swore she had no inkling about the monstrosity that Hitler was perpetrating. Riefenstahl said she liked Hitler's personality.

Berg-Pan, Renata.
Leni Riefenstahl / Renata Berg-Pan. Boston: Twayne, 1980. Series title: Twayne's Theatrical Arts Series.
Main PN1998.A3 .R5242

Berman, Russell A.
"Written Right Across Their Faces: Leni Riefenstahl, Erst Junger, and Fascist Modernism" In: Modern Culture and Critical Theory: Art, Politics, and the Legacyof the Frankfurt School / Russell A. Berman. pp: 99-119. Madison, Wis.: University of Wisconsin Press, c1989.
Main Stack HM101.B47231 1989

Bernstein, Sandra and MacMillian, Michael.
Leni Riefenstahl: A Selected Annotated Bibliography." Quarterly Review of Film Studies 2:4 (1977:Nov.) 439

"Biographical Sketch of Leni Riefstahl." Film Comment 3:1 (1965:Winter) 12

Corliss, Richard
"Leni Riefstahl: A Bibliography." Film Heritage, 5:1 (Fall 1969) 27-36

Craig, J. Robert.
"From Triumph of the Will to the Mighty Ducks of Anaheim: Riefenstahl Rocks by the Pond." Popular Culture Review vol. 8 no. 1. 1997 Feb. pp: 111-20.

Culbert, D; Loiperdinger, M.
"Leni Riefstahl: 'Tag Der Freiheit', The 1935 Nazi Party Rally Film."(Appendix of Reconstructed Script)Historical Journal of Film Radio and Television, 1992, V12 N1:3-40.

Dassanowsky, Robert von.
"'Wherever You May Run, You Cannot Escape Him': Leni Riefenstahl's Self-Reflection and Romantic Transcendence of Nazism in Tiefland." Camera Obscura vol. 35. 1995 May. PAGES: 107-28.

Elsaesser, Thomas.
"Leni Riefenstahl: The Body Beautiful, Art Cinema and Fascist Aesthetics." In: Women and Film: A Sight and Sound Reader / edited by Pam Cook andPhilip Dodd. pp: 186-97. Philadelphia: Temple University Press, 1993. Culture and the moving image
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993

Elsaesser, Thomas.
"Portrait of the Artist as a Young Woman." (profile of German filmmaker Leni Riefenstahl) Sight and Sound v3, n2 (Feb, 1993):14 (5 pages).
German director Leni Riefenstahl has been both honored for her influence on future documentary filmmakers and vilified for her role in promoting Nazi ideals in her two films 'Triumph of the Will' and 'Olympia.' These two films represented an aesthetic that glorified the perfect body, and they were frequently used by the Nazis to promote the idea of Aryan beauty. Riefenstahl started her career as a dancer and her depictions of physical beauty and sensuality came more from a personal aesthetic than a desire to further Nazi values. Riefenstahl has written her autobiography, 'The Sieve of Time.'

Faris, James C.
"Leni Riefenstahl and the Nuba Peoples of Kordofan Province, Sudan." (Special Issue: Media and the Cold War in Europe) Historical Journal of Film, Radio and Television v13, n1 (March, 1993):95 (3 pages).

Grenier, Richard.
"The Fuehrer's Filmmaker." Commentary vol. 98 no. 2. 1994 Aug. pp: 48-51.

Hinton, David B.
The Films of Leni Riefenstahl / by David B. Hinton. 2nd ed. Metuchen, N.J.: Scarecrow Press, 1991. Series title: Filmmakers series; no. 29.
Main PN1998.3.R54 H56 1991
Moffitt PN1998.3.R54 H56 1991

"Hitler's pride: a conversation with Leni Riefenstahl." Listener 80:2060 (1968:Sept. 19) 358

hooks, bell.
"The Feminazi Mystique." Transition: An International Review, vol. 7 no. 1 (73). 1998. pp: 156-62.

Infield, Glenn B.
Leni Riefenstahl: The Fallen Film Goddess / by Glenn B. Infield. New York: Crowell, c1976.
Main PN1998.A3R5281

Kinkel, Lutz
Die Scheinwerferin: Leni Riefenstahl und das "Dritte Reich" Hamburg: Europa Verlag, c2002.
MAIN: PN1998.3.R54 K56 2002;

Leeflang, Thomas.
Leni Riefenstahl / Thomas Leeflang. Baarn: Anthos, c1991.
UCB Main PN1998.3.R54 L44 1991

Leeflang, Thomas.
Gevallen engel: leven en werk van Leni Riefenstahl Author: Leeflang, Thomas. Zutphen: Walburg Pers, c2000
MAIN: PN1998.3.R54 L437 2000

Phillips, Marcus
"Riefenstahl's 'Harassment'." Film Quarterly 29:3 (1976:Spring) 62

Rich, B. Ruby.
"Leni Riefenstahl: The Deceptive Myth." In: Sexual Stategems: The World of Women in Film / edited byPatricia Erens. pp: 202-209 New York: Horizon Press, c1979
Main Stack PN1992.8.W65.S4
Moffitt PN1992.8.W65.S4

Riefenstahl, Leni.
Leni Riefenstahl: A Memoir / Leni Riefenstahl. New York: St. Martin's Press, 1993.
Main PN1998.3.R54 A3 1993
Moffitt PN1998.3.R54 A3 1993

Riefenstahl, Leni.
The Sieve of Time: The Memoirs of Leni Riefenstahl. London: Quartet Books, 1992.
Main PN1998.3.R54 A3 1992

Rother, Rainer.
"Leni Riefenstahl: die Verfuhrung des Talents." Berlin: Henschel, c2000.
Main PN1998.3.R54 R68 2000

Trimborn, Jurgen
Riefenstahl: eine deutsche Karriere: Biographie Berlin: Aufbau-Verlag, 2002.
MAIN: PN1998.3.R54 T75 2002

Wernburg, Brigitte
"Riefenstahl's Return." Art in America v87, n10 (Oct, 1999):77.

Schultesasse, L.
"Leni Riefenstahl Features Films and the Question of a Fascist Aesthetic."Cultural Critique, 1991 Spring, N18:123-148.

Skylar, R.
"The Devils Director" Cineaste, 1994, V20 N3:18-21.
German filmmaker Leni Riefenstahl generated much public attention with her production of Triumph of the Will, a film about the 1934 German Party Congress. Critics contend that Riefenstahl should be held accountable for the crimes that she committed as a filmmaker when she glorified the Nazi regime. For her part, Riefenstahl defended her actions by stating that she was never anti-Semitic and was never a member of the Nazi party.

Sklar, Robert.
"Her Talent was her Tragedy; An Interview with Ray Muller." (controversial filmmaker Leni Riefenstahl) (Interview) Cineaste v20, n3 (Summer, 1993):22 (2 pages).
German filmmaker Ray Muller discusses the reasons behind the production of the three-hour film, 'The Wonderful, Horrible Life of Leni Riefenstahl.' The film received wide attention at North American screenings for its depiction of the life and works of controversial film producer Leni Riefenstahl. A brief discussion on how working with Riefenstahl has immensely changed Muller's outlook as a filmmaker is presented.

Sontag, Susan.
"Fascinating Fascism." In: Under the Sign of Saturn/ Susan Sontag. pp: 71-105. New York: Farrar, Straus & Giroux, c1980
Main Stack NX456.S58 1980
Moffitt NX456.S58 1980
VIDEO
The Wonderful Horrible Life of Leni Riefenstahl.
Interviews with Leni Riefenstahl, now in her nineties, flash-backs and modern film sequences tell the story of the most famous woman film director of all time. Known for her films made during the Third Reich, Riefenstahl's story is a controversial one. Best known for her "Triumph of the Will," the film made of the 1934 Nazi Party Congress, it proved to be her undoing. 181 min. Video/C 3411

Das Blau Licht (The Blue Light)

Rentschler, Eric.
""Fatal Attractions: Leni Riefenstahl's" The Blue Light." October 48 (1989:Spring) 47

Rentschler, Eric.
"The Elemental, the Instrumental: The Blue Light and Nazi Film Aesthetics." In: The Other Perspective in Gender and Culture: Rewriting Women andthe Symbolic / edited by Juliet Flower MacCannell. pp: 161-188. New York; Columbia University Press, 1990. Irvine studies in the humanities.
Main Stack NX180.F4.O84 1990

Olympia

Barkhausen, Hans.
"Footnote to the History of Riefenstahl's" 'Olympia'." Film Quarterly 28:1 (1974:Fall) 8

Downing, Taylor.
Olympia / Taylor Downing. London: BFI Publishing, 1992. Series title: BFI film classics.
UCB Moffitt PN1997.O39 D68 1992

Graham, Cooper C.
Leni Riefenstahl and Olympia / by Cooper C. Graham. Metuchen, N.J.: Scarecrow Press, 1986. Series title: Filmmakers Series; no. 13.
Main GV722 1936 .G731 1986

Graham, C.C.
"'Olympia'in America, 1938, Rifenstahl, Leni, Hollywood, and the Kristallnacht." Historical Journal of Film Radio and Television, 1993, V13 N4:433-450.
German director/actress Leni Riefenstahl and her film about the 1936 Berlin Olympics, 'Olympia,' were not well received in America due to anti-Nazi propaganda. The infamous Germany anti-Semitic program in Nov 1938, 'Kristallnacht,' was the chief cause for the anti-Nazi sentiment. Riefenstahl unsuccessfully tried to have her film publicly screened, and met studio moghuls such as Louis B. Mayer and Walt Disney in vain. 'Olympia' is considered a moving film, free of Nazi propaganda, and Riefenstahl herself was a phenomenon as she was the only woman who wrote, directed, acted in and edited her own films.

Downing, Taylor.
Olympia / Taylor Downing. London: BFI Publishing, 1992. Series title: BFI Film Classics.
Moffitt PN1997.O39 D68 1992

Riefenstahl, Leni.
Olympia / Leni Riefenstahl; foreword by Monique Berlioux; introduction by Kevin Brownlow. 1st U.S. ed. New York: St. Martin's Press, 1994.
UCB Morrison GV722 1936 .R43 1994 Morrison permanent collection

Tag der Freiheit

Culbert, D; Loiperdinger, M.
Leni Riefstahl: 'Tag Der Freiheit', The 1935 Nazi Party Rally Film (Appendix of Reconstructed Script)Historical Journal of Film Radio and Television, 1992, V12 N1:3-40.

Triumph of the Will

Barsam, Richard Meran.
Filmguide to Triumph of the Will / Richard Meran Barsam. Bloomington: Indiana University Press, [1975] Indiana University Press filmguide series
Main Stack DD253.28 1934.B371

Clooney, Nick.
Triumph of the Will. In: >The movies that changed us: reflections on the screen / Nick Clooney New York: Atria Books, 2002.
Moffitt PN1993.5.U6 C57 2002

Haskins, Ekaterina V.
"Time, Space, and Political Identity: Envisioning Community in Triumph of the Will." In: The terministic screen: rhetorical perspectives on film / edited by David Blakesley. Carbondale: Southern Illinois University Press, c2003.
Main Stack PN1994.T47 2003

Hinton, David B.
"Triumph of the Will": Document or Artifice? Cinema Journal, 15:1 (1975:Fall) p.48
UC users only

Loiperdinger, Martin
"Leni Riefenstahl, the SA, and the Nazi Party Rally Films, Nuremberg 1933-1934: "Sieg desGlaubens" and "Triumph des Willens"." Historical Journal of Film, Radio and Television 8:1 (1988) 3

Neale, Steve
"Triumph of the Will: Notes on Documentary and Spectacle." Screen 1979 20: 63-86
UC users only

Schwartzman, Roy J.
"Racial Theory and Propaganda in Triumph of the Will." In:Authority and Transgression in Literature and Film / edited byBonnie Braendlin and Hans Braendlin. pp: 136-53. Gainesville: University Press of Florida, c1996.
Main Stack PN56.A87.A87 1996

Tomasulo, Frank P.
"The Mass Psychology of Fascist Cinema: Leni Riefenstahl's Triumph of the Will." In: Documenting the Documentary: Close Readings of Documentary Film and Video / edited by Barry Keith Grant and Jeannette Sloniowski. pp: 99-118. Detroit: Wayne State University Press, c1998. Contemporary film and television series
Main Stack PN1995.9.D6.D58 1998
Moffitt PN1995.9.D6.D58 1998

Welch, David.
"Triumph Des Willens." In: Radical Street Performance: An International Anthology / editedand with introductions by Jan Cohen-Cruz. pp: 169-78. London; New York: Routledge, 1998.
Main Stack PN2049.R34 1998

Winston, Brian.
"Triumph of the Will." (reinterpretation of Leni Reifenstahl's Nazi-era film) History Today v47, n1 (Jan, 1997):24 (5 pages).
Riefenstahl's 1934 documentary 'Triumph of the Will' chronicling Adolf Hitler's address to the Nazi Party Congress is often touted as the greatest propaganda film ever made. But a closer look at the film and Nazi-era history reveals that film is flawed, both as propaganda and as art.

Eric Rohmer

See: French Film Bibliography

Walther Ruttmann

Brodnax, Mary
"Man a machine: the shift from soul to identity in Lang's Metropolis and Ruttmann's Berlin." In: Peripheral visions: the hidden stages of Weimar cinema / edited by Kenneth S. Calhoon. p. 73-93. Detroit: Wayne State University Press, c2001. Kritik (Detroit, Mich.)
Main Stack PN1993.5.G3.P39 2001

Film Montage: The Projection of Modernity[videorecording]
In this program, art historian Briony Fer analyzes the techniques and applications of film montage as they developed in the 1920s in the Soviet Union and Germany. By comparing and contrasting clips from October and Strike; Man with a Movie Camera; and Berlin - Symphony of a Great City, she illustrates how Sergei Eisenstein, Dziga Vertov, and Walter Ruttmann employed montage to address the concept of the crowd as a heroic protagonist, the collective experience of going to the cinema, and other topics. Dr. Fer also juxtaposes the ideologies of Soviet Moscow and Weimar Berlin as presented in these films. c2005. 24 min. DVD 4486

Fulks, Barry A.
"Walter Ruttmann, The Avant-Garde Film, and Nazi Modernism." Film & History , May1984, Vol. 14 Issue 2, p26-46, 11p UC users only

Gaughan, Martin.
"Ruttmann's Berlin: Filming in a "Hollow Space." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. London ; New York: Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003

Gleber, Anke.
"Female Flanerie and the Symphony of the City." In: Women in the metropolis: gender and modernity in Weimar culture / edited by Katharina von Ankum. pp: 67-88. Berkeley: University of California Press, c1997. Weimar and now ; 11
Main Stack HQ1623.W66 1997

Gleber, Anke.
"Women on the Screens and Streets of Modernity: In Search of the Female Flaneur." In: The image in dispute: art and cinema in the age of photography / edited by Dudley Andrew ; with the assistance of Sally Shafto. Austin: University of Texas Press, 1997.
MAIN: TR183 .I45 1997

Hake, Sabine.
"Urban Spectacle in Walter Ruttmann's Berlin, Symphony of the Big City." In: Dancing on the volcano: essays on the culture of the Weimar Republic / edited by Thomas W. Kniesche, Stephen Brockmann. pp: 127-42. Columbia, SC, USA: Camden House, c1994. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack DD239.D36 1994

Hillard, Derek.
"Walter Ruttmann's Janus-Faced View of Modernity: The Ambivalence of Description in Berlin. Die Sinfonie der Grossstadt." Monatshefte fur Deutschsprachige Literatur und Kultur. 96 (1): 78-92. 2004 Spring.

Kaes, Anton.
"Leaving Home: Film, Migration, and the Urban Experience." New German Critique: An Interdisciplinary Journal of German Studies. 74: 179-92. 1998 Spring-Summer

Kolaja, Jiri; Foster, Arnold W. ""Berlin, the Symphony of a City" as a Theme of Visual Rhythm." The Journal of Aesthetics and Art Criticism, Vol. 23, No. 3 (Spring, 1965), pp. 353-358
UC users only

Liebman, Stuart.
"Weimar cinema's greatest hits."Cineaste v 21 no3 1995. p. 50-2.
UC users only
"A review of video releases of films from Weimar Germany, 1918-1933. The extravagantly simplistic ideas, dynamic formulas, hyperbolic paranoia, and the sheer visual excessiveness--bordering on camp--of some of these films remain irresistible to younger viewers. The sophisticated set designs, lighting and editing strategies, and the ranging camera movements of many of the best Weimar films hold enduring appeal for the cinematically informed. Many of these films must be counted among the greatest of Weimar's achievements and have become part of the canon regularly seen by generations of enthusiastic film students." [Art Abstracts]

Macrae, David
"Ruttmann, Rhythm, and 'Reality': A Response to Siegfried Kracauer's Interpretation of Berlin. The Symphony of a Great City." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Minden, Michael.
"The City in Early Cinema: Metropolis, Berlin and October." In: Unreal city: urban experience in modern European literature and art / edited by Edward Timms and David Kelley. Manchester: Manchester University Press, c1985.
ENVI: NX542 .U571 1985;

Schadt, Thomas
Berlin: Sinfonie einer Grossstadt Berlin: Nicolai, c2002.
MAIN: DD862 .S33 2002

Strathausen, Carsten
"Uncanny Spaces: The City in Ruttmann and Vertov." In: Screening the city Edited by Mark Shiel and Tony Fitzmaurice. London ; New York: Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003

Helma Sanders-Brahms

Bammer, Angelika
"Through a Daughter's Eyes: Helma Sanders-Brahms' Germany, Pale Mother." New German Critique, No. 36, Special Issue on Heimat (Autumn, 1985), pp. 91-109
UC users only

Belgum, Kristen.
"Speaking of Death: the Revision of Women's Fate in Wolf, Sanders-Brahms, and Bachmann." Seminar: A Journal of Germanic Studies Volume 31, Number 1 / 1995

Blume, Anne Lynne
"Absent mothers, absent fathers: Aspects of German Fascism as seen through the contemporary camera (Germany, Helma Sanders-Brahms, Agniewzka Holland, Marianne S. W. Rosenbaum, Su Friedrich)" Rice University. Digital Scholarship Archive.

Brunette, Peter.
"Helma Sanders-Brahms: A Conversation." Film Quarterly. Vol. 44, No. 2, Winter, 1990-1991, pp. 34-42
UC users only

Caplan, Jane.
"Deutschland, bleiche Mutter" (Film). American Historical Review, Oct91, Vol. 96 Issue 4, p1126,
UC users only

Heidelberger-Leonard, Irène
"Brecht, Grimm, Sanders-Brahms: Drei Variationen zum selben Thema: Deutschland, bleiche Mutter." Etudes Germaniques, vol. 39, no. 1 [153], pp. 51-55, January 1984

Hyams, Barbara
"Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother." Wide Angle: A Film Quarterly of Theory, Criticism, and Practice, vol. 10, no. 3, pp. 40-51, 1988

Hyams, Barbara
"Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. New York : G.K. Hall ; London : Prentice Hall International, c1996.
Main Stack PN1993.5.G3.P42 1996

Kaes, A.
"Our childhoods, ourselves: Helma Sanders-Brahms's Germany, pale mother." In: From Hitler to Heimat : the return of history as film / Anton Kaes. Cambridge, Mass. ; London : Harvard University Press, 1989.
Main Stack PN1993.5.G3.K2913 1992
MAIN: PN1993.5.G3 K29131 1989 [earlier ed.]
MOFF: PN1993.5.G3 K2913 1989 [earlier ed.]
PFA : PN1993.5.G3 K2913 1989[earlier ed.]

Kaplan, E. Ann
"The Search for the Mother/Land in Sanders-Brahms's Germany, Pale Mother (1980." In: German film and literature : adaptations and transformations / edited by Eric Rentschler. New York : Methuen, 1986.
Main Stack PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986
PFA PN1993.5.G3.G4687 1986

Kinder, Marsha
"Ideological parody in the new German cinema: reading The State of Things, The Desire of Veronika Voss, and Germany Pale Mother as postmodernist rewritings of The Searchers, Sunset Boulevard and Blonde Venus." Quarterly Review of Film and Video XII/1-2, May 90; p.73-103.

Kosta, Barbara.
"Helma Sanders-Brahms' Germany, Pale Mother." In: Recasting autobiography : women's counterfictions in contemporary German literature and film Ithaca : Cornell University Press, 1994.

MAIN: PT735 .K68 1994
MOFF: PT735 .K68 1994

Liebman, Stuart.
"Germany, Pale Mother." Cineaste, Dec 99, Vol. 25 Issue 1, p51, 2p,
UC users only

Linville, Susan E.
"The Mother-Daughter Plot in History: Helma Sanders-Brahms's Germany, Pale Mother." New German Critique, No. 55 (Winter, 1992), pp. 51-70
UC users only

McCormick, Richard W.
"Confronting German History: Melodrama, Distantiation, and Women's Discourse in Germany, Pale Mother." In: Gender and German cinema : feminist interventions / edited by Sandra Frieden ... [et al.]. Providence : Berg, 1993.
Main Stack PN1993.5.G3.G357 1993

McCormick, Richard W.
"The politics of memory.: In: Politics of the self : feminism and the postmodern in West German literature and film / Richard W. McCormick. Princeton, N.J. : Princeton University Press, 1991
Main Stack NX180.F4.M37 1991

Möhrmann, Renate
""Germany, Pale Mother": On the Mother Figures in New German Women's Film." In: Women in German yearbook. Lanham, MD : University Press of America, 1995.
Main Stack HQ1627.W6 'The Robber Bridegroom' in Helma Sanders-Brahms's Film Deutschland, bleiche Mutter: Erzähltes Märchen und erlebtes Greuelmärchen

Morewedge, Rosmarie Thee
"'The Robber Bridegroom' in Helma Sanders-Brahms's Film Deutschland, bleiche Mutter: Erzähltes Märchen und erlebtes Greuelmärchen." In: Triangulated visions : women in recent German cinema / edited by Ingeborg Majer O'Sickey and Ingeborg von Zadow. Albany : State University of New York Press, c1998.
Main Stack PN1995.9.W6.T75 1998

Seiter, Ellen E.
"Women's History, Women's Melodrama: Deutschland, bleiche Mutter." The German Quarterly, Vol. 59, No. 4 (Autumn, 1986), pp. 569-581
UC users only

Taubeneck, Steven
"Helma Sanders Brahms: An Introduction." In: Women filmmakers : refocusing / edited by Jacqueline Levitin, Judith Plessis, and Valerie Raoul. Vancouver : UBC Press, 2002.
Main Stack PN1995.9.W6.W655 2003

Volker Schlondorff

Crowdus, Gary; Porton, Richard.
UC users only
"Coming to terms with the German past: an interview with Volker Schlondorff." Cineaste v 26 no2 2001. p. 18-23.
"An interview with German film director Volker Schlondorff on the occasion of a New York screening of The Legends of Rita, his latest film. The film deals with an actual terrorist who is given asylum by the secret police in East Germany, where she lives in complete anonymity. In the interview, Schlondorff discusses a range of topics concerning this and other films of his, including his motivation for creating a rather benign portrait of the East German secret police (the Stasi) in Legends, his collaboration with screenwriter Wolfgang Kohlhaase on the film, the model for the character of Rita, his practice of turning modernist novels into linear film narratives and critics' reaction to this, the controversy caused by his film The Tin Drum (1979), and the reaction to his portrayal of the West German tabloid press in his film The Lost Honor of Katharina Blum (1975)." [Art Abstracts]

Fleming, Bruce E.
"Thoughts and Their Discontents: 'Torless' - Book to Film." Literature-Film Quarterly v20, n2 (April, 1992):109 (6 pages).

Freyermuth, Gundolf S.
Der Ubernehmer: Volker Schlondorff in Babelsberg Berlin: Ch. Links, 1993.
MAIN: PN1998.3.S353 F74 1993

Gollub, Christian-Albrecht.
"Volker Schlondorff and Margarethe von Trotta: Transcending the Genres." In: New German filmmakers: from Oberhausen through the 1970s / edited by Klaus Phillips. pp: ; 266-302. New York: Ungar Pub. Co., c1984.
Main Stack PN1993.5.G3.N481 1984

Möller, Hans-Bernhard, et. al.
"Heroes without Compromise: An Interview with Volker Schlondorff." Journal of Film and Video v. 58 no. 3 (Fall 2006) p. 43-53
UC users only
"An interview with film director Volker Schlondorff. Part of the generation of young German directors that emerged in a movement known as New German Cinema in the 1960s, Schlondorff has directed more than 25 feature films, including Der Neunte Tag (The Ninth Day), the story of a Roman Catholic Priest sentenced to Dachau, and given the chance of freedom if he collaborates with the Nazis. He addresses the source of his interest in religion, evinced in The Ninth Day and The Enlightenment. He discusses the handling of black and white and color in the concentration camp scenes in The Ninth Day. Other topics addressed include the use of music in the film, his relationship to the younger generation of German filmmakers, and the relationship between German cinema and the French nouvelle vague between the mid 1960s and 1970s." [Art Index]

Moeller, Hans-Bernhard.
Volker Schlondorff's cinema: adaptation, politics, and the "movie-appropriate" / Hans-Bernhard Moeller and George Lellis. Carbondale: Southern Illinois University Press, c2002.
Main Stack PN1998.3.S353.M64 2002

Volker Schlondorff. (interview with German film director)(Interview) Unesco Courier (July-August, 1995):77 (3 pages).

William, Jennifer Marston.
"When West meets East and decides to stay: Shared historical experience in Volker Schlondorff's Die Stille nach dem Schuss (The legend of Rita, 2000)." German Studies Review 28.1 (Feb 2005): 127(14).
German-German history is not strictly divided into East and West in Volker Schlondorff's film 'Die Stille nach dem Schuss', yet both sides retain their unique identities. Throughout the film various details of props, scenery, and characterization reinforce this sense of a shared yet differentiated historical experience.

Handmaid's Tale

Aufderheide, Pat.
"The Handmaid's Tale: A Film." Christianity and Crisis 50.n7 (May 14, 1990): 158(3).

Baumann, Paul.
"The Handmaid's Tale." Commonweal 117.n8 (April 20, 1990): 257(2).

Calleri, Michael.
"The Handmaid's Tale." The Humanist 50.n3 (May-June 1990): 26(4).

Clute, John.
"The Handmaid's Tale." Times Literary Supplement n4570 (Nov 2, 1990 n4570): 1181(1).

Doerr, Edd.
"The Handmaid's Tale." The Humanist 50.n3 (May-June 1990): 25(1).

Rainer, Peter.
"The Handmaid's Tale." American Film 15.n12 (Sept 1990): 60(1).

Lost Honor of Katarina Blum

Callenbach, Ernest.
"Whose lost honour? A study of the film adaptation of Boll's 'The Lost Honour of Katharina Blum.'." Film Quarterly 38 (Summer 1985): 38(1).

Cetinich, D.
"The Lost Honor of Katharina Blum" Jump Cut nr 19 (Dec 1978); p 4-5
The lost honor of Katharina Blum: Who's the terrorist in West Germany?

Falcon, Richard
"That Obscure Object of Redemption or 'Reality' in Two Adaptations of Heinrich Böll." University of Dayton Review, vol. 24, no. 3, pp. 163-71, Summer 1997

Friedman, Lester D.
"Cinematic techniques in 'The lost honour of Katharina Blum'." Literature/Film Quarterly Vol VII nr 3 (1979); p 244-252
Analysis of 'Der verlorene Ehre der Katharina Blum' as an adaptation of Böll's novel.

Helmetag, Charles H.
"The lost honor of Kathryn Beck: a German story on American television." Literature/Film Quarterly Vol XIII nr 4 (Oct 1985); p 240-244
Compares US tv film 'The lost honor of Kathryn Beck' with Heinrich Böll's book 'Die verlorene Ehre der Katharina Blum' and Schlöndorff's film adaptation.

Seibel, Alexandra
"The Carnival of Repression: German Left-Wing Politics and The Lost Honor of Katharina Blum." In: Literature and film : a guide to the theory and practice of film adaptation / edited by Robert Stam, Alessandra Raengo. Malden, MA : Blackwell, 2005.
Main Stack PN1997.85.L515 2005

Wallach, Martha
"Ideal and Idealized Victims: The Lost Honor of the Marquise von O., Effi Briest, and Katharina Blum in Prose and Film." Women in German Yearbook, vol. 1, pp. 61-75, 1985.

Williams, Eric; Glatz, Lawrence
"Cinema and the Feminine Threat: The Lost Honor of Katharina Blum and A Taxing Woman." In: Significant others : gender and culture in film and literature, East and West : selected conference papers / edited by William Burgwinkle, Glenn Man, Valerie Wayne. Honolulu, Hawaii : College of Languages, Linguistics, and Literature, University of Hawaii : East-West Center, c1993.
Main Stack PN1993.5.A75.S44 1993

Zipes, Jack
"The Political Dimensions of The Lost Honor of Katharina Blum." In: Perspectives on German Cinema Edited by Terri Ginsberg and Kirsten Moana Thompson. New York: G.K. Hall; London: Prentice Hall International, c1996.Series title: Perspectives on film.
UCB Main PN1993.5.G3 P42 1996

Zipes, Jack
"The Political Dimensions of The Lost Honor of Katharina Blum." New German Critique: An Interdisciplinary Journal of German Studies, vol. 12, pp. 75-84, Fall 1977
UC users only

The Tin Drum

Coury, David
"Transformational Considerations in the Filmic Adaptation of Günter Grass' Die Blechtrommel." New German Review: A Journal of Germanic Studies, vol. 8, pp. 74-84, 1992

Hall. C.
"A Different Drummer - The 'Tin Drum' Film and Novel." Literature-Film Quarterly, 1990, V18 N4:236-244.

Hamilton, Elizabeth C.
"Deafening Sound and Troubling Silence in Volker Schlöndorff's Die Blechtrommel." In: Sound matters : essays on the acoustics of modern German culture / edited by Nora M. Alter and Lutz Koepnick. New York : Berghahn Books, 2004.
Music ML3845.S6835 2004

Head, David
"Volker Schlöndorff's Die Blechtrommel and the 'Literaturverfilmung' Debate." German Life and Letters, vol. 36, no. 4, pp. 347-367, Summer 1983

Hughes, John
"The Tin Drum": Volker Schlöndorff's "Dream of Childhood" Film Quarterly, Vol. 34, No. 3. (Spring, 1981), pp. 2-10.
UC users only

Schinto, Jeanne
"Words into Movies: The Tin Drum and The Left-Handed Woman." Cimarron Review, vol. 55, pp. 57-61, Spring 1981

Douglas Sierck (Sirk)

See Douglas Sirk bibliography

Wolfgang Staudte

Byg, Barton.
"Nazism as Femme Fatale: Recuperations of Cinematic Masculinity in Postwar Berlin." In:Gender and Germanness: cultural productions of nation / edited by Patricia Herminghouse and Magda Mueller. pp: 176-88. Providence [R.I.]: Berghahn Books, 1997. Modern German studies ; v. 4.
Main Stack PT111.G46 1997

Fisher, Jaimey.
"Who's Watching the Rubble-Kids? Youth, Pedagogy, and Politics in Early DEFA Films." New German Critique. 82:91-125. 2001 Winter

Netenjakob, Egon
Staudte / Egon Netenjakob u.a. ; herausgegeben von Eva Orbanz und Hans Helmut Prinzler ; mit einem Nachwort von Heinz Ungureit. Berlin: Edition Filme im Wissenschaftsverlag V. Spiess, c1991. Edition Filme ; 6
Main Stack PN1998.3.S72.N4 1991

Palmer, Angela.
"The Birth of Remembering: Wolfgang Staudte's Die Morder sind unter uns." (The Murderers Are among Us 1946) Kinoeye. 3(11):(no pagination). 2003 Oct 13

Shandley, Robert R.
"Rubble canyons: 'Die Morder sind unter uns' and the Western." (Critical Essay) The German Quarterly Spring 2001 v74 i2 p132(16)
UC users only
"'Die Morder sind unter uns' by Wolfgang Staudte was the first German film following World War II, and it needed a coherent approach to portray the moral questions raised by recent events. Staudte used conventions generally associated with the Hollywood western to accomplish this task." [Expanded Academic Index]

Silberman, Marc.
"'Semper Fidelis': Staudte's The Subject (1951)." In: German film and literature: adaptations and transformations / edited by Eric Rentschler. pp: 146-160. New York: Methuen, 1986.
Main Stack PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986

Stein, Elliott
"Film: Rubble Indemnities: Trans-Europe Express." The Village Voice 47:15: [16 April 2002] p. 122
UC users only
Briefly reviews several films that will be screened as part of the "After the War, Before the Wall: German Cinema, 1945-60," film series at the Walter Reade Theater in New York City from April 12-May 5, 2002, including Wolfgang Staudte's "Die M?rder sind unter uns" ("The Murderers Are Among Us"), G?za von Radv?nyi's "Der Arzt von Stalingrad" ("The Doctor of Stalingrad"), based on the novel by Heinz G. Konsalik, Willi Forst's "Die S?nderin" ("The Sinner"), and Kurt Hoffmann's "Ich denke oft an Piroschka" ("I Often Think of Piroschka"), based on the novel by Hugo Hartung.

Wolfgang Staudte
Red., Eva Orbanz ; mit Beitr. von Heinz Kersten,Katrin Seybold, Egon Netenjacob ;... 3., verb. u. erg. Aufl. Berlin: Spiess, 1977.
Main Stack PN1998.A3S73 1977

Hans-Jurgens Syberberg

Berman, Russell A.
"Hans-Jyrgen Syberberg: Of Fantastic and Magical Worlds." In: New German filmmakers: from Oberhausen through the 1970s / edited by Klaus Phillips. pp: 359-378. New York: Ungar Pub. Co., c1984.
Main Stack PN1993.5.G3.N481 1984

Brockmann, Stephen.
"Syberberg's Germany." German Quarterly v69, n1 (Wntr, 1996):48 (15 pages).
"Hans Jurgen Syberberg has been a prolific thinker on modern German identity. His 'Hitler, ein Film aus Deutschland' was a very personal vision of German history. The film's portrayal of Hitler as having destroyed the country's culture allowed the Germans to think of themselves as Hitler's victims as well. Syberberg's 1990 book 'Vom Ungluck und Gluck der Kunst in Deutschland nach dem letzten Kriege' indicts the postwar culture of West Germany, calling it superficial and Americanized. Syberberg is similar in many ways to well-known conservatives on the German political scene." [Expanded Academic Index]

Buruma, Ian.
"There's No Place Like Heimat."(Nazism and the work of film director Hans Jurgen Syberberg and novelist Christa Wolf) New York Review of Books v37, n20 (Dec 20, 1990):34 (7 pages).

Corrigan, Timothy.
New German film: the displaced image / Timothy Corrigan. Rev. ed. Bloomington: Indiana University Press, c1994.
Main Stack PN1993.5.G3.C67 1994

Creekmur, Corey K.
"The Cinematic Photograph and the Possibility of Mourning." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 9(1):41-49. 1987

Diederichsen, D.
"Spiritual Reactionaries After German Reunification: Syberberg, Foucault, and Others."October, 1992 Fall, N62:65-83.

Elsaesser, Thomas.
"Hitler, Ein Film aus Deutschland." (Hitler, a Film from Germany) (movie reviews) Sight and Sound v2, n5 (Sept, 1992):49 (2 pages).

Elsaesser, Thomas.
"Myth as the Phantasmagoria of History: H. J. Syberberg, Cinema and Representation." New German Critique. 24-25:108-154. 1981-1982 Fall-Winter
UC users only

Erkkila, Betsy.
"Hans-Jyrgen Syberberg: An Interview." Literature-Film Quarterly. 10(4):206-218. 1982

Imbeault, Jean; D. Nicholson-Smith, M.N. Rublowska.
"The Hitlerian superego - an introduction." (issue title: 'Psychoanalysis in Left Field') (Cover Story) American Imago, Summer94, Vol. 51 Issue 2, p197, 16p American Imago Summer 1994 v51 n2 p197(16) (6136 words)
"The author's childhood denial of the implications of the invasion of Normandy prompts an essay on the development of psychoanalytic theory. The phenomenon of Hitlerism, especially its murderous racism, is analyzed in terms of the film 'Hitler, ein Film aus Deutschland' by Hans-Jurgen Syberberg. Normandy and Hitlerism are found to represent the essential denial inherent in civilization: its denial of man's inherently violent nature." [Expanded Academic Index]

Jameson, Fredric.
"'In the Destructive Element Immerse': Hans-Jyrgen Syberberg and Cultural Revolution." In: Perspectives on German Cinema
Edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 508-25. New York: G.K. Hall; London: Prentice Hall International, c1996.Series title: Perspectives on film.
UCB Main PN1993.5.G3 P42 1996

Koshar, Rudy.
"Hitler: A Film from Germany (Our Hitler)." (video recording reviews)American Historical Review v96, n4 (Oct, 1991):1122 (3 pages).

Miller, David.
"Lost Life: Syberberg's 'Hitler, a Film from Germany'." Origin: Fifth Series. 2:55-61. 1983 Winter

Monaco, Paul.
"Across the Great Divide: Young German Cinema in the 1970s." Mundus Artium: a Journal of International Literature & the Arts. 11(2):42-51. 1979

Mueller, Roswitha.
"Hans-Jyrgen Syberberg's Hitler: An Interview-Montage." Discourse. 2:60-82. 1980 Summer

Pott, Heleen J.
"The Politics of Melancholy." In International Association for Semiotic Studies. Congress (5th: 1994: University of California, Berkeley) Semiotics around the world: synthesis in diversity: proceedings of the Fifth Congress of the International Association for ... Berlin ; New York: Mouton de Gruyter, 1997. Approaches to semiotics ; 126
Grad Svcs P99.I57 1994 Non-circulating; may be used only in Graduate Services. Library has: v.1-2 (1997)
Main Stack P99.I57 1994

Romney, Jonathan
"Hitler, a Film from Germany." (movie reviews) New Statesman & Society Sept 4, 1992 v5 n218 p36(1)

Santner, Eric L..
"The Trouble with Hitler: Postwar German Aesthetics and the Legacy of Fascism." New German Critique. 57:5-24. 1992 Fall

Sharrett, Christopher.
"Sustaining Romanticism in a Postmodernist Cinema: An Interview with Hans-Jurgen Syberberg." Cineaste. 15(3):18-20. 1987

Snell, Marilyn Berlin.
"Germany's Heart: The Modern Taboo." (interview with German filmmaker Hans Jurgen Syberberg) (What Remains of the German Essence?) (Interview)New Perspectives Quarterly v10, n1 (Wntr, 1993):20 (6 pages).
"Writer and filmmaker Hans Jurgen Syberberg was interviewed on his views regarding the German essence and other social issues confronting Germany after the unification. He says that Hitler was Germany's tragedy since he came to symbolize the country's ills and his memory continue to shape the country's future to some extent." [Expanded Academic Index]

Snell, Marilyn Berlin.
"Germany's New Nostalgia: How Benign?" (Interview) Harper's Magazine v286, n1714 (March, 1993):18 (4 pages).
UC users only

Syberberg, Hans Jurgen
Hitler, a Film From Germany / Hans-Jurgen Syberberg; preface by Susan Sontag; translated by Joachim Neugroschel. New York: Farrar Straus & Giroux, c1982.
Main PN1997 .H5513 1982
Moffitt PN1997 .H5513 1982

Van Gelder, Lawrence
"Our Hitler." (moving-picture)_(movie reviews) . The New York Times Jan 13, 1980 v129 s2 pD1 col 5 (53 col in)

Monika Treut

See Gay/Lesbian Cinema Bibliography

Tom Tykwer

Falcon, Richard.
"Run Lola run/Lola rennt." (Review) (movie reviews) Sight and Sound v9, n11 (Nov, 1999):52 (1 page).

Maslin, Janet.
"Run Lola run." (Review) (movie reviews) New York Times, sec0 (Fri, Dec 17, 1999):B32(N), E38(L), col 5, 3 col in.

Flinn, Caryl.
"Restaging History with Fantasy: Body, Camp, and Sound in the Films of Treut, Ottinger, and von Praunheim." In: The new German cinema: music, history, and the matter of style Berkeley: University of California Press, c2004.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1993.5.G3 F57 2004
Moffitt PN1993.5.G3 F57 2004

Maslin, Janet.
"A dangerous game with several endings." (movie review) The New York Times March 26, 1999 pB15(N) pE15(L) col 3 (17 col in)

"Melodrama's Other: Entrapment and Escape in the Films of Tom Tykwer." Camera Obscura no. 62 (2006) p. 108-43

Mitchell, Elvis.
"Marathon woman." ('Run Lola Run')(Fashions of the Times: Fashion Goes to the Movies) New York Times Magazine (Sun, Feb 20, 2000):162, col 1, 5 col in.

Moller, Olaf.
"Film critic Olaf Moller reflects on the current state of German cinema in the wake of Run Lola Run." Film Comment v 37 no3 May/June 2001. p. 11-13.
UC users only
"In Germany itself and overseas, contemporary German cinema essentially means Tom Tykwer. Many are delighted thatGermany at last has a young filmmaker with major internationalappeal and popular and critical success. A handful of observers,however, believe that Tykwer symbolizes all that went wrong withGerman cinema in the 1990s. Talent was never a difficulty--Germanyhad talent in such abundance that it could afford to allow someof the lesser stars to go to Hollywood. The problem is thatindividual talent and vision have been fundamentally erased from the equation for producing good cinema, and "successful" has replaced "good." The writer discusses the true hope andbeauty of German cinema, which lies with a group of former studentsof the DFFB, the German Film and Television School in Berlin."[Art Abstracts]

Nichols, Peter M.
"The 'Winter' before 'Lola'." ('Run, Lola, Run')(Review) (movie review) New York Times (Fri, Oct 27, 2000):B28(N), E32(L), col 4, 9 col in.

O'Sickey, Ingeborg Majer.
"Whatever Lola Wants, Lola Gets (Or Does She?): Time and Desire in Tom Tykwer's Run Lola Run." Quarterly Review of Film & Video. 19(2):123-31. 2002 Apr-June

Rainer, Peter.
"Run Lola Run." (Review) (movie review) New York v32, n24 (June 21, 1999):60 (2 pages).

Roman, Monica
"X-Filme makes a Run for independence." ("Run Lola Run" creators X-Filme Creative Pool)(and Tom Tykwer shunned Hollywood agents at)(Sundance Film Festival)(Brief Article) MONICA ROMAN. Variety March 22, 1999 v374 i5 p13(1)

Whalen, Tom.
"Run Lola Run." (Review) (movie review) Film Quarterly v53, n3 (Spring, 2000):33.
UC users only

Yacowar, Maurice.
"Run Lola Run: Renn for Your Life." Queen's Quarterly. 106(4):557-64. 1999 Winter.

Josef Von Sternberg

Books
Journal Articles

Articles and Books on Individual films

Movies by Director videography for works of Wilder in MRC
Videos on film and film history

Books

Bach, Steven.
Marlene Dietrich: life and legend / Steven Bach. 1st Da Capo Press ed. [New York?]: Da Capo Press, 2000.
Morrison Rm PN2658.D5.B3 2000

Baxter, John
The cinema of Josef von Sternberg. London, Zwemmer; New York, A. S. Barnes, 1971. Series title: The International film guide series.
UCB Main PN1998.A3 V63 B3
UCB Moffitt PN1998.A3 V613

Baxter, John
"Josef Von Sternberg. The Sternberg style." In: Great film directors: a critical anthology / edited by Leo Braudy and Morris Dickstein New York: Oxford University Press, 1978
Main Stack PN1998.A2.G74

Baxter, Peter
Just watch!: Sternberg, Paramount and America / Peter Baxter. London: British Film Institute, 1993.
UCB Main PN1998.3.V66 B39 1993

Bowman, Barbara.
Master space: film images of Capra, Lubitsch, Sternberg, and Wyler / Barbara Bowman. New York: Greenwood Press, 1992. Series title: Contributions to the study of popular culture no. 31.
UCB Main PN1995.9.P7 B64 1992
UCB Moffitt PN1995.9.P7 B64 1992

Bronfen, Elisabeth.
" Vertreibung aus dem vertrauten Heim: Der blaue Engel (Josef von Sternberg)." In: Heimweh: Illusionsspiele in Hollywood / Elisabeth Bronfen. Berlin: Volk & Welt, c1999.
Main Stack PN1994.B719 1999

DelGaudio, Sybil
Dressing the part: Sternberg, Dietrich, and costume / Sybil DelGaudio. Rutherford: Fairleigh Dickinson University Press; London; Cranbury, NJ: Associated University Presses, c1993.
UCB Main PN1998.3.V66 D4 1993

Dietrich, Marlene.
Nehmt nur mein Leben ...: Reflexionen / Marlene Dietrich. Munchen: Bertelsmann, 1979.
Main Stack PN2658.D5.A331 1979

Durgnat, Raymond.
"Six films of Josef von Sternberg." In: Movies and methods: an anthology / edited by Bill Nichols. Berkeley: University of California Press, c1976
Main Stack PN1994.M71 Library has: v.1-2 (1976-1985)

Frewin, Leslie Ronald
Dietrich: the story of a star / Leslie Frewin. Completely rev. ed. London: L. Frewin, 1967.
UCB Main PN2658.D5 F7 1967

Gems, Pam.
Marlene / Pam Gems. London: Oberon Books, 1998, c1996. Series title: Oberon modern plays.
UCB Main PR6057.E515 M3 1998

Hall, Kenneth E.
"Von Sternberg, Lubitsch, and Lang in the Work of Manuel Puig." Literature/ Film Quarterly, vol. 22 no. 3. 1994. pp: 181-86.

Heinzlmeier, Adolf.
Marlene: die Biografie / Adolf Heinzlmeier. Hamburg: Europa Verlag, c2000. Europa Filmbibliothek
Main Stack PN2658.D5.H45 2000

"Josef Von Sternberg." In: Great film directors: a critical anthology / edited by Leo Braudy and Morris Dickstein New York: Oxford University Press, 1978
Main Stack PN1998.A2.G74

VIDEORECORDING
Josef Von Sternberg / [presented by] Camera Three. Kent, CT: Creative Arts Television, [199-?]. 1 videocassette (28 min.): sd., b&w; 1/2 in. VHS.
UCB Media Ctr VIDEO/C 4611

Knopp, Guido
Hitlers Frauen und Marlene / Guido Knopp ; in Zusammenarbeit mit Alexander Berkel ... [et al.] ; Dokumentation,... 1. Aufl. Munchen: Bertelsmann, 2001.
Main Stack DD247.H5.K56 2001

Kobal, John.
Marlene Dietrich. London, Studio Vista, 1968. Series title: Studio Vista/Dutton pictureback.
UCB Main PN2658.D5 K6

Kreutzer, Hermann
Ein Koffer in Berlin: Marlene Dietrich-- Geschichten von Politik und Liebe / Hermann Kreutzer, Manuela Runge. 1. Aufl. Berlin: Aufbau Taschenbuch Verlag, 2001.
Main Stack PN2658.D5.K74 2001

Liebmann, Robert.
The Blue Angel: an authorized translation of the German continuity. London, Lorrimer Publishing Co., 1968.
Main Stack PN1997.B55.L5613
Main Stack PN1997.L5613 1968b

Marlene Dietrich: eine Chronik ihres Lebens in Bildern und Dokumenten
von Renate Seydel ; gestaltet von Bernd Meier. ... Munchen: Nymphenburger Verlagshandlung, c1984.
Main Stack PN2658.D5.M381 1984

Merigeau, Pascal.
Josef Von Sternberg / Pascal Merigeau. [Paris]: Edilig, [1983]. Series title: Filmo 3.
NRLF B 3 414 756

VIDEORECORDING
A personal journey with Martin Scorsese through American movies / a BFI TV production for Channel 4 in association with Miramax Films. Santa Monica, CA: Voyager Company: Buena Vista Home Entertainment, [2000?].2 videodiscs (226 min.): sd., col. and b&w; 4 3/4 in.DVD.Series title: Century of cinema.
UCB Media Ctr DVD 354

Rosenbaum, J.
"Sternberg's sayonara gesture." Film Comment v. 14 (January 1978)p. 56-9

Salber, Linde.
Marlene Dietrich / dargestellt von Linde Salber. Originalausg. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, c2001. (Series: Rowohlts Monographien ; 50436)
Main Stack PN2658.D5.S25 2001

Sarris, Andrew.
The films of Josef von Sternberg. New York, Museum of Modern Art; distributed by Doubleday, Garden City, N.Y. [1966].
UCB Main PN1998.A3 V63 S3
UCB Moffitt PN1998.A3 V612

Sarris, Andrew.
"Josef Von Sternberg." In: "You ain't heard nothin' yet": the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York: Oxford University Press, 1998.
UCB MainPN1995.7.S27 1998
Moffitt PN1995.7.S27 1998

Spoto, Donald
Blue angel: the life of Marlene Dietrich / Donald Spoto. 1st ed. New York: Doubleday, c1992.
UCB Main PN2658.D5 S59 1992
UCB Moffitt PN2658.D5 S59 1992

Spoto, Donald
Falling in love again, Marlene Dietrich / Donald Spoto. 1st ed. Boston : Little, Brown, c1985.
UCB Main PN2658.D5 S61 1985

Sternberg
Edited by Peter Baxter. London: BFI Pub., 1980.
UCB Main PN1998.A3 .V5864
UCB Moffitt PN1998.A3 .V5864

Studlar, Gaylyn.
In the realm of pleasure: Von Sternberg, Dietrich, and the masochistic aesthetic / Gaylyn Studlar. Urbana: University of Illinois Press, c1988.
UCB Main PN1995.9.M38 S781 1988
UCB Moffitt PN1995.9.M38 S78 1988

Sudendorf, Werner
Marlene Dietrich / von Werner Sudendorf. Munchen: Deutscher Taschenbuch Verlag, 2001. DTV Portrait.
Main Stack PN2658.D5.S83 2001

Von Sternberg, Josef
Fun in a Chinese laundry. New York, Macmillan [c1965].
UCB Main PN1998.A3V6
UCB Moffitt PN1998.A3V6

Von Sternberg, Josef
Fun in a Chinese laundry / Josef von Sternberg; foreword by Gary Cooper.San Francisco: Mercury House; New York, N.Y.: Distributed to the trade by Kampmann, 1988, c1965.Series title: The Lively arts.
UCB Moffitt PN1998.3.V66 A3 1988

Wiebrecht, Ulrike.
Blauer Engel aus Berlin: Marlene Dietrich / Ulrike Wiebrecht. Berlin: be.bra, c2001.
Main Stack PN2658.D5.W542 2001

Weinberg, H.G.
"Has Von Sternberg discovered a Japanese Dietrich?." Theatre Arts v. 37 (August 1953) p. 26-9

Who the devil made it: conversations with Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef von Sternberg,Frank Tashlin, Edgar G. Ulmer, Raoul Walsh 1st ed. New York: Alfred A. Knopf, 1997.
UCB Main PN1995.9.P7 B58 1997
UCB Moffitt PN1995.9.P7 B58 1997

Zucker, Carole.
The idea of the image: Josef von Sternberg's Dietrich films / Carole Zucker. Rutherford: Fairleigh Dickinson University Press; London; Cranbury, NJ: Associated University Presses, c1988.
UCB Main PN1998.A3 V6191 1988

Journal Articles

Cameron, Evan William
"Divergence of cinematographic from photographic lighting techniques 1930-1945." Image (Rochester, NY) v 26 Mar 1983. p. 19-23
Includes: Von Sternberg, Josef: p. 23-4

Dyer, Peter John
"Epic that never was: Sternberg's I, Claudius." Sight and Sound v 35 no1 Winter 1965/1966. p. 45

Gallagher, Tag
"Josef von Sternberg." Senses of Cinema

Hall, Kenneth E.
"Von Sternberg, Lubitsch, and Lang in the work of Manuel Puig." (Josef Von Sternberg, Ernst Lubitsch, and Fritz Lang) Literature-Film Quarterly v22, n3 (July, 1994):181 (6 pages).
The writing of Manuel Puig was influenced by the film directions of Josef Von Sternberg, Ernst Lubitsch, and Fritz Lang. Von Sternberg provides atmosphere and star treatment of women. Lubitsch provides a light comedic touch and crystallization of situations. Lang provides serious looks at troubled characters and also a focus on objects. While Puig has mentioned the three directors, scholars have missed the influences." [Magazine Index]

Harrington, Curtis
"An Index To The Films Of Josef Von Sternberg." Sight and Sound, Special Supplement: Index Series 17 (1949:Feb.)

Hayne, Barrie.
"Sociological Treatise, Detective Story, Love Affair: The Film Versions Of An American Tragedy." Canadian Review of American Studies 1977 8(2): 131-153.
"Paramount Studios purchased filming rights to An American Tragedy (1926) by Theodore Dreiser (1871-1945) and produced a film in 1931. Dreiser unsuccessfully objected to scriptwriter Joseph von Sternberg's version. Paramount's new version in 1951, A Place in the Sun, stressed romance and ignored the social realism in Dreiser's novel. The earlier version by von Sternberg had conveyed most of Dreiser's social and psychological messages." [America History and Life]

Jenkinson, Philip.
"Von Sternberg's last interview. (Interview) Film Culture, n76 (June, 1992):40 (4 pages).
"A verbatim account of a conversation with von Sternberg, which was actually the last interview he granted, is presented. The director, famous for such works as 'Morocco,' 'The Devil is a Woman' and 'The Saga of Anatahan,' spoke about his directing style, the depth in his films, his book, the actors and actresses he worked with and various other topics. He died two years after the interview." [Magazine Index]

Kohn, O.
"Dietrich,Marlene In The Universe Of Josef,Von Sternberg. Positif, Oct, 1992(N380):79-81. Language: French

Luft, Herbert G,
"Josef von Sternberg: impressions and remembrances." (with filmography) Films in Review v 32 Jan 1981. p. 1-16

Lyons, T. J.
"Josef von Sternberg and The woman of the sea (1926)." Film Culture no53/55 Spring 1972. p. 271-2

Martin, Adrian
"Dietrich and Sternberg: The Fallen Angels." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema.

"Masochismus."
Frauen und Film nr 39 (Dec 1985); p 3-81.
On masochism in films, with articles on directors Josef von Sternberg and Valie Export, and discussions of the films "Queen Kelly", "Raw deal" and "Letter from an unknown woman".

Naremore, James.
"Marlene Dietrich." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 7:(no pagination). 2000 June. 3072, Australia
"Dietrich and Sternberg: The Fallen Angels." Senses of Cinema

Rheuban, Joyce
"Josef von Sternberg: the scientist and the vamp." Sight and Sound v 42 no1 Winter 1972/1973. p. 34-40

Taylor, John Russell
"Paramount." Films and Filming no[357] June 1984. p. 7-10

Toles, George E.
"This may hurt a little: the art of humiliation in film." Film Quarterly v 48 Summer 1995. p. 2-14
"Narrative films abound in humiliation scenes. Their structure commonly traces a movement from a scalding exposure to a partial replenishment of dignity. The hole that has burned open in a character's self-image is usually closed up by a surge of spectator sympathy/identification that has been orchestrated by the director. The camera takes the audience to the edge of what it can bear to witness of another's writhing in shame, then answers its need for a reprieve, providing some sort of image protection or veiling which the audience is tempted to regard as its own doing. The writer offers detailed examples of the mechanism of humiliation in the following films: The Best Years of Our Lives (William Wyler, 1946); The Tenant (Roman Polanski, 1976); Humoresque (Jean Negulesco, 1946); and The Blue Angel (Josef von Sternberg, 1930)." [Art Index]

Weinberg, Herman G.
"Joseph Von Sternberg." Sight and Sound v 36 no2 Spring 1967. p. 103-4

Willis, Don
"Sternberg: the context of passion." Sight and Sound v 47 no2 Spring 1978. p. 104-9

Wood, R.
"Venus de Marlene." Film Comment v. 14 (March 1978) p. 58-63

Zucker, Carole
"Some observations on Sternberg and Dietrich." Cinema Journal v 19 no2 Spring 1980. p. 17-24

Journal Articles and Books About Individual Films

Blonde Venus

Canby, Vincent
"Blonde Venus." New York Times v136, sec2 (May 17, 1987):H30(N), H30(L)

Currie, Hector
"The schematized vision of Josef von Sternberg in Blonde Venus."In:Cinema drama schema: eastern metaphysic in Western art / Hector Currie. p. 138-48. New York: Philosophical Library, c1985.
UCB Moffitt PN1892 .C8 1985

Jacobs, Lea.
"The censorship of Blonde Venus: textual analysis and historical method." Cinema Journal v 27 Spring 1988. p. 21-31.
This essay explores the effects of industry censorship through an examination of the evolution of the script for Josef von Sternberg's "Blonde Venus". It relates censorship logic to particular formations of gender and family roles

The Blue Angel

Andrews, Warren
"The Blue Angel." Films in Review 10:8 (1959:Oct.) 493

Atkinson, Michael
"The wages of original sin."The Village Voice; Jul 17, 2001;

Baxter, Peter.
"The Blue Angel." (motion picture)(Review) Sight and Sound v11, n11 (Nov, 2001):65 (1 page).

Baxter,P.
"On the Naked Thighs of Miss Dietrich." Wide Angle II/2, 78; p.18-25. illus.
Discusses the sexual implications of Marlene Dietrich's image in films, esp. 'Der Blaue Engel'.

Blair, John.
"Colonialism in Josef von Sternberg's Der blaue Engel." West Virginia University Philological Papers. 50: 53-59. 2003.

The Blue Angel / the novel by Heinrich Mann; the film by Josef von Sternberg. Combined ed. New York: F. Ungar Pub. Co., c1979. Series title: Ungar film library.
UCB Main PT2625.Ma43 .P72 1979

Bronfen, Elisabeth.
"Vertreibung aus dem vertrauten Heim: Der blaue Engel." In: Heimweh: Illusionsspiele in Hollywood / Elisabeth Bronfen. pp: 95-142 Berlin: Volk & Welt, c1999.
UCB Main PN1994 .B719 1999

Bronfen, Elisabeth.
"Seductive Departures of Marlene Dietrich: Exile and Stardom in the Blue Angel." New German Critique: An Interdisciplinary Journal of German Studies. 89: 9-31. 2003 Spring-Summer.

Coates, Paul.
"The Cold Heaven of the Blue Angel: Dietrich, Masochism and Identification Discours Social/Social."Discourse: Analyse du Discours et Sociocritique des Textes/Discourse Analysis & Sociocriticism of Texts. 2 (1-2):59-68. 1989 Spring-Summer.

Davidson, D.
"From Virgin to Dynamo: the 'Amoral Woman' in European Cinema." Cinema Journal XXI/1, Fall 81; p.31-58. illus.
Discusses the role of the sexually-unrepressed woman in films, esp. in "Die Buchse der Pandora", "Der Blaue Engel" and "Jules et Jim".

Hogue, Peter.
"True Blue." Film Comment v30, n2 (March-April, 1994): 38 (5 pages).

Firda, Richard Arthur
"Literary Origins: Sternberg's Film;The Blue Angel;". Literature/Film Quarterly 7:2 (1979) 126

Hogue, Peter.
"True Blue." (director Josef von Sternberg's original cut of 'The Blue Angel') Film Comment v30, n2 (March-April, 1994): 38 (5 pages).
"At least three different versions of Josef von Sternberg's 1930 film The Blue Angel are still in circulation. The new Kino videocassette of the film is the complete version in German, with subtitles. The most widely circulated print, apparently dating from a 1947 U.S. rerelease, is missing about ten minutes of material from the original, transposes some key details, and rearranges the final scenes; it is also in German, but it has briefer, differently translated subtitles. A third version was filmed in English at the same time as the German-language original. The long version of The Blue Angel has a brooding, seductive pace, and the power of its emotional and social-psychological paradoxes is undiminished. The shorter versions are stunted in crucial ways and lose track of the original's tragic and sardonic intensity, although each of them provides an instructive insight into the creative process of film." [Art Index]

Kauffmann, Stanley.
"On Films - Polishing a Gem."('The Blue Angel') New Republic (July 30, 2001):28.

Knox, E. V.
"At the Pictures-The Blue Angel." Punch 179 (1930:July/Dec.) 218

Koch, Gertrude. Horak, Jan-Christopher (tr.).
"Between Two Worlds: Von Sternberg's The Blue Angel." In: German film and literature: adaptations and transformations / edited by Eric Rentschler. pp: 60-72 New York: Methuen, 1986.
Main Stack PN1993.5.G3.G361 1986
Moffitt PN1993.5.G3.G36 1986 . 1986

Liebmann, Robert.
The Blue Angel: An Authorized Translation of the German Continuity. London, Lorrimer Publishing Co., 1968.
UCB Main PN1997.B55 L5613; PN1997 .L5613 1968b
UCB Moffitt PN1997.B55 L5613

Liebmann, Robert.
The Blue Angel; A Film by Josef von Sternberg. An authorized translation of the German continuity. New York, Simon and Schuster [1968]. Series title: Classic film scripts.
UCB Main PN1997.B55 L5613

Liebman, Stuart
"Weimar cinema's greatest hits -- Berlin: Symphony of a Great City directed by Walther Ruttman / The Blue Angel directed by Josef von Sternberg / The Cabinet of Dr. Caligari directed by Robert Wiene / and others."Cineaste 1995; Vol. 21, Iss. 3; pg. 50
UC users only

Mayne, Judith.
"Marlene Dietrich, The Blue Angel, and Female Performance." In: Seduction and theory: readings of gender, representation, and rhetoric / Dianne Hunter, editor. pp: 28-46. Urbana: University of Illinois Press, c1989.
Educ/Psych BF637.S36.S43 1989
Main Stack BF637.S36.S43 1989

Porter, H. C.
"The Blue Angel." Cambridge Review 76 (1954:Oct.-1955:June) 323

Petro, Patrice
"The Blue Angel in Multiple-Language Versions: The Inner Thighs of Miss Dietrich." In: Dietrich icon / Gerd Gemünden and Mary R. Desjardins, editors. Durham : Duke University Press, 2007.
PFA PN2658.D5.D55 2007

Russell, Francis
"The Blue Angel - then and now." National Review 7:26 (1959:Oct. 10) 400

Spoto, Donald
Blue Angel: The Life of Marlene Dietrich / Donald Spoto. 1st ed. New York: Doubleday, c1992.
UCB Moffitt PN2658.D5 S59 1992

Wagner, Geoffrey.
"The Blue Angel: A Reconsideration." Film Quarterly 6 (1951/1952) 48
UC users only

Weisstein, U.
"Professor Unrat and The Blue Angel: Translations and Adaptations of Heinrich Mann's Novel in Two Media." Film Journal I/3-4, Fall-Winter 72; p.53-61.
Discusses the changes made in the original novel through its translation into two film versions and into other languages.

Devil Is a Woman

Wilson, George M.
"Josef von Sternberg's The devil is a woman." In: Wilson, George M. Narration in light: studies in cinematic point of view / George M. Wilson. p. 145-65. Baltimore: Johns Hopkins University Press, c1986.
UCB Main PN1995 .W5841 1986
UCB Moffitt PN1995 .W5841 1986

Morocco

Gallagher, Tag
"Josef von Sternberg." Seneses of Cinema Issue 19 March-April 2002

Quenin, F.
'Morocco' Historia (657): 9-9 SEP 2001 Language: French

Scarlet Empress

Murphy, Kathleen
"Portrait of a lady (times) 2 -- The Earrings of Madame de ... directed by Max Ophuls and starring Danielle Darrieux / The Scarlet Empress directed by Josef Von Sternberg and starring Marlene Dietrich." Film Comment, Jul 1993; Vol. 29, Iss. 4; pg. 23-9
UC users only

Shanghai Express

Gallagher, Brian.
"The Production of Value and the Process of Exchange in Sternberg's Shanghai Express." Michigan Academician. 26(1):133-46. 1994 Winter. Ann Arbor, MI

Macnab, Geoffrey
"Shanghai Express."Sight and Sound Mar 2000


Robert Wiene (Cabinet of Dr. Caligari)

Adkinson, Robert V.
The cabinet of Dr. Caligari; a film by Robert Wiene, Carl Mayer and Hans Janowitz. English translation and description of action by R. V. Adkinson. New York, Simon and Schuster [1972] (Series: Classic film scripts)
Main Stack PN1997.C18.A351 1972

Allen, J. C. (Jerry C.)
Conrad Veidt: from Caligari to Casablanca / Jerry C. Allen. Centennial ed. Pacific Grove, Calif.: Boxwood Press, c1993.
Main Stack PN2658.V37.A65 1993

Andriopoulos, Stefan.
"Spellbound in Darkness: Hypnosis as an Allegory of Early Cinema." Germanic Review. 77(2):102-116. 2002 Spring

Barsacq, Leon
Caligari's cabinet and other grand illusions: a history of film design / Leon Barsacq ;... 1st English language ed. / rev. Boston: New York Graphic Society, c1976.
Moffitt PN1995.9.S4.B3414 1976

Battle, Pat Wilks
"Conrad Veidt." Films in Review March-April 1993 v44 n3-4 p74(14)
"Conrad Veidt, the popular German actor, is still remembered for his extraordinary performance in films such as 'Casablanca' and 'Das Kabinett Des Dr. Caligari.' He performed as a hero in a number of films, but he is remembered most for his roles as a villain in American films. As a child, he had visions of becoming a surgeon, but his excellent performance in a school Christmas play lured him to a career in acting." [Expanded Academic Index]

Beicken, Peter.
"Faust in Film: The Case of Dr. Caligari." In: Doctor Faustus: archetypal subtext at the millenium / Peter Werres, James Campbell, Peter Beicken. pp: 43-67. Morgantown, West Virginia: West Virginia University Press, 1999.
Main Stack PN57.F3.W47 1999

Budd, Mike
"Authorship as commodity." Wide Angle Vol VI nr 1 (1984); p 12-19.
A look at the mixture of personalities involved in one production, using "Das Cabinet des Dr. Caligari" as an example. Also definitions of authorship.

Budd, Mike
"The cabinet of Doctor Caligari: production, reception, history." In: Close viewings: an anthology of new film criticism / edited by Peter Lehman. Tallahassee: Florida State University Press ; Gainesville, FL: Orders to University Presses of Florida, c1990.
Main Stack PN1995.C543 1990

Budd, Mike
"Contradictions Of Expressionism In The Cabinet Of Dr. Caligari." Indiana Social Studies Quarterly 1981 34(2): 19-25.
"Describes the "contradictory, unstable, and transitional phenomenon" of German Expressionism which began in 1910 in painting and poetry and spread to literature and theater, films, opera, and architecture, focusing on the contradictions in the film, The Cabinet of Dr. Caligari (1920), adopted by Siegfried Kracauer from a script by Carl Mayer and Hans Janowitz." [Historical Abstracts]

Budd, Mike
"Modernism and the Representation of Fantasy: Cubism and Expressionism in The Cabinet of Dr. Caligari." In:Forms of the fantastic: selected essays from the Third International Conference on the Fantastic in Literature and Film / edited by Jan Hokenson and Howard Pearce. pp: 15-21. New York: Greenwood Press, c1986.
Main Stack NX650.F36 I581 1982

Budd, Mike
"Retrospective narration in film: re-reading 'The cabinet of Dr. Caligari'." Film Criticism Vol IV nr 1 (Fall 1979); p 35-43.
An analysis of the narrative in "Das Cabinet des Dr. Caligari".

Byrne, Richard B.
Films of Tyranny; Shot Analyses of The Cabinet of Dr. Caligari, The Golem [and] Nosferatu [by] Richard B. Byrne. [Madison, Wis., College Print. & Typing Co., 1966].
UCB Main PN1997.A1 B9

The cabinet of Dr. Caligari: texts, contexts, histories
Edited by Mike Budd. New Brunswick: Rutgers University Press, c1990.
Main Stack PN1997.C183.C34 1990

Cardullo, Bert
"Expressionism and the real Cabinet of Dr. Caligari."Film Criticism Vol VI nr 2 (Winter 1982); p 28-34.
Discusses the nature of expressionism in "Das Cabinet des Dr. Caligari".

Carroll, No?l
"The cabinet of Dr. Kracauer." Millennium nr 2 (Spring-Summer 1978); p 77-85.
Considers the place of "Das Cabinet des Dr. Caligari" within the history of avant-garde cinema, and response to Siegfried Kracauer's assertions that the film is basically anti-cinematic and politically objectionable.

Dolgenos, Peter.
"The Star on C. A. Rotwang's Door: Turning Kracauer on Its Head." Journal of Popular Film & Television. 25(2):68-75. 1997 Summer

Donahue, Neil H.
"Unjustly Framed: Politics and Art in Das Cabinet des Dr. Caligari." German Politics & Society. 32:76-88. 1994 Summer

Fleishman, Avrom
"Dramatized narration: The cabinet of Dr. Caligari and Hiroshima mon amour." In: Narrated films: storytelling situations in cinema history / Avrom Fleishman.p. 99-127. Baltimore: Johns Hopkins University Press, c1992.
Main Stack PN1995.F55 1992
Moffitt PN1995.F551 1992

Gay, Peter.
The Weimar Resemblance." Horizon 1970 12(1): 4-15.
"Examines the many similarities - students in revolt, morals in transition, and violence - between the Weimar Republic and the United States in the sixties. Concludes that the sickness which killed the German Republic is not the sickness that afflicts America now. Examines such works of art as the motion picture The Cabinet of Dr. Caligari, Thomas Mann's story Mario and the Magician, and the works of the Bauhaus and concludes that these were just rational appeals in an irrational age. The student movements were Rightist oriented as were the faculties in the German universities. The basis for the failure of the Weimar Republic was the feeling that the German people had been betrayed by "traitors" who had caused them to lose the Great War." [Historical Abstracts]

Genova, J. A.
"Wittgenstein and Caligari." Philosophical Forum n.s.:4:2 (1972/1973:Winter) 186

Gray, Richard T.
"From Caligari to Kafka: Expressionist Film and the Teaching of Kafka's Short Fiction." In: Approaches to teaching Kafka's short fiction / edited by Richard T. Gray. pp: 53-63. New York: Modern Language Association of America, 1995. Approaches to teaching world literature ; 51
Main Stack PT2621.A26.Z5745 1995

Hankins, Leslie K.
"The Doctor and the Woolf: Reel Challenges-The Cabinet of Dr. Caligari and Mrs. Dalloway." In: Virginia Woolf: themes and variations: selected papers from the Second Annual Conference on Virginia Woolf, Southern Connecticut State University, New Haven, June 11-14, 1992 / edited by Vara Neverow-Turk and Mark Hussey. pp: 40-51. New York, NY: Pace University Press, 1993.
Main Stack PR6045.O72.Z5788 1992

The Haunted Screen: German Film After World War One[Videorecording]
Film critic Peter Buchka explores the German cinema of the 1920s through film clips from these mostly silent films with commentary grouped by film themes such as "Evil and how it entered the world; Dream figures from the real world; Toying with fate" and "Power leads to doom." Film excerpts from: Destiny (1921) -- The Golem: how he came into the world (1920) -- Castle Vogeloed (1921) --Cabinet of Dr. Caligari (1919) -- Faust (1925/26) --Metropolis (1926) -- Nosferatu: a symphony of horror (1922) -- Hands of Orlac (1924) -- Secrets of a soul (1926) -- Eyes of the Mummy Ma (1918) -- Dr. Mabuse, the gambler (1921/22) --Madame Dubarry (1919) -- Danton (1921) -- A way to the night (1920) -- Variety (1925) -- Tartuffe (1925) -- Spies (1928) -- Last laugh (1924) -- Nibelungen (1922/24). 1998. 60 min. Video/C 6904

Jung, Uli.
Beyond Caligari: the films of Robert Wiene / Uli Jung, Walter Schatzberg. New York: Berghahn Books, 1999.
Main Stack PN1998.3.W545.J8613 1999

Jung, Uli; Schatzberg, Walter
"The invisible man behind Caligari. The life of Robert Wiene." Film History Vol V nr 1 (Mar 1993); p 22-35.
UC users only
Career details of the German director best known for "Das Cabinet des Dr. Caligari".

Kaes, Anton. Levin, David (translator).
"Modernity and Its Discontents: Notes on Alterity in Weimar Cinema."Qui Parle: Literature, Philosophy, Visual Arts, History. 5(2):135-42. 1992 Spring-Summer

Ketchiff, Nancy.
"Dr. Caligari's Cabinet: A Cubist Perspective." The Comparatist: Journal of the Southern Comparative Literature Association. 8:7-13. 1984 May

Kracauer, Siegfried
"Caligari." In: Film: an anthology / compiled and edited by Daniel Talbot. Berkeley: University of California Press, 1970, c1959.
Moffitt PN1994.T27 1965
Moffitt PN1994.T27 1975 [earlier edition]
Main Stack PN1994.T27 1966 NRLF #: B 3 567 464 [earlier edition]

Kracauer, Siegfried.
"The Cabinet of Dr. Caligari." In: Film theory and criticism: introductory readings / edited by Leo Braudy, Marshall Cohen. 5th ed. New York: Oxford University Press, 1999.
Main Stack PN1994.M364 1999

Kracauer, Siegfried
From Caligari to Hitler, a Psychological History of the German Film, by Siegfried Kracauer. [Princeton, N.J.] Princeton University Press, 1947.
Main PN1993.5.G3 K71 1947
Moffitt PN1993.5.G3 K7

Laoghaire, Liam O
"Caligari-The Story Of A Famous Film." Irish Monthly 78:924 (1950:June) 270

Liebman, Stuart
"Weimar cinema's greatest hits -- Berlin: Symphony of a Great City directed by Walther Ruttman / The Blue Angel directed by Josef von Sternberg / The Cabinet of Dr. Caligari directed by Robert Wiene / and others." Cineaste 1995; Vol. 21, Iss. 3; pg. 50
UC users only

McCormick, Richard W.
"From Caligari to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film." Signs: Journal of Women in Culture & Society. 18(3):640-68. 1993 Spring
UC users only
"Examines the misogynistic discourses of the Weimar cinema in their specific sociohistorical context, emphasizing the significance of female spectatorship. Weimar film was grounded in an era of political controversies about gender and sexuality, characterized by the emergence of a "new woman" with an unprecedented degree of social and sexual autonomy and by a new visibility of lesbian and gay subcultures. These developments found expression in the Weimar cinema through the overt thematization of "anxious male fantasies," as well as by a significantly increased visibility and agency of women. Analysis of these films must take women's spectatorship into account into order to reach a full understanding of their social and political implications." [Historical Abstracts]

Minden, Michael
"Politics and the silent cinema: the cabinet of Dr. Caligari and Battleship Potemkin." In: Visions and blueprints: avant-garde culture and radical politics in early twentieth-century Europe / edited by Edward Timms ... Manchester: Manchester University Press ; New York: Distributed exclusively in the U.S. and Canada by St. Martin's Press, c1988.
Main Stack D727.V531 1988

Murray, Bruce Arthur.
Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wumpe / by Bruce Murray. 1st ed. Austin: University of Texas Press, 1990.
Main PN1993.5.G3 M87 1990
Moffitt PN1993.5.G3 M87 1990

Pegge, C. Denis.
"Caligari: Its Innovations in Editing." Film Quarterly 11 (1956/1957) 136

Prima di Caligari: cinema tedesco, 1895-1920 / a cura di Paolo Cherchi Usai, Lorenzo Codelli con la collaborazione di ... [Pordenone]: Edizioni Biblioteca dell'immagine, c1990.
Main Stack PN1995.75.P75 1990

Roberts, Ian
"Caligari Revisited: Circles, Cycles and Counter-Revolution in Robert Wiene's Das Cabinet Des Dr. Caligari." German Life and Letters Volume 57, Issue 2, Date: April 2004, Pages: 175-187
UC users only

Rubenstein, Lenny
"Caligari and the rise of the expressionist film." In: Passion and rebellion: the expressionist heritage / edited by Stephen Eric Bronner & Douglas Kellner. South Hadley, Mass.: J.F. Bergin, 1983.
Main Stack NX550.A1.P374 1983
Moffitt NX550.A1.P374 1983

Salt, Barry
"From Caligari to who?"Sight & Sound Vol XLVIII nr 2 (Spring 1979); p 119-123.
Explanation of German expressionist cinema, some misconceptions and the author's opinions

Sanford, John.
"Chaos and Control in the Weimar Film." German Life & Letters. 48(3):311-23. 1995 July

Schaal, Hans Dieter
"Spaces of the psyche in German Expressionist film." Architectural Design v 70 no1 Jan 2000. p. 12-15
"Part of a special section on film and architecture. In 1920s Germany, the Expressionist impulse transferred itself from the canvas on to the cinema screen, resulting in some of the most dramatic works of film architecture. The formulations of Expressionist paintings, which fought against impressionistic superficiality and illuminated agitated inner worlds, were realized in German Expressionist films in which the heroes roam through a labyrinth of narrow alleys that can represent both a medieval city and a spiritual space that has become visible. In The Cabinet of Dr. Caligari, the major film in this genre, the architecture consists of narrow, high rooms and lanes, inside and out, a labyrinth that is completely enclosed and apparently inescapable. Subsequent film spaces and architecture have evolved from the Expressionist space-cell. Indeed, in a number of films, including Metropolis, Key Largo, and Blade Runner, the chosen space, building, or city often becomes the leading character." [Art Abstracts]

Scheunemann, Dietrich
"The double, the decor, and the framing device: once more on Robert Wiene's The cabinet of Dr. Caligari." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Schneider, I..
"Deus ex animo, or Why a doc?" Journal of Popular Film and Television Vol XVIII nr 1 (Spring 1990); p 36-39.
The presence of a psychiatrist figure in many innovative films (focusing here on "Das Cabinet des Dr. Caligari", "Home of the brave", "Psycho" and "The immoral Mr. Teas") seen as a reassuring element for the audience faced with an unfamiliar genre.

Scheunemann, Dietrich
"The double, the d?cor, and the framing device: once more on Robert Wiene's The cabinet of Dr. Caligari." In: Expressionist film--new perspectives / edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003. Studies in German literature, linguistics, and culture (Unnumbered)
Main Stack PN1993.5.G3.E94 2003

Schonfeld, Christiane
"Modern identities in early German film: The cabinet of Dr. Caligari." In:Engaging film: geographies of mobility and identity / edited by Tim Cresswell and Deborah Dixon. Lanham, Md.: Rowman & Littlefield, c2002.
Main Stack PN1994.E618 2002

Solomon, Stanley J.
"The Cabinet of Dr. Caligari." In: The classic cinema; essays in criticism, edited by Stanley J. Solomon. New York, Harcourt Brace Jovanovich [1973]
Main Stack PN1994.S6141 NRLF #: B 3 567 120

Stoeckel, Justin.
"It's a Mad, Mad, Mad, Mad World." Film Journal, 5, 2003.

Sudendorf, Werner
"Expressionism and film: the testament of Dr Caligari." In: Expressionism reassessed / Shulamith Behr, David Fanning, Douglas Jarman, editors. Manchester [England] ; New York: Manchester University Press; New York, NY, USA: Distributed exclusively in the USA and Canada by St. Martin's Press, c1993.
Moffitt NX456.5.E9.E86 1993

Wim Wenders

Works about individual films

Avventi, Carlo
Mit den Augen des richtigen Wortes : Wahrnehmung und Kommunikation im Werk Wim Wenders und Peter Handkes Remscheid : Gardez!, c2004.
MAIN: PN1998.3.W46 A98 2004

Bromley, Roger.
From Alice to Buena Vista: the films of Wim Wenders / Roger Bromley. Westport, Conn.: Praeger, 2001.
Main Stack PN1998.3.W46.B76 2001

The Cinema of Wim Wenders: image, narrative, and the postmodern condition
Edited by Roger F. Cook and Gerd Gemünden. Detroit, Mich.: Wayne State University Press, c1997. Contemporary film and television series
Main Stack PN1998.3.W46.C56 1997

Coles, Michael.
"A Conversation with Wim Wenders." Double Take, 25, Summer 2001.

Corrigan, Timothy
"Cinematic Snuff: German Friends and Narrative Murders." Cinema Journal XXIV/2, Winter 85; p.9-18.
Theme of death in films of Wenders and Handke is assessed in terms of Wenders' approach to "Nick's movie".

Coury, David N.
"Am Anfang war das Wort: Wim Wenders' Cinematic Storytelling." Anuario de Cine y Literatura en Espanol: An International Journal on Film and Literature, vol. 2. 1996. pp: 55-62.

Coury, David N.
The return of storytelling in contemporary German literature and film: Peter Handke and Wim Wenders Lewiston, N.Y.: E. Mellen Press, 2004.
MAIN: PT405 .C697 2004

Covino, Michael
"Wim Wenders: a worldwide homesickness." Film Quarterly v 31 no2 Winter 1977/1978. p. 9-19

Dawson, Jan.
Wim Wenders / by Jan Dawson; translated by Carla Wartenberg. New York: Zoetrope, c1976.
Moffitt PN1998.A3 .W465

Debeljak, Ales.
"Cultural Politics of the Atlantic Bridge: Europe and America." The Literary Review, an International Journal of Contemporary Writing. 45(3):635-38. 2002 Spring

Dieckmann, Katherine
"Wim Wenders, an interview." Film Quarterly v 38 Winter 1984/1985. p. 2-7

Donohue, Walter.
"An Interview with Wim Wenders." (includes filmography on Wim Wenders)Sight and Sound v1, n12 (April, 1992):8 (6 pages).

Durgnat, Raymond
"Wim's journey in the world." [interview] Studio International v 198 Dec 1985. p. 26-33

Eberwein, Robert T.
"Genre and the Writerly Text." Journal of Popular Film and Television, vol. 13 no. 2. 1985 Summer. pp: 63-68.

Fleig, Horst.
Wim Wenders : hermetische Filmsprache und Fortschreiben antiker Mythologie [Bielefeld] : Transcript, c2005.
MAIN: PN1998.3.W46 F54 2005

Forbes, Jill.
"Notebook on Cities and Clothes." (movie reviews)Sight and Sound v59, n3 (Summer, 1990):205 (2 pages). Cineaste, vol. 16 no. 4. 1988. pp: 14-17

Gallagher, J.
"Wim Wenders" (interview) Films in Review v 34 June/July 1983. p. 355-61

Ganter, Matthias.
Wim Wenders und Jacques Derrida : zur Vereinbarkeit des Filmschaffens von Wim Wenders mit Jacques Derridas dekonstruktiver Literaturtheorie Marburg : Tectum-Verl., 2003.
MAIN: PN1998.3.W46 G35 2003

Geist, Kathe
The Cinema of Wim Wenders: From Paris, France to Paris, Texas / by Kathe Geist. Ann Arbor, Mich.: UMI Research Press, c1988. Series title: Studies in cinema; no. 41.
Main PN1998.3.W46 G451 1988
Moffitt PN1998.3.W46 G45 1988

Geist, Kathe.
"West looks East: the influence of Yasujiro Ozu on Wim Wenders and Peter Handke." Art Journal v 43 no3 Fall 1983. p. 234-9

Geist, Kathe.
"Wim Wenders: Wenders in the Cities." In: New German Filmmakers: From Oberhausen through the 1970's / edited by Klaus Phillips. pp: 379-404. New York: Ungar Pub. Co., c1984.
UCB Main PN1993.5.G3 N481 1984

Gemünden, Gerd.
"Nostalgia for the Nation: Intellectuals and National Identity in Unified Germany." In: Acts of Memory: Cultural Recall in the Present / edited by MiekeBal, Jonathan Crewe, and Leo Spitzer. pp: 120-33. Hanover, NH: Dartmouth College: University Press of New England,c1999.
Main Stack HM101.A4 1999

Graf, Alexander.
The cinema of Wim Wenders : the celluloid highway London : Wallflower Press, 2002.
MAIN: PN1998.3.W46 G73 2002

Green, Peter.
"Germans Abroad."Sight and Sound v57, n2 (Spr, 1988):126 (5 pages). Study of three German directors and their current films made outside of the country - Werner Herzog's "Cobra verde", Wim Wender's "Tokyo-ga" and "Der Himmel über Berlin", and Percy Adlon's "Out of Rosenheim".

Hagen, Charles.
"From the End of the World to Smack Dab in the Middle: An interview with Wim Wenders." (Between Past and Future: New German Photography)Aperture, n123 (Spring, 1991):90 (2 pages).

Jaccaud, Sabine
"Wim Wenders and Berlin." In: The city in Central Europe: culture and society from 1800 to the present / edited by Malcolm Gee, Tim Kirk, and Jill Steward. Aldershot, England ; Brookfield, Vt.: Ashgate, c1999.
Main Stack DAW1024.C58 1999

Jaafar, Ali
"Requiem for a dream: interview with Wim Wenders." Sight & Sound v. ns17 no. 7 (July 2007) p. 12
UC users only
"An interview with German film director Wim Wenders.. Topics addressed include how Wenders reconciles that fact that he is the most successful and visible German director of his generation with his fascination with the United States, how America has changed since Wenders first worked there in 1973, the current resurgence in German cinema, the significance of music in cinema, and the use of landscape as metaphor." [Art Index]

Katz, Marc.
"Wim Wenders on the Verbal and Visual." Pacific Coast Philology. 33(2):109-11. 1998
UC users only

Koepnick, Lutz P.
"Negotiating Popular Culture: Wenders, Handke, and the Topographies of Cultural Studies." (Special Issue on Culture Studies) German Quarterly v69, n4 (Fall, 1996):381 (20 pages).
American German Studies needs to regard its physical and philosophical dislocation from Germany as an advantage. One way to demonstrate the differences between American German Studies and academic work in German- speaking cultures is to examine Wim Wenders's 'In weiter Ferne, so nah!' and Peter Handke's 'Versuch über die Jukebox.' Wenders's film and Handke's essay view popular German culture as the product of mass entertainment's influence. American German Studies can view German popular culture as a collection of politically relevant impulses.

Kolker, Robert Phillip.
The Films of Wim Wenders: Cinema as Vision and Desire / Robert Phillip Kolker, Peter Beicken. Cambridge [England]; New York: Cambridge University Press, 1993.
Moffitt PN1998.3.W46 K64 1993

Kuzniar, Alice.
"Suture in/Suturing Literature and Film: Handke and Wenders." In: Intertextuality: German Literature and Visual Art from the Renaissance to the Twentieth Century / edited by Ingeborg Hoesterey and Ulrich Weisstein. pp: 201-17. 1st ed. Columbia, SC: Camden House, 1993. Series title: Studies in German literature, linguistics, and culture
UCB Main PT112 .I58 1993

Light, Andrew
"Wim Wenders and the Everyday Aesthetics of Technology and Space." The Journal of Aesthetics and Art Criticism, Vol. 55, No. 2, Perspectives on the Arts and Technology (Spring, 1997), pp. 215-229
UC users only

Man of Plenty : Wim Wenders / Volker Behrens (Hg.).
Marburg : Schuren, 2005.
MAIN: PN1998.A3 W46957 2005

Oksiloff, Assenka.
"Eden is Burning: Wim Wenders's Techniques of Synaesthesia." German Quarterly v69, n1 (Wntr, 1996):32 (16 pages).
Wim Wenders uses the journey of the protagonist angel Damiel in 'Wings of Desire' to critique a world in which seeing is the main means of perception and to enter a realm of synaesthesia in which things are perceived through an interaction of the senses, mainly those of vision, hearing and touch. 'Until the End of the World' links synaesthesia to modern technology.

Pym, John
"The Road from Wuppertal.""Sight & S" Sight & Sound LIII/4, Autumn 84; p.244-247. illus.
Traces the route, in W.W.'s work, from "Alice in the Cities" to "Paris, Texas".

Ratcliffe, Michael.
"Fearless in Los Angeles." (interview with German film director Wim Wenders)(Interview) New Statesman (1996) v127, n4366 (Jan 2, 1998):36 (3 pages).
Director Wim Wenders is back in Los Angeles, CA, for the filming of 'The End of Violence,' a $5-million movie that is claimed to cut down crime by 200%. The city was chosen as a location because it is one that is extremely concerned about protection and its air throbs with the fear of violence.

Russell, Catherine
"Wim Wenders: Film as Death at Work." In: Narrative mortality : death, closure, and New Wave cinemas Published: Minneapolis : University of Minnesota Press, c1995.
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: PN1995.9.D37 R87 1995
MOFF: PN1995.9.D37 R87 1995

Scheib, Ronnie.
"Angst for the Memories." (the relationship between directors and their influence over one another; focus on director Wim Wenders)Film Comment v26, n4 (July-August, 1990):9 (8 pages).
"The films of German director Wim Wenders embody a sense of passive alienation and seem to exist in a time and space outside of conventional narrative. Wenders's characters never really do anything. His heroes, burned out and beyond commitment, take part in strange activities in a figureless landscape. His narrative frameworks are those of dissociation, false starts, or multiple unfinished stories. Wenders's talents achieve fruition in his road movies, such as Kings of the Road and Alice in the Cities, in which the hypnotic black-and-white sameness of the road and its odd attenuated sense of time become highly addictive." [Art Index]

Snyder, Stephen.
"Wim Wenders: The Hunger Artist in America." Post Script, vol. 6 no. 2. 1987 Winter. pp: 54-62.

Spector, Scott.
"Wender's Genders: From the End of the Wall to the End of the World." In: Triangulated Visions: Women in Recent German Cinema / edited byIngeborg Majer O'Sickey and Ingeborg von Zadow. pp: 219-28 Albany: State University of New York Press, c1998. SUNY series in feminist criticism and theory SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.T75 1998

Umemoto, Yoichi
"Wenders en haute definition." (interview with Wim Wenders) Cahiers du Cinema no440 Feb 1991. p. 48Varga, Darrell. The Deleuzean Experience of Cronenberg's Crash and Wenders' The End of Violence. Publisher: Verso. Place of Publication: London, England; Book Pagination: 262-83, Book Publication Date: 2003.

Varga, Darrell.
"The Deleuzean Experience of Cronenberg's Crash and Wenders' The End of Violence." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. pp: 262-83 London ; New York: Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003

Wenders, Wim.
The act of seeing: essays and conversations / Wim Wenders; translated by Michael Hofmann. London: Faber, 1997, c1992.
UCB Main PN1994 .W41 1997

Wenders, Wim.
Wim Wenders : Bilder von der Oberflache der Erde. Munchen : Schirmer/Mosel, c2003.
MAIN: TR647 .W432 2003

Wenders, Wim.
The Logic of Images: Essays and Conversations / Wim Wenders; translated by Michael Hofmann. London; Boston: Faber and Faber, 1991.
Main PN1994 .W46513 1990
Moffitt PN1994 .W46513 1991

Wenders, Wim.
My time with Antonioni; the diary of an extraordinary experience London: Faber, c2000.
Main PN1998.3.A58 W46 2000

Wenders, Wim.
On film London; New York: Faber and Faber, 2001.
MAIN: PN1998.3.W46 A5 2001

Wenders, Wim.
A sense of place : Texte und Interviews Frankfurt am Main : Verlag der Autoren, c2005.
MAIN: PN1998.3.W46 A377 2005

Wenders, Wim.
"Wim Wenders's Guilty Pleasures." (film critic) Film Comment v28, n1 (Jan-Feb, 1992):74 (4 pages).

Wenders, Wim.
Written in the West New York : Te Neues, c2000.
ENVI: TR654 .W425 2000

Wenders: Articles on Individual Films

Alice In the Cities

Light, Andrew
"Wim Wenders and the Everyday Aesthetics of Technology and Space." (Special Issue: Perspectives on the Arts and Technology) Journal of Aesthetics and Art Criticism v55, n2 (Spring, 1997):215 (15 pages).
"Filmmaker Wim Wenders' work 'Alice in the Cities' provides viewers with novel methods of thinking through dilemmas of people's relationship with technology. Although this is not the intention of his film, this notion is unintentionally brought about in the movie's philosophical contents. The film successfully shows how everyday aesthetics may be preserved in everyday life. Furthermore, it reflects Wender's perception of the subversion of space and technology." [Art Index]

Oksiloff, Assenka.
"Eden Is Burning: Wim Wender's Techniques of Synaesthesia." German Quarterly. 69(1):32-47. 1996 Winter

Pym, John
"The Road from Wuppertal.""Sight & S" Sight & Sound LIII/4, Autumn 84; p.244-247. Traces the route, in W.W.'s work, from "Alice in the Cities" to "Paris, Texas".

Whalen, Tom.
'When you think you've got there, you haven't': Wim Wenders' Alice in the Cities."New Orleans Review, vol. 15 no. 2. 1988 Summer. pp: 80-83.

The American Friend

Beard, William.
"American Madness: Concepts of Culture and Sanity in The American Friend and Stroszek." Yearbook of Comparative and General Literature, vol. 40. 1992. pp: 59-74.

Cook. William A.
"Ripley's Game and The American Friend: A Modernist and Postmodernist Comparison." Journal of Popular Culture. Feb 2004. Vol. 37, Iss. 3; p. 399 (10 pages)
UC users only

Corrigan, Timothy.
"Cinematic Snuff: German Friends and Narrative Murders."Cinema Journal, vol. 24 no. 2. 1985 Winter. pp: 9-18.

Douglas, J. Yellowlees.
"American Friends and Strangers on Trains."Literature/ Film Quarterly, vol. 16 no. 3. 1988. pp: 181-190.
UC users only

Farrell, Tom.
"Nick Ray's German Friend: Wim Wenders."Wide Angle, vol. 5 no. 4. 1983. pp: 60-67.

Jaehne, Karen
"The American Fiend."Sight & Sound XLVII/2, Spring 78; p.101-103. An examination of Wender's and Herzog's most recent films, showing how fragile the human aspect of 'Old Europe' is in the face of the American Friend/fiend.

Kinder, Marsha.
"The American Friend."Film Quarterly XXXII/2, Winter 78-79; p.45-49.

Linville, Susan.
"Imitations, Dreams, and Origins in Wim Wenders' The American Friend." Literature/ Film Quarterly, vol. 13 no. 4. 1985. pp: 234-239.
UC users only
On "Der Amerikanische Freund" as an exploration of the difficulty of establishing points of origin.

Mahoney, Dennis F.
"'What's Wrong with a Cowboy in Hamburg?' Narcissism as Cultural Imperialism in Wim Wenders' The American Friend."Journal of Evolutionary Psychology, vol. 7 no. 1-2. 1986 Mar. pp: 106-116.

Martin, John W.
"Humor and Malevolence in Wenders' The American Friend."Michigan Academician vol. 12 no. 2. 1980 Fall. pp: 145-153.

McCreadie, Marsha
"The American Friend." (Review). Films in Review XXVIII/10, Dec 77; p.632-33.

"The American Friend." (video recording reviews) American Film v16, n6 (June, 1991):54.

Plater, Edward M. V. and Yellowlees Douglas, J.
"The Temptation of Jonathan Zimmermann: Wim Wender's The American Friend."Literature/ Film Quarterly, vol. 16 no. 3. 1988. pp: 191-200.
Notes the unavoidable influence of Hollywood on the work of younger European filmmakers, focusing on Wim Wenders' "Der Amerikanische Freund" and the influence of Alfred Hitchcock's "Strangers on a train" - both adaptations from novels by Patricia Highsmith.

Rush, Jeffrey S.
"Who's in on the joke: parody as hybridized narrative discourse." [in Nashville and The American Friend] Quarterly Review of Film and Video v 12 May 1990. p. 5-12

Buena Vista Social Club

Chanan, Michael.
"Buena Vista Social Club." (Review) New Left Review, n238 (Nov-Dec, 1999):150 (7 pages).

Curran, Peter.
"Buena Vista Social Club." (Review) (movie reviews) Sight and Sound v9, n10 (Oct, 1999):40 (1 page).
"Despite Wenders's clumsy execution, this film about the Buena Vista Social Club musicians transmits the immediacy and emotional thrill of live performance. The Cuban musicians are rightly the stars and the concert sections are the most expansive and entertaining parts of the film. Their Carnegie Hall playing is as exuberant as ever and the indestructible tautness of their technique will leave audiences in awe of their superannuated cool." [Art Index]

Davis, Darien J.
"Buena Vista Social Club / Lagrimas Negras." The American Historical Review. Apr 2000. Vol. 105, Iss. 2; p. 657
UC users only

Falcon, Richard.
"The heavens over Havana." (Wim Wender's 'Buena Vista Social Club') Sight and Sound v9, n10 (Oct, 1999):24 (3 pages).
Win Wenders' 'Buena Vista Social Club' is due to be released in the UK on September 24 1999. The film is a true life story of a group of Cuban musicians aged between 70 and over 90, called the Buena Vista Social Club. The film shows how the group were discovered and how the band developed, ending with the group's sell-out concert at Carnegie Hall in New York.

Hentzi, Gary
"Buena Vista Social Club." (motion picture review) Film Quarterly v 53 no4 Summer 2000. p. 47-50
UC users only
"Wim Wenders's Buena Vista Social Club and Andy Garcia's Cachao . . . como su ritmo no hay dos are two fine documentaries about Cuba's cultural heritage. Of the two, Garcia's portrait of Israel Lopez, "Cachao," is closer to a traditional concert film. Featuring some of the most talented practitioners of Latin music in the United States, it captures many beautifully executed performances and offers a splendidly instructive panorama of Cuban music genres. Wenders's film explores the continuing fascination that Cuba and the United States have with each other. In Buena Vista, the director's ambition is greater than the documentation of musical activities. Wenders captures a rich combination of human dreams and human reality on film." [Art Index]

Hernandez, Tanya Kater.
"The Buena Vista Social Club: The Racial Politics of Nostalgia." In: Latino/a popular culture / edited by Michelle Habell-Pallan and Mary Romero. pp: 61-72. New York: New York University Press, c2002.
Main Stack E184.S75.L3554 2002
MusicE184.S75.L3554 2002
Moffitt E184.S75.L3554 2002

Jones, Kent
"Buena Vista Social Club." (motion picture review) Cahiers du Cinema no536 June 1999. p. 64-5
"A review of Buena Vista Social Club, a documentary film by Wim Wenders. The film presents a group of legendary yet already forgotten Cuban musicians who were brought together by Ry Cooder and features video images of Cuba, a concert in Amsterdam, and a trip to New York. One of the themes in Wenders's oeuvre is his respect for his elders, and here he presents portraits of artists who are mostly close to 90 years of age. These musicians master their musical traditions so well and play with such brio and detachment that the spectator does not even think about their age. Practically all of the film is marked by a miraculous and undulating lightness: The camera is constantly moving yet remains marvelously sensitive." [Art Index]

Rainer, Peter.
"Bay of gigs: in 'Buena Vista Social Club,' Win Wenders and Ry Cooder team up to honor the irresistible music - and musicians - of pre-Castro Havana." (Review)New York v32, n23 (June 14, 1999):53 (2 pages).

Watrous, Peter.
"Capturing a Cuban sound before it could die out." ('Buena Vista Social Club,' a documentary film by Wim Wenders; includes article on related soundtrack albums) New York Times, sec2 (Sun, June 6, 1999):AR22(N), AR22(L), col 1, 25 col in.

Hammett

Benson, Sheila.
"Hammett." (moving-picture reviews)Los Angeles Times v102, secVI (Fri, May 20, 1983):1, col 4, 25 col in.

Canby, Vincent.
"Hammett." (moving-picture reviews) New York Times v132 (Fri, July 1, 1983):16(N), C8(L), col 1, 15 col in.

Chanko, K. M.
"Hammett." (moving-picture reviews) Films in Review v 33 Oct 1982. p. 488

Combs, R.
"Hammett." (moving-picture reviews) Sight and Sound v 52 no1 Winter 1982/1983. p. 67-8

Elley, D.
"Hammett." (motion picture review) Films and Filming no338 Nov 1982. p. 24-5

Patterson, Richard
"Classic lighting for Hammett." American Cinematographer v 64[63] Nov 1982. p. 1168-76+

Kings of the Road

Corrigan, Timothy.
"Wenders' Kings of the Road: The Voyage from Desire to Language." New German Critique, vol. 24-25. 1981-1982 Fall-Winter. pp: 94-107.
UC users only
Also in: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 295-308 New York: G.K. Hall; London: Prentice Hall International, c1996. Perspectives on film.
Main Stack PN1993.5.G3.P42 1996)

Gemünden, Gerd.
"On the Way to Language: Wenders' Kings of the Road." Film Criticism, vol. 15 no. 2. 1991 Winter. pp: 13-28. UC users only

Lightning Over Water

Corrigan, Timothy.
"Cinematic Snuff: German Friends and Narrative Murders." Cinema Journal, 24:2 (1985:Winter) p.9
UC users only

Geist, K.
"Lightning Over Water." (motion picture review)Film Quarterly v 35 no2 Winter 1981/1982. p. 46-51

Margulies, Ivone
"Delaying the cut: the space of performance in Lightning Over Water." Screen v 34 Spring 1993. p. 54-68
UC users only

Paris Texas

Attanasio, Paul.
"Paris, Texas." (moving-picture reviews) Washington Post v108 (Fri, April 12, 1985):C7, col 1, 17 col in.

Benson, Sheila.
"Paris, Texas." (moving-picture reviews) Los Angeles Times v103, secVI (Fri, Nov 16, 1984):1, col 2, 28 col in.

Bromley, Roger.
Traversing Identity: Home Movies and Road Movies in Paris, Texas." Angelaki, vol. 2 no. 1. 1995. pp: 101-18.

Canby, Vincent.
"Paris, Texas." (moving-picture reviews)New York Times v134 (Fri, Nov 9, 1984):C4(L), col 3, 18 col in.; New York Times v134, sec1 (Sun, Oct 14, 1984):39(N), 64(L), col 1, 30 col in.

Carson, L. M. Kit
"Paris, Texas diary." Film Comment v 20 May/June 1984. p. 60-3

Dionne, E.J., Jr.
"Wenders's film, 'Paris, Texas,' wins at Cannes." (Wim Wenders) New York Times v133 (Thu, May 24, 1984):22(N), C21(L), col 1, 24 col in.

Dieckmann, K.
"Wim Wenders: An Interview."(Interview).Film Quarterly XXXVIII/2, Winter 84-85; p.2-7.
Wenders discusses his film "Paris, Texas".

Eberwein, R.T.
"Genre and the writerly text. Journal of Popular Film and Television XIII/2, Summer 85; p.62-68.
On "Gremlins", "Paris, Texas" and "Birdy" as examples of generically fragmented films which call for creative activity on the part of the viewer.

Hibbin, Sally
"Paris, Texas" (motion picture review); Paris, Texas Films and Filming no[358] July 1984. p. 21-2

Irwin, Mark.
"Paris, Texas: Romancing the American Desert (A Second Look)." Denver Quarterly, vol. 26 no. 2. 1991 Fall. pp: 96-101.

Luprecht, Mark.
"Freud at 'Paris, Texas': Penetrating the Oedipal Sub-Text."Literature-Film Quarterly v20, n2 (April, 1992):115 (6 pages).
The Oedipal conflict of "Paris, Texas" seen as representative of the male-centred themes in the work of director Wim Wenders and playwright/scriptwriter Sam Shepard.

Oostrum, Duco van.
"Wim Wender's Euro-American Construction Site: Paris, Texas or Texas, Paris." In: Social and Political Change in Literature and Film: selected papers from the Sixteenth Annual Florida State University Conference on Literature and Film / edited by Richard Chapple. Gainesville: University Press of Florida, c1994.
UCB Main PN51 .F54 1991

Pollock, Dale.
"'Paris,' 'America' lead Cannes pack." (Cannes Film Festival)Los Angeles Times v103, secVI (Tue, May 22, 1984):2, col 1, 21 col in.

Pym, John
"The Road from Wuppertal.""Sight & S" Sight & Sound LIII/4, Autumn 84; p.244-247. illus.
Traces the route, in W.W.'s work, from "Alice in the Cities" to "Paris, Texas".

Ranvaud, Don
"Paris, Texas to Sydney, Australia." (Article).Sight & Sound LIII/4, Autumn 84; p.247-249.
Wenders and producer Chris Sievernich discuss the making of "Paris, Texas".

Salamon, Julie.
"Paris, Texas." (moving-picture reviews) Wall Street Journal (Thu, Nov 8, 1984):28(W), 28(E), col 1, 16 col in.

Smith, Roch C.
"Open Narrative in Robbe-Grillet's Glissements progressifs du plaisir and Wim Wenders's Paris, Texas." Literature/ Film Quarterly vol. 23 no. 1. 1995. pp 32-38.
Compares "Paris, Texas" with "Glissements progressifs du plaisir", examining the relationship of both films to conventional narrative cinema.

Stein, Elliott
"Paris, Texas" (motion picture review) Film Comment v 20 Nov/Dec 1984. p. 70

Watt, Stephen.
"Simulation, Gender, and Postmodernism: Sam Shepard and Paris, Texas." Perspectives on Contemporary Literature, vol. 13. 1987. pp: 73-82.

Zavarzadeh, Mas'ud.
"The Cultural Politics of Intimacy: Biology and Ideology: The 'Natural' Family in Paris, Texas." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. pp: 309-21 New York: G.K. Hall; London; Prentice Hall International, c1996. Perspectives on film.
Main Stack PN1993.5.G3.P42 1996

The State of Things

Adair, G.
"State of Things." (motion picture review) Sight and Sound v 52 no2 Spring 1983. p. 140

Benson, Sheila.
"The State of Things." (moving-picture reviews) Los Angeles Times v102, secC (Sun, July 10, 1983):C20, col 2, 31 col in.; Los Angeles Times v102, secVI (Wed, July 6, 1983):1, col 1, 35 col in.

Geist, Kathe.
"Filmmaking as Research: Wim Wenders' The State of Things." Post Script, vol. 5 no. 2. 1986 Winter. pp: 19-30.

Kinder, Marsha
"Ideological parody in the new German cinema: reading The State of Things, The Desire of Veronika Voss, and Germany Pale Mother as postmodernist rewritings of The Searchers, Sunset Boulevard and Blonde Venus." Quarterly Review of Film and Video XII/1-2, May 90; p.73-103.

Klein, Andy.
"The State of Things." (video recording reviews)American Film v16, n2 (Feb, 1991):57.

Mitchell, Tony
"Wim Wenders and The State of Things." (Review).Film Criticism" VII/3, Spring 83; p.47-50.

Solman, Gregory
"State of Things." (Review). Films in Review XXXIV/3, Mar 83; p.175-176.

Stone, Judy.
""The State of Things" in film making." (Wim Wenders) Los Angeles Times v102, secVI (Wed, July 20, 1983):5, col 1, 28 col in.

Until the End of the World

Eleftheriotis, Dimitris.
"Global Visions and European Perspectives." In: Aliens R us: the other in science fiction cinema / edited by Ziauddin Sardar and Sean Cubitt. pp: 164-80. London ; Sterling, Va.: Pluto Press, 2002.
Main Stack PN1995.9.S26.A45 2002

Horton, Robert
"Wim Wenders: on the road again." Film Comment v 33 Mar/Apr 1997. p. 3-7
"Wim Wenders is hopeful that the full five-hour version of Until the End of the World will be shown in theaters and made available on laserdisc. On its original release, the film appeared in truncated form, and Wenders felt he owed it to the actors and crew, who were disappointed in the daft, shorter version, and to the top-notch musicians who devised the excellent song score to reveal the full-length version to the world. Everything is different about the full version, particularly the sense of the slow passage of time observed, which defines Wenders's films. Despite some uneven patches, the long cut is a revelation, a whole, rich experience that is made to look even better in comparison to the misbegotten earlier cut." [Art Index]

Jousse, Thierry; Niney, Francois
"Jusqu'au bout du monde: entretien avec Wim Wenders." Cahiers du Cinema no448 Oct 1991. p. 83-6

Knight, Julia,
"Bis ans Ende der Welt." (motion picture review) Sight and Sound v 2 May 1992. p. 45-6

Levy, Shawn,
"Until the End of the World." (motion picture review) American Film v 17 Jan/Feb 1992. p. 51-2

Niney, Francois
"Jusqu'au bout du monde." (motion picture review) Cahiers du Cinema no448 Oct 1991. p. 81-2

Toubiana, Serge
"Jusqu'au bout du monde." (motion picture review) Cahiers du Cinema no448 Oct 1991. p. 78-81

Wings of Desire

Ansen, David.
"Wings of Desire." (movie reviews)Newsweek v111, n21 (May 23, 1988):70 (2 pages).

Barry, Thomas F.
"The Weight of Angels: Peter Handke and Der Himmel über Berlin."Modern Austrian Literature, vol. 23 no. 3-4. 1990. pp: 53-64.

Caltvedt, Les.
"Berlin Poetry: Archaic Cultural Patterns in Wenders's Wings of Desire." Literature/ Film Quarterly, vol. 20 no. 2. 1992. pp: 121-26. Berlin is portrayed through a lens of poetic archaism by Peter Handke and Wim Wenders in the film 'Wings of Desire.' While both men are better known for their representations of the malaise of modern life, 'Wings' attempts a more lyrical view in line with the poetry of Rainer Maria Rilke. The use of various representations of archaic themes in the film are aimed at introducing a utopian message in a modern setting.

Casarino, Cesare.
"Fragments on Wings of Desire (or, Fragmentary Representation As Historical Necessity)." Social Text, vol. 8 no. 2(24). 1990. pp: 167-81.

Cook, Roger F.
"Angels, Fiction, and History in Berlin: Wings of Desire." The Germanic Review. Winter 1991. Vol. 66, Iss. 1; p. 34 (14 pages)
UC users only

Conlon, James
"Wings of Desire" and the Value of Mortality Post Script - Essays in Film and the Humanities 23:1 (Fall 2003) p. 37-50 p. 37-50
UC users only

Cook, Roger F.
"Angels, Fiction, and History in Berlin: Wings of Desire." In: The Cinema of Wim Wenders: From Paris, France to Paris, Texas / by Kathe Geist. pp: 163-90. Ann Arbor, Mich.; UMI Research Press, c1988. Series title: Studies in cinema; no. 41.
Main PN1998.3.W46 G451 1988
Moffitt PN1998.3.W46 G45 1988

Denby, David.
"Wings of Desire." (movie reviews)New York v21, n19 (May 9, 1988):68 (2 pages).

Ehrlich, Linda C.
"Meditations on Wim Wenders's 'Wings of Desire.'."Literature-Film Quarterly v19, n4 (Oct, 1991):242 (5 pages).
UC users only
Wim Wenders' 'Wings of Desire' is influenced by Taoism, directors Ozu Yasujiro, Francois Truffaut and Andrej Tarkovsky, and poet Rainer Maria Rilke. The contrasting of opposites, important in Taoism, is a recurrent theme. The angel Damiel's emptiness during moments of communion with his human charges and his desire to enter into the alien world of humanity are evocative paradoxes which emphasize cyclical change.

Fusco, Coco.
"Angels, History and Poetic Fantasy: An Interview with Wim Wenders."Cineaste, vol. 16 no. 4. 1988. pp: 14-17

Girard de Mourgues, N. (Nicole)
Les ailes du desir = Der Himmel uber Berlin : etude du film de Wim Wenders Lillebonne : Millenaire III, 1998.
MAIN: PN1998.3.W46 G57 1998

Green, Peter
"Wings of Desire." (motion picture review) Sight and Sound v 57 Spring 1988. p. 128-9

Helmetag, Charles H.
"... Of men and of Angels": Literary Allusions in Wim Wenders's "Wings of Desire."." Literature-Film Quarterly v18, n4 (Oct, 1990):251 (3 pages).
UC users only

Hofmann, Michael.
"Wings of Desire." (movie reviews) Times Literary Supplement, n4447 (June 24, 1988):706.

Jaehne, Karen.
"Angel Eyes: Wenders Soars" (Wim Wender's "Der Himmel über Berlin" - "Wings of Desire")Film Comment v24, n3 (May-June, 1988):18 (3 pages).

Kael, Pauline.
"Wings of Desire." (movie reviews) New Yorker v64, n15 (May 30, 1988):77 (2 pages).

Kolstrup, Soren.
"Wings of Desire: Space, Memory and Identity." P.O.V: a Danish Journal of Film Studies. 8:135-40. 1999 Dec
UC users only

Kyndrup, Morten.
"Like a Film, Like a Child: Knowledge and Being in Wings of Desire." P.O.V: a Danish Journal of Film Studies. 8:135-40. 1999 Dec
UC users only

Luprecht, Mark.
"Opaque Skies: Wings of Desire-Angelic Text, Context, and Subtext." Post Script, vol. 17 no. 3. 1998 Summer. pp: 47-54.
UC users only

Makhmalbaf, Mohsan; Ditmars, Hadani.
"Seeing with the Heart." (Wim Wenders' 'Wings of Desire')(Interview) Sight and Sound v5, n9 (Sept, 1995):40.
"The writer, an Iranian, recalls the impression made on him by Wim Wenders's Wings of Desire. He contrasts this film's angel, who by falling in love chooses to become a human being, with the traditional Iranian idea that an angel comes to earth because he has committed a sin or done something wrong. He points out that whereas according to Iranian culture the angel is an authoritarian figure, in Wenders's film there is more a sense of the guardian angel who protects us and helps us through hardships. He asserts that the film offers a way, a hope, of overcoming life's problems." [Art Index]

Maslin, Janet.
"Wings of Desire." (movie reviews) New York Times v137 (Fri, April 29, 1988):20(N), C15(L), col 1.

Nadotti, Maria.
"Wings of Desire." (movie reviews)Artforum v26, n10 (Summ, 1988):10 (2 pages).

Oksiloff, Assenka.
"Eden is burning: Wim Wenders's techniques of synaesthesia."German Quarterly v69, n1 (Wntr, 1996):32 (16 pages). Wim Wenders uses the journey of the protagonist angel Damiel in 'Wings of Desire' to critique a world in which seeing is the main means of perception and to enter a realm of synaesthesia in which things are perceived through an interaction of the senses, mainly those of vision, hearing and touch. 'Until the End of the World' links synaesthesia to modern technology.

Olivier, Bert.
"Postmodern Cinema and Postmodern Culture: Information-Communication, Otherness and History in Wender's Himmel über Berlin (Wings of Desire)." Literator: Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies, vol. 13 no. 3. 1992 Nov. pp: 1-12.

Paneth, Ira.
"Wim and his Wings." Film Quarterly v42, n1 (Fall, 1988):2 (7 pages).
German filmmaker W.W. talks about the future of cinema, his career and esp. his latest film "Der Himmel über Berlin".

Perlmutter, Ruth.
"Wenders Returns Home on Wings of Desire."Studies in the Humanities, vol. 20 no. 1. 1993 June. pp: 35-48

Peucker, Brigitte
"Incorporation: images and the real." In: Incorporating images: film and the rival arts / Brigitte Peucker. Princeton, N.J.: Princeton University Press, c1995. (Series: Princeton paperbacks)
Main Stack PN1995.25.P48 1995p. 104-67.

Philippon, Alain
"Wings of Desire." (motion picture review) Cahiers du Cinema no400 Oct 1987. p. 4-7

Plater, Edward M. V.
"The Storyteller in Wim Wender's Wings of Desire." Post Script, vol. 12 no. 1. 1992 Fall. pp: 13-25.

Rea, Paul W.
"Handke's and Wenders's Wings of Desire: Transcending Postmodernism." The German Quarterly, vol. 64 no. 1. 1991 Winter. pp: 46-54.

Raskin, Richard .
"A Bibliography on Wings of Desire Wenders Filmography." P.O.V: a Danish Journal of Film Studies. 8:135-40. 1999 Dec
UC users only

Raskin, Richard
"It's images you can trust less and less: An interview with Wim Wenders on Wings of Desire." P.O.V: a Danish Journal of Film Studies. 8:157-70. 1999 Dec
UC users only

Raskin, Richard
"What Is Peter Falk Doing in Wings of Desire?" P.O.V: a Danish Journal of Film Studies. 8:141-56. 1999 Dec
UC users only

Rogowski, Christian.
"'Der liebevolle Blick'? The Problem of Perception in Wim Wenders's Wings of Desire." Seminar: A Journal of Germanic Studies, vol. 29 no. 4. 1993 Nov. pp: 398-409.

Rogowski, Christian.
"'To Be Continued': History in Wim Wenders' Wings of Desire and Thomas Brasch's Domino."German Studies Review, vol. 15 no. 3. 1992 Oct. pp: 547-63.

Rosenbaum, Sara Irene.
"Grief and Invisibility: How Wings of Desire Saved MY Life." P.O.V: a Danish Journal of Film Studies. 8:135-40. 1999 Dec
UC users only

Seidenberg, Robert.
"The Man Who Fell to Earth; No More Angst and Alienation for Wim Wenders. In his Latest Film, a Wandering Angel Opts for Worldly Love."American Film v13, n8 (June, 1988):28 (5 pages).
Traces the career of director Wim Wenders leading to the creation of "Der Himmel über Berlin".

Simon, John.
"Wings of Desire." (movie reviews)National Review v40, n11 (June 10, 1988):54 (2 pages).

Snyder, Stephen.
"Wim Wenders: The Hunger Artist in America." Post Script, vol. 6 no. 2. 1987 Winter. pp: 54-62.

Tacon, Dave.
"Wim Wenders." (Great Directors: A Critical Database) Senses of Cinema.

Thomsen, Bodil Marie.
"The Interim of Sense." P.O.V: a Danish Journal of Film Studies. 8:65-78. 1999 Dec
UC users only

Vila, X. & Kuzniar,Alice
"Witnessing Narration in Wings of Desire." Film Criticism XVI/3, Spring 92; p.53-65.
Interprets the narrative strategies of "Der Himmel über Berlin".

Watson, Scott B.
"'Harried by His Own Kind': Herzog and the Darker Dimensions of Icarus."Arete: The Journal of Sport Literature, vol. 3 no. 2. 1986 Spring. pp: 71-78.

Wenders, Wim
"Le souffle de l'Ange." Cahiers du Cinema no400 supp Oct 1987. p. 54-106

Wenders, Wim.
"An attempted description of an indescribable film" [1986], In: The logic of images: essays and conversations / Wim Wenders ; translated by Michael Hofmann. pp: 73-83. London ; Boston: Faber and Faber, c1991.
Main Stack PN1994.W46513 1990
Moffitt PN1994.W46513 1991

Wings of Desire -- special issue. P.O.V., 8, December 1999.

Woyzeck

Combs, Richard
"Woyzeck." (Review). Sight & Sound XLVIII/4, Autumn 79; p.259-260.

Lehmann, Dagmar.
Woyzeck: Materialien zu einem Film von Werner Herzog / Atlas Film + AV, 1988.
MAIN: PN1997.W8 L4 1988

Mitgutsch, Waltraud.
"Faces of Dehumanization: Werner Herzog's Reading of Buchner's Woyzeck."Literature/ Film Quarterly, vol. 9 no. 3. 1981. pp: 152-160.

Perlmutter, Ruth.
"Ghosts of Germany: Kaspar Hauser and Woyzeck." Literature/ Film Quarterly, vol. 25 no. 3. 1997. pp: 236-39.

Prandi, Julie D.
"Point of View and the Possibility of Empathy: Woyzeck."Literature/ Film Quarterly, vol. 13 no. 4. 1985. pp: 210-214. On determining point of view in "Woyzeck" in the context of Georg Buüchner's theories on art.

Stiles, Victoria M.
"Woyzeck in Focus: Werner Herzog and His Critics." Literature/ Film Quarterly, vol. 24 no. 3. 1996. pp: 226-33.
" Werner Herzog's 1978 film "Woyzeck" was based on an unfinished play written by George Buchner in 1837, and some critics hailed Herzog as the ideal interpreter of Buchner's work. Buchner's influence can be seen in two other Herzog films. "Every Man for Himself and God Against All: The Enigma of Kaspar Hauser" and "Stroszek." The work is based on fact and details the events leading up to a delusional man's murder of his wife. Since the play was unfinished, Herzog and others that have adapted it to film have had to arrange the scenes themselves and write an ending." [Magazine Index]

Wrong Move

Fell, J.L.
"The Wrong Movement." Film Quarterly XXXII/2, Winter 78-79; p.49-50.

Harcourt, Peter.
"Adaptation through Inversion: Wenders' Wrong Movement (1974)."Modern European Filmmakers and the Art of Adaptation / edited by Andrew Horton and Joan Magretta. pp: 263-277. New York: F. Ungar Pub. Co., 1981. Series title: Ungar film library.
UCB Main PN1997.85 .M66
UCB Moffitt PN1997.85 .M66

Larsen, Egon
"The Emergence of a New Film Industry." Hollywood Quarterly, Vol. 3, No. 4 (Summer, 1948), pp. 387-394
UC users only

McCarthy, Margaret.
"Mapping Goethe's Wilhelm Meister onto Wenders' Wrong Move." In: Eighteenth-century fiction on screen / edited by Robert Mayer. pp: 175-91. Cambridge, U.K. ; New York: Cambridge University Press, 2002.
Main Stack PN1997.85.E39 2002

McCormick, Richard W.
"Wilhelm Meister Revisited: Falsche Bewegung by Peter Handke and Wim Wenders." In: The Age of Goethe Today: Critical Reexamination and Literary Reflection / edited by Gertrud Bauer Pickar and Sabine Cramer. pp: 194-211. Munchen: W. Fink, c1990. Series title: Houston German studies; 7.
NRLF B 3 582 971

McCormick, Richard W.
"The Writer in Film: Wrong Move." In:The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition / edited by Roger F. Cook and Gerd Gemünden. pp: 89-109. Detroit, Mich.: Wayne State University Press, c1997. Contemporary film and television series
Main Stack PN1998.3.W46.C56 1997

Plater, Edward.
"Taking another look at Wim Wenders's Wrong Move." Literature/Film Quarterly. 2002. Vol. 30, Iss. 1; p. 65 (9 pages)
UC users only



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