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

General Works: Journal Articles

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

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.
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.
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

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

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; circ info
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.
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.
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.
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.
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.
UCB Main PN1993.5.G3 L56 1998

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

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

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

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

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

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.
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

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.
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]

Baker, Neal
"New German Film: the Displaced Image." Historical Journal of Film, Radio and Television v15.n3 (August 1995): pp444(2). (756 words)
UC users only
"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."

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

Byg, Barton
"What might have been: DEFA films of the past and the future of German cinema." Cineaste v 17 no4 1990. p. 9-15.

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

"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]

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. Wedel, Michael.
"Defining DEFA's Historical Imaginary: The Films of Konrad Wolf." New German Critique. 82:3-24. 2001 Winter

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

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]

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

Fisher, Jaimey.
"Who's Watching the Rubble-Kids? Youth, Pedagogy, and Politics in Early DEFA Films." New German Critique. 82:91-125. 2001 Winter

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

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

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.
""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.
UC users only
"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]

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.

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

Petley, Julian.
"Sirk in Germany." Sight and Sound v 57 Winter 1987/1988. p. 58-61.

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+

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]

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

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 on Individual Film Makers

German Cinema (for reviews and articles on individual films)

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, 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

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
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

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

Gemunden, Gerd
"The gangster film and melodrama of Rainer Werner Fassbinder." In: Framed visions: popular culture, Americanization, and the contemporary German and Austrian imagination / Gerd Gemunden. 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.
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

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.
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)
UC users only

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]

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

Gemunden, 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 'Fassbind