Triangulated Visions: Women in Recent German Cinema

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This book illuminates some of the challenges feminist German filmmakers face and offers original insights into their filmmaking practices. It considers the intersections of race, ethnicity, gender, class, and sexuality as these are cinematically represented, and discusses narrative, documentary, "art", and essay films from both West and East Germany before and after unification. Several essays treat films by well-known filmmakers, including R.W. Fassbinder, Jutta Bruckner, Ulrike Ottinger, Helke Sander, Helma ...
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Overview

This book illuminates some of the challenges feminist German filmmakers face and offers original insights into their filmmaking practices. It considers the intersections of race, ethnicity, gender, class, and sexuality as these are cinematically represented, and discusses narrative, documentary, "art", and essay films from both West and East Germany before and after unification. Several essays treat films by well-known filmmakers, including R.W. Fassbinder, Jutta Bruckner, Ulrike Ottinger, Helke Sander, Helma Sanders-Brahms, Monika Treut, and Wim Wenders in ways that challenge the limits of major critical approaches in feminist film criticism today. Importantly, Triangulated Visions also offers suggestive and original analyses of works by filmmakers who, until now, have not received much scholarly treatment.
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Editorial Reviews

Booknews
Collects 21 essays that represent a wide range of current film theory and illuminate some of the challenges feminist German filmmakers face. They consider the intersections of race, ethnicity, gender, class, and sexuality and discuss various kinds of films (narrative, documentary, art, and essay) from both West and East Germany before and after unification. Several essays treat films not only by well-known filmmakers but some whose work has not, until now, received much scholarly treatment. Annotation c. by Book News, Inc., Portland, Or.
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Product Details

Table of Contents

Acknowledgments
Introduction 1
1 Triangulating Performances: Looking After Genre, After Feature 11
2 Fassbinder, Women, and Melodrama: Critical Interrogations 29
3 Behind the Curtains of a State-Owned Film Industry: Women-Filmmakers at the DEFA 43
4 The Queer and Unqueer Spaces of Monika Treut's Films 65
5 "It Takes Three to Tango" or Romance Revised: Jutta Bruckner's One Glance and Love Breaks Out 81
6 Interview with Jutta Bruckner: Feminist Filmmaking in Germany Today 95
7 Observing Rituals: Ulrike Ottinger's Johanna d'Arc of Mongolia 103
8 Community and Its Contents: Race and Film History in Percy Adlon's Bagdad Cafe 117
9 Interview with Seyhan Derin: ben annemin kiziyim (I Am My Mother's Daughter) 129
10 Narcissism: The Impossible Love 139
11 Wanda's Whip: Recasting Masochism's Fantasy - Monika Treut's Seduction: The Cruel Woman 153
12 Why Drag the Diva Into It? Werner Schroeter's Gay Representation of Femininity 163
13 Interview with Doris Dorrie: Filmmaker, Writer, Teacher 173
14 Commodified Body: Helga Reidemeister's Mit starrem Blick aufs Geld (Blank Stares and Hard Cash) 185
15 Interview: Women, Film, and Writing in the GDR: Helga Schubert and the DEFA 199
16 Models or Misfits? The Role of Screen Heroines in GDR Cinema 207
17 Wenders' Genders: From the End of the Wall to the End of the World 219
18 "The Robber Bridegroom" in Helma Sanders-Brahms's Deutschland, bleiche Mutter. Erzahltes Marchen und erlebtes Greuelmarchen 231
19 Fairy Tales and Reflexivity in Marianne Rosenbaum's Peppermint Peace 241
20 Interview with Helke Sander: Reception of Liberators Take Liberties: I would have hoped for a different discussion ... 251
21 Helke Sander's Liberators Take Liberties and the Politics of History 261
App A New Home for the EIFF-European Institute for Women and Film 273
Contributors 277
Subject Index 281
Author Index 289
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