Volker Schlöndorff’s Cinema: Adaptation, Politics and the “Movie-Appropriate” examines the work of major postwar German director Volker Schlöndorff in historical, economic, and artistic contexts. Incorporating a film-by-film, twenty-eight chapter study, Hans-Bernhard Moeller & George Lellis reveal a complexity and formal ambitiousness of Schlöndorff that is comparable to that found in Wenders, Herzog, and Fassbinder. In spite of Schlöndorff’s successes with films like The Lost Honor of Katharina Blum and The Tin Drum, as well as his acclaimed work in the U.S. with Death of a Salesman, Gathering of Old Men and The Handmaid’s Tale, this is the first in-depth critical study of the filmmaker’s career.
In the context of film and television history, this book relates Schlöndorff’s oeuvre to the New German Cinema, to his formative years as a student and production assistant in France, and to his roots in the Weimar cinema’s tradition. It reveals how Schlöndorff entered into the German film production system in the 1960s, how he came to rely on German public television in the 1970s, and then moved to the international and American financing in the 1980s, attempting to redevelop the Babelsberg studios in a 1990s post-Wall Germany while continuing to make his own films into the 21st century. The book captures how Schlöndorff’s nearly half century of ongoing creativity and productivity ties together.
The authors analyze the artistry of each Schlöndorff movie arguing that his output as a whole embodies a provocative and sometimes contradictory set of balances. Schlöndorff combines commercial interest with significant artistic ambition, blends the kinesthetic pleasures of moving images with the seriousness of fine literature, links the intensity of individualized personal experience to an awareness of broader political issues, and represents a specifically German sensibility even as he reaches out to the international audiences.
The authors demonstrate the cyclical recurrence in his cinema of certain themes (individual and collective rebellion, fascist suppression, masochistic love), narrative patterns (the Western, the thriller, the subjective mood piece), and stylistic approaches (Brechtian Verfremdung, the creation of careful leitmotif structures, the use of the grotesque). In over thirty years of filmmaking, Schlöndorff has produced a remarkable unified body of work that deserves the attention of a book-length study. Authors Hans-Bernhard Moeller and George Lellis offer the first such study of its kind.
Volker Schlöndorff’s Cinema: Adaptation, Politics, and the “Movie-Appropriate” features forty-one illustrations.
|Publisher:||Southern Illinois University Press|
|Series:||Volker Schlondorff's Cinema: Adaptation, Politics, and the "Movie-Appropriate"|
|Sold by:||Barnes & Noble|
|File size:||4 MB|
About the Author
Hans-Bernhard Moeller is a professor in the Department of Germanic Studies at the University of Texas at Austin, where he teaches a range of courses on the German cinema as well as courses in German literature and comparative literature. He is author of many articles on cinema and editor of Latin America and the Literature of Exile: A Comparative View of the Twentieth-Century Refugee Writers in the New World.
George Lellis is a professor of Communication, chair of the Department of Business Administration and director of the Elizabeth Boatwright Coker Performing Arts Center at Coker College. He is author of Bertolt Brecht, Cahiers du Cinéma and Contemporary Film Theory.
Table of ContentsCover Book Title Copyright Contents Illustrations Acknowledgments 1. Introduction: The Historical Importance of Schlöndo 2. Schlöndorff and His Sources Part One: The Early Schlondorff: Suppression, Pop, and Protest 3. Young Törless 4. A Degree of Murder and “An Uneasy Moment” 5. Michael Kohlhaas Part Two: Brechtian and Profeminist Schlondorff 6. “Amphibious” Movies and Formal Experiments 7. Baal 8. The Sudden Wealth of the Poor People of Kombach 9. The Morals of Ruth Halbfass and Overnight Stay in Tyrol 10. A Free Woman 11. Georgina’s Reasons 12. The Lost Honor of Katharina Blum 13. Coup de Grâce Part Three: The International Schlondorff 14. A GermanConsciousness for an International Audience 15. The Tin Drum 16. Just for Fun, Just for Play—Kaleidoscope Valeska Gert, The Candidate, and War and Peace 17. Circle of Deceit 18. Swann in Love Part Four: The American Schlondorff 19. A German Filmmaker in the United States 20. Death of a Salesman 21. A Gathering of Old Men 22. The Handmaid’s Tale Part Five: The Post-Wall Schlondorff 23. A Filmmaker for the European Community 24. Voyager 25. The Ogre 26. Billy, How Did You Do It? and Palmetto 27. The Legend of Rita and “The Perfect Soldier” 28. Conclusion Filmography Appendix: U.S. Film, DVD, and Video Sources Notes Works Cited and Consulted Index Author Biographies Back Cover