Moving Frames
Photographs in German Cinema
Will be published approx. on 15. August 2026
Book
Paperback/Softback
258 pages
978-1-80758-073-5 (ISBN)
Description
As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium-a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.
Reviews / Votes
"The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point...Highly Recommended." * ChoiceMore details
Series
Language
English
Place of publication
Oxford
United Kingdom
Target group
College/higher education
Professional and scholarly
Product notice
Paperback (trade)
Illustrations
Bibliography; Index; 19 Illustrations
Dimensions
Height: 229 mm
Width: 152 mm
ISBN-13
978-1-80758-073-5 (9781807580735)
DOI
10.3167/9781800733763
Copyright in bibliographic data is held by Nielsen Book Services Limited or its licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
E-Book
02/2022
1st Edition
Berghahn Books
€19.49
Available for download
E-Book
02/2022
1st Edition
Berghahn Books
€19.49
Available for download
Persons
Carrie Collenberg-Gonzalez is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include "Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)" in Feminist German Studies (2020) and "The Daisy Oracle: A New Gretchenfrage in Goethe's Faust" in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.
Content
List of Illustrations
Acknowledgments
Introduction: Photographs as Rupture and Affect in German Film
Carrie Collenberg-Gonzalez and Martin P. Sheehan
Chapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht's Zille Film Slums of Berlin (1925)
Jason Doerre
Chapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)
Martin P. Sheehan
Chapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer Cinema
John E. Davidson
Chapter 4. Filming After Walker Evans: Wim Wenders' "American Pictures" in Kings of the Road (1976)
Stefanie Harris
Chapter 5. The Transgression of Overpainting: Juergen Boettcher's Radical Experiments with Intermediality in Transformations (1981)
Matthew Bauman
Chapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)
Cynthia Porter
Chapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)
Reinhard Zachau
Chapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya-Welcome to Germany (2011)
Carrie Collenberg-Gonzalez
Chapter 9. Imaging the "Good Life": Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)
Simone Pfleger
Chapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)
Melissa Etzler
Chapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)
Anke Pinkert
Afterword: Toward a Camera Ludica: Agency and Photography in Videogame Ecologies
Curtis L. Maughan
Index
Acknowledgments
Introduction: Photographs as Rupture and Affect in German Film
Carrie Collenberg-Gonzalez and Martin P. Sheehan
Chapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht's Zille Film Slums of Berlin (1925)
Jason Doerre
Chapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)
Martin P. Sheehan
Chapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer Cinema
John E. Davidson
Chapter 4. Filming After Walker Evans: Wim Wenders' "American Pictures" in Kings of the Road (1976)
Stefanie Harris
Chapter 5. The Transgression of Overpainting: Juergen Boettcher's Radical Experiments with Intermediality in Transformations (1981)
Matthew Bauman
Chapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)
Cynthia Porter
Chapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)
Reinhard Zachau
Chapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya-Welcome to Germany (2011)
Carrie Collenberg-Gonzalez
Chapter 9. Imaging the "Good Life": Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)
Simone Pfleger
Chapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)
Melissa Etzler
Chapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)
Anke Pinkert
Afterword: Toward a Camera Ludica: Agency and Photography in Videogame Ecologies
Curtis L. Maughan
Index