Course Description

In this course we will explore the New German Cinema by studying a number of its “auteurs” (filmmakers) and a selection of their films, in the context of German history and culture from the seventies to the nineties.
 

Course Objectives

Successful students will be able to do the following, in German:

• speak and write about: the history and the defining characteristics of the New German Cinema; its directors; the details of some of its individual films
• analyze the filmic means and techniques used by a director
• interpret the aesthetic means and qualities of a film
• situate a film in its historical and cultural context
• evaluate and critique a film
 

Course Requirements and Evaluation

Attendance Impact on grade is defined below in “Class Attendance Policy”
Class Work  20% Whole class and group discussion
Film analysis sheets 10% See below for details
Paper 1   10% See below for details
Paper 2   20% See below for details
Midterm Exam  20% Exam on material from first half of semester
Final Exam   20% Exam on material from second half of semester

Evaluation of Class Work

For your participation in class, your grade will be determined using the following criteria:
A = you are well prepared and participate actively; you are attentive, respond when called upon and volunteer often with pertinent questions and comments.
B = you are usually prepared and always respond when called on; you volunteer on occasion.
C= you show evidence of being unprepared; you have some trouble when called on and do not volunteer often.
D = you are unprepared and/or inattentive; you never volunteer; you come to class late and/or leave early.
F= you exhibit a lack of concern for the class; your behaviour may have a negative effect on the class.

Group Work

There will be group activities. The above evaluation criteria also apply to group work. Be a good team member in partner work or small group activities. Turn your chair to create an easy setting for interaction with your partner(s). Volunteer information, keep the work moving along, but don’t dominate. Help your partners, if they are having a more difficult time (helping others is an excellent way to learn for yourself!). In order to be a good team player you need to be well prepared for class. Each member of a group should take notes about the ideas generated in the group and be prepared to give a report to the class.
 

Film Analysis Sheets (Filmanalyseblätter)

You will hand in eight 2-page film analysis sheets throughout the semester. There are 9 opportunities, so you can miss one (save it for an emergency!); no late work accepted. They will be due on the day we start discussing a particular film. The purpose of these film analysis sheets is to give you an opportunity to engage yourself more closely with a certain film and to formulate your thoughts about it in writing, in preparation for class discussions. This will also be excellent practice for writing the longer papers and as a basis for reviewing for the exams.

Papers

The first paper will be 2-3 pages, the second 4-5 pages. Use 1” margins on all sides, 12 pt. font, double-spaced, with page numbers. We are most interested in your own original ideas, not someone else’s, nor in a paraphrase of our comments from class, our class-discussions, or the readings themselves. Pay attention to good organization and logical transitions between paragraphs. Base your arguments on close readings of the films or sections of the films; give concrete examples; and avoid vague impressions. Do not use excessively long quotations to fill up the pages, unless you are doing a close analysis of a passage. An excellent source of help on how to write a good paper on film is Timothy Corrigan, A Short Guide to Writing about Film.
If you use ideas or quotes from critical literature (books, articles, internet, etc.), you need to document your sources and give proper credit to someone else’s ideas (whether you quote directly or rephrase their ideas)—otherwise you violate academic integrity and commit plagiarism (see below for policy). Do not make someone else’s ideas the major focus of your paper. For the format of footnotes and bibliography, if you have them, refer to the MLA Style Manual (available in bookstore or library). Paper topics will be given out later in the semester.

Exams

Both exams will consist of:
Film history: explain the beginnings, characterisitics, and development of the New German Cinema and its auteurs.
Individual films: explain the cultural context of the film; its characters; its theme, motifs, symbols; its technical means and how they are used to achieve certain effects; its message, etc.

The best way to prepare for these exams is attentive viewing of the films, regular preparation (filling out the film analysis sheets), active class participation, and note-taking. The exams will be based on what has been covered in class and on the readings.
 

Class Attendance Policy

Regular attendance is a university requirement. For every unexcused absence in excess of one class, your semester grade could be reduced by 1 point. If you have to miss a class, please inform your instructor about it beforehand or as soon as possible after the absence. You will still be expected to be prepared for the next class; contact your instructor or a class mate for information on the missed material and any assignments. For the policy on excused and unexcused absences, you may wish to consult the NC State website:

http://www.ncsu.edu/provost/academic_policies/attend/reg.htm
 

Students with Disabilities

Reasonable accommodations will be made for students with verifiable disabilities. At NC State, please register with Disability Services for Students at 1900 Student Health Center, Campus Box 7509, 515-7653. For more information see

http://www.ncsu.edu/provost/offices/affirm_action/dss/

For the NC State policy see:

http://www2.ncsu.edu/ncsu/provost/info/hat/current/appendix/appen_k.html
 

Academic Integrity

Human interaction and effective communication function on the basis of trust. An atmosphere of trust, honesty and respect for each other fosters educational progress and success. Please do not give us any reason to be suspicious of your honesty. You are to do your own work on all class assigments, papers, and exams, unless it is a designated pair or group assigment. For papers that also means not incorporating others’ ideas and selling them as your own—this is called plagiarism. Whether you take ideas (verbatim or just as an idea) from books, the internet, or other sources does not matter: you need to acknowledge their source if they are not your own. If you are caught giving or receiving unauthorized help on assignments or in exams, you will be prosecuted according to the guidelines described in NC State’s policy on academic integrity. You are expected to work within the letter and spirit of the NC State University Code of Student Conduct, please see

http://www.fis.ncsu.edu/ncsulegal/41.03-codeof.htm
 

Semester Schedule

Introduction

1 - Tue, Aug. 21 Introduction to the class (Braunbeck and Speck)
2 - Th, Aug. 23 What is “The New German Cinema”? Its history. (Braunbeck)
3 - Tue, Aug.28 Basics of Film Analysis (Speck)

Rainer Werner Fassbinder

4 – Th, Aug. 30 Die Ehe der Maria Braun / The Marriage of Maria Braun (Speck)
5 - Tue, Sep. 4 Die Ehe der Maria Braun / The Marriage of Maria Braun (Speck)
6 – Th, Sep. 6 Sample Film Analysis Sheet (Braunbeck and Speck)
7 - Tue, Sep. 11 Chinesisches Roulette / Chinese Roulette (Speck); Filmanalyseblatt 1
8 - Th, Sep. 13 Chinesisches Roulette / Chinese Roulette (Speck)
9 - Tue, Sep. 18 Angst essen Seele auf / Fear Eats the Soul (Speck); Filmanalyseblatt 2
10 - Th, Sep. 20 Angst essen Seele auf / Fear Eats the Soul (Speck)

Werner Herzog
11 - Tue, Sep. 25 Stroszek (Braunbeck); Filmanalyseblatt 3
12 - Th, Sep. 27 Stroszek (Braunbeck)
13 - Tue, Oct. 2 Aguirre, der Zorn Gottes / Aguirre, Wrath of God (Speck); Filmanalyseblatt 4
14 – Th, Oct. 4 Aguirre, der Zorn Gottes / Aguirre, Wrath of God (Speck)
15 - Tue, Oct. 9 Rewind (Braunbeck and Speck)
16 - Th, Oct. 11 Fall Break at UNW; Midterm at NC State
       Tue, Oct. 16 Midterm at UNCW; Fall Break at NC State
 
Wim Wenders
17 - Th, Oct. 18 Der amerikanische Freund / The American Friend  (Speck); Filmanalyseblatt 5
18 - Tue, Oct. 23 Der amerikanische Freund / The American Friend  (Speck)
19 - Th, Oct. 25 Der Himmel über Berlin / Wings of Desire (Braunbeck); Filmanalyseblatt 6
20 - Tue, Oct. 30 Der Himmel über Berlin / Wings of Desire (Braunbeck)
21 - Th, Nov.1 Wenders’ weitere Entwicklung (Speck)

Margarethe von Trotta
22 - Tue, Nov. 6 Weibliche Filmaesthetik / Female Film Aesthetics; historischer Hintergrund zu Die bleierne Zeit / Historical Background of Marianne and Juliane (Braunbeck)
23 - Th, Nov. 8 Die bleierne Zeit / Marianne and Juliane (Braunbeck); Filmanalyseblatt 7
24 - Tue, Nov. 13 Die bleierne Zeit / Marianne and Juliane (Braunbeck)
25 - Th, Nov. 15 Rosa Luxemburg (Braunbeck); Filmanalyseblatt 8
26 – Tue, Nov. 20 Rosa Luxemburg (Braunbeck)
        Th, Nov. 22 Thanksgiving
27 - Tue, Nov. 27 Das Versprechen / The Promise (Braunbeck); Filmanalyseblatt 9
28 - Th, Nov. 29 Das Versprechen / The Promise (Braunbeck)
29 - Tue, Dec. 4 Rewind
30 - Th, Dec. 6 Rewind
       Tue, Dec. 18 8 – 11 a.m. Final Exam at NC State
 

Film Screenings at NC State, D.H. Hill Library, Media Center

Mo, Aug. 27, 4-6 p.m., Die Ehe der Maria Braun / The Marriage of Maria Braun (120 min.), room 2324
Th, Sep. 6, 4-6 p.m., Chinesisches Roulette / Chinese Roulette (96 min.), Big Theater
Th, Sep. 13, 4-6 p.m., Angst essen Seele auf / Ali, Fear Eats the Soul (94 min.), room 2324
Th. Sep. 20, 4-6 p.m., Stroszek (108 min.), room 2324
Th. Sep. 27, 4-6 p.m., Aguirre, der Zorn Gottes / Aguirre, Wrath of God (94 min.), room 2324
Wed., Oct. 17, 1:30-4 p.m., Der amerikanische Freund / The American Friend (127 min.), room 2324
Fr. Oct. 19, 2-5 p.m., Der Himmel über Berlin / Wings of Desire (130 min.), room 2324
Mo Oct. 29, 2-5 p.m., In weiter Ferne, so nah / Far Away so Close (146 min.), Big Theater
Tue, Nov. 6, 4-6 p.m., Die bleierne Zeit / Marianne and Juliane (106 min.), room 2324
Mo, Nov. 12, 1-4 p.m., Rosa Luxemburg (122 min.), in room 2324
Mo, Nov. 26, 4-7 p.m., Das Versprechen / The Promise (116 min.), room 2324

An alternative to viewing the film with the class is always to go to the Media Center in D.H. Hill Library and see the film there, anytime that fits your schedule; videos cannot be checked out. Or you can rent a copy at a video store; some of the videos will be easily available while others are more difficult to find—it depends on the movie and on the store).

All students of German at NC State or members of the German Club are welcome to attend the screenings!

Required Readings for Films taught by Helga G. Braunbeck

At NC State: copy folders can be requested at the desk. Book titles are on the class shelf.
At UNCW: all readings available as copies.

Stroszek

Eric Rentschler, excerpts from “How American Is It: The U.S. as Image and Imaginary in German Film.” Copy folder.
Hans Günter Pflaum et al., “Stroszek. 1976/1977.” Copy folder

Der Himmel über Berlin / Wings of Desire

Ira Paneth, “Wim and His Wings.” Copy folder.
Robert Phillip Kolker and Peter Beicken, “Wings of Desire: Between Heaven and Earth,” in their book The Films of Wim Wenders: Cinema as Vision and Desire, pp.138-160 (PN 1998.3 W46 K64 1993).

Die bleierne Zeit / Marianne and Juliane

Marc Silberman, “The Subject of Identity: Margarethe von Trotta’s Marianne and Juliane,”  in his book German Cinema: Texts in Context, pp. 198-213 (PN 1993.5 G3 S54 1995)
Ellen Seiter, “The Political is the Personal: Margarethe von Trotta’s Marianne and Juliane,” copy folder.

Rosa Luxemburg

Margarethe von Trotta folder with copies, top sheet is on “Female Film Aesthetics.”
Anna Kuhn, “A Heroine for Our Time: Margarethe von Trotta’s Rosa Luxemburg,” in Gender and German Cinema: Feminist Interventions, ed. Sandra Frieden et. al., vol. II, pp. 163-184 (PN 1993.5 G3 G357 1993, v. 2).

Das Versprechen / The Promise

Andreas Kilb, “Das Versprechen: Margarethe von Trottas Film über die Berliner Mauer.” Copy folder.
 

Books on Reserve at NC State

Zur Filmanalyse

Timothy Corrigan, A Short Guide to Writing about Film (1994)
James Monaco, How to Read a Film: The World of Movies, media and multimedia, language, history, theory (2000)
David Bordwell and Kristin Thompson, Film Art: An Introduction (1986)
Louis D. Gianetti, Understanding Movies (1987).
 

Allgemeines zum deutschen Film und zum Neuen Deutschen Film

Thomas Elsaesser, New German Cinema: A History (1989)
John Sandford, The New German Cinema (1980/82)
Timothy Corrigan, New German Film: The Displaced Image (1994)
Klaus Phillips (ed.), New German Filmmakers: From Oberhausen through the 1970s (1984)
James Franklin, New German Cinema: From Oberhausen to Hamburg (1983)
John E. Davidson, Deterritorializing the New German Cinema (1999)
Anton Kaes, From Hitler to Heimat: The Return of History as Film (1989)
Eric Rentschler (ed.), West German Film Makers on Film (1988)
Hans Günther Pflaum, Germany on Film (1990)
Eric Rentschler (ed.), German Film and Literature: Adaptations and Transformations (1986)
Terri Ginsberg and Kirsten Moana Thompson, Perspectives on German Cinema (1996)
Marc Silberman, German Cinema: Texts in Context (1995)
Frederick W. Ott, The Great German Films (1986)
Thomas Elsaesser, The BFI Companion to German Cinema (1999)
 

Frauen und Film

Julia Knight, Women and the New German Cinema (1992)
Sandra Frieden et. al., Gender and German Cinema: Feminist Interventions (1993) 2 vols.
 

Von und zu einzelnen Regisseuren

Rainer Werner Fassbinder

Ronald Hayman, Fassbinder Filmmaker (1984)
Jane Shattuc, Television, Tabloids, and Tears: Fassbinder and Popular Culture (1995)
Christian Braad Thomsen, Fassbinder: The Life and Work of a Provocative Genius (1991)
Thomas Elsaesser, Fassbinder’s Germany: History, Identity, Subject (1996)
Rainer Werner Fassbinder, The Andarchy of the Imagination: Interviews, Essays, Notes (1992)
Laurence Kardish, ed., Rainer Werner Fassbinder (1997)
Juliane Lorenz, Chaos as Usual: Conversations about Rainer Werner Fassbinder (1995, 1997)
Wallace Steadman Watson, Understanding Rainer Werner Fassbinder: Film as Private and Public Art (1996)
Joyce Rheuban, ed., The Marriage of Maria Braun: Rainer Werner Fassbinder, director (1986)
 

Werner Herzog

Thimothy Corrigan (ed.), The Films of Werner Herzog: Between Mirage and History (1986)
 

Wim Wenders

Robert Phillip Kolker, Peter Beicken, The Films of Wim Wenders: Cinema as Vision and Desire (1993)
Kathe Geist, The Cinema of Wim Wenders: From Paris, France to Paris Texas (1988)
Roger Bromley, From Alice to Buena Vista: The Films of Wim Wenders (2001)
Wim Wenders, The Logic of Images: Essays and Conversations (1991)