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The reel women collection features films about women and/or made by female directors. Strong female roles reflecting socialist gender ideals and policies abound, such as in the filmic foundation myth, Castles and cottages. In other films, such as A Berlin romance, women are portrayed as susceptible to the consumer attractions of the West, but also the site of conscience and moral action, as in The murderers are among us and Destinies of women. Later films, such as Her third, Solo sunny and All my girls, emphasize the search for personal fulfillment in a society that professes gender equality and emancipation, economic independence, professional sovereignty and self-determination for women of life, even though it is still male-dominated. Certain films about women and women's issues were considered too controversial and banned (Carla, Jadup and Boel) or censored (The bicycle). A key film in this collection is the groundbreaking 1988 documentary Winter Adé, in which women of different ages and backgrounds openly discuss their lives and question the official image of women in the GDR.
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German film is enjoying enormous levels of success, whether success be defined in terms of financial returns, popularity with audiences at home and abroad or critical acclaim. The 2000s saw German productions become regular guests at all the major international film festivals, from Sundance toTokyo, winning awards across the globe. As such, and as reviewers are keen to point out, the German industry appears to be reaching once again the aesthetic heights that brought it the international praise of critics from the late 1960s to the early 1980s. Contemporary German Cinema examines the success of recent film production in its wider industrial, cultural and political context, blending broad overviews of recent trends with detailed key case studies. It explores the German film funding system, then looks at the impact of this system on filmmakers' aesthetic choices, be it the role of realism in contemporary cinema, or the rediscovery of the Heimat film as a popular film genre. This is complemented by discussion of the dominant issues these films explore, from the legacies of Germany's Nazi past and post-war division, to the nation's increasingly multicultural make up, as well as the nation's shifting relationship with the United States as both a 'real' and 'imagined' space.
Offering a survey of trends in German cinema since unification, this title highlights German film's interventions in contemporary social, political and historical debates, including questions of nationality, ethnicity, gender and sexuality.
German National Cinema is the first comprehensive history of German film from its origins to the present. In this new edition, Sabine Hake discusses film-making in economic, political, social, and cultural terms, and considers the contribution of Germany's most popular films to changing definitions of genre, authorship, and film form.
This book is a representative history of East German film culture from 1946 to the present, examining both DEFA's celebrated classics and the most acclaimed post-unification feature films by East German directors.
There were virtually no women film directors in germany until the 1970s. Today there are proportionally more than in any other film-making country, and their work has been extremely influential. Directors like Margarethe von Trotta, Helma Sanders-Brahms, Ulrike Ottinger and Helke Sander have made a huge contribution to feminist film culture, but until now critical consideration of New German Cinema in Britain and the United States has focused almost exclusively on male directors such as Rainer Werner Fassbinder and Wim Wenders. In Women and the New German Cinema Julia Knight examines how restrictive social, economic and institutional conditions have compounded the neglect of the new women directors.
Outreach Librarian for Art, Dance, Visual & Cultural Studies
Contemporary German Cinema by 
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