{"title":"Geschlecht und Geschlechterverhältnisse bewegen: Queer/Feminismen zwischen Widerstand, Subversion, und Solidarität ed. by Verena Sperk et al. (review)","authors":"Simone Pfleger","doi":"10.1353/fgs.2022.0026","DOIUrl":"https://doi.org/10.1353/fgs.2022.0026","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"16 1","pages":"127 - 129"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90165842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Right to Difference: Interculturality and Human Rights in Contemporary German Literature by Nicole Coleman (review)","authors":"M. Schwarz","doi":"10.1353/fgs.2022.0019","DOIUrl":"https://doi.org/10.1353/fgs.2022.0019","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"13 1","pages":"112 - 114"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80304178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gendering Post-1945 German History: Entanglements ed. by Karen Hagemann, Donna Harsch, and Friederike Brühöfener (review)","authors":"Tiarra Cooper","doi":"10.1353/fgs.2022.0021","DOIUrl":"https://doi.org/10.1353/fgs.2022.0021","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"27 1","pages":"116 - 118"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83332404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"After the Imperialist Imagination: Two Decades of Research on Global Germany and Its Legacies ed. by Sara Pugach, David Pizzo, and Adam A. Blackler (review)","authors":"Maureen O. Gallagher","doi":"10.1353/fgs.2022.0024","DOIUrl":"https://doi.org/10.1353/fgs.2022.0024","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"17 1","pages":"122 - 125"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82181038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Drawing on Sara Ahmed's theories of orientation and Gayatri Gopinath's writings on queer Asian diaspora and impossible desires, this paper dissects how the critically acclaimed drama Schau mich nicht so an (2015; Don't Look at Me That Way, 2016) utilizes the queer diasporic Asian woman at the center of the film to reflect on a representational conundrum. The Mongolian-born, Munich-based filmmaker Uisenma Borchu takes up the challenge of embodying the seemingly impossible queer diasporic Asian woman in the film. Both the inability to pigeonhole her character Hedi to a single orientation and Borchu's own disorienting diasporic experiences queer the film's themes of sexuality, nation, and kinship, offering new and sometimes imagined alternatives. In the end, the film envisions a future that weaves together new approaches to familial bonds, culture, spatiality, and home without obscuring the differences and challenges that shape these relationships.
{"title":"Feeling at Home in Munich and Mongolia: (Dis)orientation and Queer Diaspora in Uisenma Borchu's Schau mich nicht so an (2015)","authors":"Zachary Fitzpatrick","doi":"10.1353/fgs.2022.0016","DOIUrl":"https://doi.org/10.1353/fgs.2022.0016","url":null,"abstract":"Abstract:Drawing on Sara Ahmed's theories of orientation and Gayatri Gopinath's writings on queer Asian diaspora and impossible desires, this paper dissects how the critically acclaimed drama Schau mich nicht so an (2015; Don't Look at Me That Way, 2016) utilizes the queer diasporic Asian woman at the center of the film to reflect on a representational conundrum. The Mongolian-born, Munich-based filmmaker Uisenma Borchu takes up the challenge of embodying the seemingly impossible queer diasporic Asian woman in the film. Both the inability to pigeonhole her character Hedi to a single orientation and Borchu's own disorienting diasporic experiences queer the film's themes of sexuality, nation, and kinship, offering new and sometimes imagined alternatives. In the end, the film envisions a future that weaves together new approaches to familial bonds, culture, spatiality, and home without obscuring the differences and challenges that shape these relationships.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"8 1","pages":"107 - 79"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89848972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article uses a case study approach to analyze current German practice with respect to women’s film heritage. A sketch of the contemporary German film-archival landscape is followed by a brief survey of women’s film in the curatorial program of the Deutsche Kinemathek, focusing specifically on the 2019 Berlinale Retrospective Selbstbestimmt: Perspektiven von Filmemacherinnen (Self-determined: Perspectives from women filmmakers). National film heritage practice is compared with approaches across feminist institutions and projects, including festivals, feminist and queer archives, and one-off events; approaches from both contexts are then situated in relation to the place of films by women in federal digitization policy and practice. Analysis of two short films returns the focus to the notion of a self-determined film history underpinning the 2019 retrospective; tensions are explored between the feminist teleology that term implies and a curatorial practice of intersectional gender performance that is evident in many of the feminist initiatives discussed.
摘要:本文采用个案研究的方法，分析了当前德国女性电影遗产的实践。在对当代德国电影档案景观进行概述之后，在德国电影资料馆的策展项目中对女性电影进行了简要调查，特别关注2019年柏林电影节回顾展:Perspektiven von Filmemacherinnen(自我决定:女性电影人的视角)。国家电影遗产实践与女权主义机构和项目的方法进行了比较，包括电影节，女权主义者和酷儿档案，以及一次性事件;然后，这两种背景下的方法都与女性电影在联邦数字化政策和实践中的地位有关。对两部短片的分析将焦点带回2019年回顾展的自我决定的电影史概念;该术语所暗示的女权主义目的论与在讨论的许多女权主义倡议中显而易见的交叉性别表现的策展实践之间的紧张关系进行了探讨。
{"title":"Activating the Archive: Feminism and German Women’s Film Heritage, 2010–2020","authors":"Erica Carter","doi":"10.1353/fgs.2022.0004","DOIUrl":"https://doi.org/10.1353/fgs.2022.0004","url":null,"abstract":"Abstract:This article uses a case study approach to analyze current German practice with respect to women’s film heritage. A sketch of the contemporary German film-archival landscape is followed by a brief survey of women’s film in the curatorial program of the Deutsche Kinemathek, focusing specifically on the 2019 Berlinale Retrospective Selbstbestimmt: Perspektiven von Filmemacherinnen (Self-determined: Perspectives from women filmmakers). National film heritage practice is compared with approaches across feminist institutions and projects, including festivals, feminist and queer archives, and one-off events; approaches from both contexts are then situated in relation to the place of films by women in federal digitization policy and practice. Analysis of two short films returns the focus to the notion of a self-determined film history underpinning the 2019 retrospective; tensions are explored between the feminist teleology that term implies and a curatorial practice of intersectional gender performance that is evident in many of the feminist initiatives discussed.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"54 1","pages":"27 - 53"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79674411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article compares spatial explorations of family history in two films and analyzes the impact of the filmmakers’ generational differences on their approaches to film as an aesthetic medium for pursuing memory work. In Etwas tut weh (1979/1980; Something hurts), Recha Jungmann, one of the few women graduates of the Hochschule für Gestaltung in Ulm, revisits her family’s decayed former estate, curiously reconnecting the ruin with the elusiveness of family history. Sandra Wollner’s Das unmögliche Bild (2016; The Impossible Picture, 2016) explores her family history by imitating Super 8 home movie making. In both cases the house becomes an archival place that is interwoven with German and Austrian national history. The camera practices a form of approach that deliberately creates (disorienting) spaces that refute the hierarchies of conventional narration. Forty years apart, the respective handling of space is different in each film, the intent of uncovering family secrets similar.
{"title":"Home, History, and Memory: Spatial Explorations in Recha Jungmann’s Etwas tut weh (1979/1980) and Sandra Wollner’s Das unmögliche Bild (2016)","authors":"Annette Brauerhoch","doi":"10.1353/fgs.2022.0007","DOIUrl":"https://doi.org/10.1353/fgs.2022.0007","url":null,"abstract":"Abstract:This article compares spatial explorations of family history in two films and analyzes the impact of the filmmakers’ generational differences on their approaches to film as an aesthetic medium for pursuing memory work. In Etwas tut weh (1979/1980; Something hurts), Recha Jungmann, one of the few women graduates of the Hochschule für Gestaltung in Ulm, revisits her family’s decayed former estate, curiously reconnecting the ruin with the elusiveness of family history. Sandra Wollner’s Das unmögliche Bild (2016; The Impossible Picture, 2016) explores her family history by imitating Super 8 home movie making. In both cases the house becomes an archival place that is interwoven with German and Austrian national history. The camera practices a form of approach that deliberately creates (disorienting) spaces that refute the hierarchies of conventional narration. Forty years apart, the respective handling of space is different in each film, the intent of uncovering family secrets similar.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"1 1","pages":"117 - 98"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73215493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:From within the frame of feminist phenomenology and its crux of lived experience, this essay explores the element of time through embodied acts of waiting in four of Angela Schanelec’s later films: Nachmittag (2007; Afternoon, 2020), Orly (2010; Orly, 2010), Der traumhafte Weg (2016; The Dreamed Path, 2017), and Ich war zuhause, aber . . . (2019; I Was at Home, But. . ., 2019). Each of these films portrays waiting as suspension, in which characters are stuck in a state of fatigued arrest, unable to act and uncertain of what is to come. Essentially a state of vulnerability, waiting can even invite violence. I ask how this portrayal might connect to feminist politics, which permits us to read Schanelec’s films at least indirectly as feminist. The topic of waiting has a long history in film and film criticism, not least in discussions of gender. I trace this history from slow cinema’s ambivalent embrace of unhurried time back to melodrama’s temporality of too-late-ness and art cinema’s wearied figure of the housewife marked by time’s passing.
摘要:本文从女性主义现象学的框架及其生活经验的核心出发，通过安吉拉·沙内莱后期的四部电影中体现的等待行为来探讨时间元素:《Nachmittag》(2007;下午，2020)，奥利(2010;Orly, 2010)， Der trauma (2016;《梦之路》，2017)，以及《我的梦想之路》，aber…(2019);我在家里，但是……，2019)。这些电影都把等待描绘成一种暂停，其中的角色陷入了一种疲惫的状态，无法行动，也不确定接下来会发生什么。等待本质上是一种脆弱的状态，甚至会招致暴力。我问她，这种描述与女权主义政治有什么关系，这让我们至少可以间接地把沙内莱克的电影当作女权主义者来解读。等待的话题在电影和电影评论中有着悠久的历史，尤其是在性别讨论中。我追溯这段历史，从慢电影对不慌不忙的时间的矛盾拥抱，追溯到情节剧的时间性，以及艺术电影中因时间流逝而疲惫不堪的家庭主妇形象。
{"title":"A Gendered Suspension of Time: Waiting in the Cinema of Angela Schanelec","authors":"Olivia Landry","doi":"10.1353/fgs.2022.0010","DOIUrl":"https://doi.org/10.1353/fgs.2022.0010","url":null,"abstract":"Abstract:From within the frame of feminist phenomenology and its crux of lived experience, this essay explores the element of time through embodied acts of waiting in four of Angela Schanelec’s later films: Nachmittag (2007; Afternoon, 2020), Orly (2010; Orly, 2010), Der traumhafte Weg (2016; The Dreamed Path, 2017), and Ich war zuhause, aber . . . (2019; I Was at Home, But. . ., 2019). Each of these films portrays waiting as suspension, in which characters are stuck in a state of fatigued arrest, unable to act and uncertain of what is to come. Essentially a state of vulnerability, waiting can even invite violence. I ask how this portrayal might connect to feminist politics, which permits us to read Schanelec’s films at least indirectly as feminist. The topic of waiting has a long history in film and film criticism, not least in discussions of gender. I trace this history from slow cinema’s ambivalent embrace of unhurried time back to melodrama’s temporality of too-late-ness and art cinema’s wearied figure of the housewife marked by time’s passing.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"162 1","pages":"160 - 181"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73717407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Director Ula Stöckl occupies a unique place in film history. Her debut feature, Neun Leben hat die Katze (1968; The Cat Has Nine Lives, 1977), is considered the first West German feminist film. As the first woman to enroll in the film program at the Ulm School of Design, in 1962, and also its first graduate, she lacked female role models and peers, turning instead to the women protagonists of classical Greek drama as a means to conceive of gendered resistance to patriarchy. While Stöckl’s interest in form contrasts with the social realism prevalent in the women’s filmmaking movement of the 1970s, there is an undeniable politics to her aesthetics. In this edited conversation, which took place at the Berlin Film Festival in 2020, Stöckl reminisces about her early training in 35 mm film, the forms of creativity that emerged among peers of her generation in response to the limited resources available to them, and her own teaching methods as a professor of film production at the University of Central Florida.
摘要:导演乌拉Stöckl在电影史上占有独特的地位。她的处女作《新莱本》(1968;1977年的《猫有九条命》被认为是第一部西德女权主义电影。1962年，作为乌尔姆设计学院(Ulm School of Design)电影专业的第一位女性学生，以及该学院的第一位毕业生，她缺乏女性榜样和同伴，而是转向古典希腊戏剧中的女性主角，以此来构思对父权制的性别反抗。虽然Stöckl对形式的兴趣与20世纪70年代女性电影制作运动中普遍存在的社会现实主义形成鲜明对比，但她的美学中有一种不可否认的政治色彩。在这段发生在2020年柏林电影节上的经过剪辑的对话中，Stöckl回忆了她早期在35毫米电影中的训练，她那一代同龄人在有限的资源下出现的创造力形式，以及她作为中佛罗里达大学电影制作教授的教学方法。
{"title":"Feminist Filmmaking before Feminism: An Interview with Ula Stöckl","authors":"Angelica Fenner, Hester Baer","doi":"10.1353/fgs.2022.0005","DOIUrl":"https://doi.org/10.1353/fgs.2022.0005","url":null,"abstract":"Abstract:Director Ula Stöckl occupies a unique place in film history. Her debut feature, Neun Leben hat die Katze (1968; The Cat Has Nine Lives, 1977), is considered the first West German feminist film. As the first woman to enroll in the film program at the Ulm School of Design, in 1962, and also its first graduate, she lacked female role models and peers, turning instead to the women protagonists of classical Greek drama as a means to conceive of gendered resistance to patriarchy. While Stöckl’s interest in form contrasts with the social realism prevalent in the women’s filmmaking movement of the 1970s, there is an undeniable politics to her aesthetics. In this edited conversation, which took place at the Berlin Film Festival in 2020, Stöckl reminisces about her early training in 35 mm film, the forms of creativity that emerged among peers of her generation in response to the limited resources available to them, and her own teaching methods as a professor of film production at the University of Central Florida.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"3 1","pages":"54 - 72"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91347242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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