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":"In Memoriam Tatjana Turanskyj, 1967–2021","authors":"","doi":"10.1353/fgs.2022.0000","DOIUrl":"https://doi.org/10.1353/fgs.2022.0000","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":"21 1","pages":"1 - 117 - 118 - 140 - 141 - 159 - 160 - 181 - 182 - 201 - 26 - 27 - 53 - 54 - 72 - 73 - 97 - 98 - ix"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73911767","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:As a feminist filmmaker, Tatjana Turanskyj relentlessly grapples with the question of how an ethically engaged cinema can explore questions about women’s agency and solidarity. Inspired by a longer West German tradition of feminist filmmaking that sought to create a women’s cinema able to function as “an oppositional public sphere” (Gegenöffentlichkeit), her films eschew the conventions of dominant cinema, relying on non-didactic, non-cathartic, circular narratives. This essay unpacks the role of these aesthetic strategies in Eine flexible Frau (2010) and Top Girl (2014), which center on an alcoholic and a prostitute. My analysis argues that these films critique neoliberalism’s narratives of free choice and autonomy that compel women to render their lives knowable and meaningful. Drawing on Sianne Ngai’s conceptualization of “ugly feelings,” a phrase that encompasses a range of dysphoric feelings and emotional negativity, I show how Turanskyj’s work visualizes dynamics of refusal to conform to neoliberal demands.
{"title":"Shoes, Drunk Women, and Phallic Girls: Tatjana Turanskyj’s Feminist Interventions in German Cinema","authors":"Alice Bardan","doi":"10.1353/fgs.2022.0011","DOIUrl":"https://doi.org/10.1353/fgs.2022.0011","url":null,"abstract":"Abstract:As a feminist filmmaker, Tatjana Turanskyj relentlessly grapples with the question of how an ethically engaged cinema can explore questions about women’s agency and solidarity. Inspired by a longer West German tradition of feminist filmmaking that sought to create a women’s cinema able to function as “an oppositional public sphere” (Gegenöffentlichkeit), her films eschew the conventions of dominant cinema, relying on non-didactic, non-cathartic, circular narratives. This essay unpacks the role of these aesthetic strategies in Eine flexible Frau (2010) and Top Girl (2014), which center on an alcoholic and a prostitute. My analysis argues that these films critique neoliberalism’s narratives of free choice and autonomy that compel women to render their lives knowable and meaningful. Drawing on Sianne Ngai’s conceptualization of “ugly feelings,” a phrase that encompasses a range of dysphoric feelings and emotional negativity, I show how Turanskyj’s work visualizes dynamics of refusal to conform to neoliberal demands.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"41 1","pages":"182 - 201"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79052298","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:Filmmaker Ines Johnson-Spain discusses her personal journey to connect with her African paternal heritage, knowledge of which had been suppressed by her (white) parents throughout her childhood in East Germany. The resulting feature-length documentary sheds light on the GDR’s complex international entanglements as these derived from the recruitment of international students from socialist countries, including those in the Global South. Conversations with family and friends from the GDR and with her paternal relatives in Togo and Benin reveal how the traversal of national borders has, at different stages of German history, reconfigured the social web of attachments. As both the film’s director and its protagonist, Johnson-Spain performatively confronts previously unreworked racisms of the national past that have shaped the terms of her affiliations even into the present. She thereby contributes to the archivalization of Black German history—performing a psychical labor as impactful on a personal level as it is on the scale of national history and that of the Black diaspora.
{"title":"Refracting the Gaze: A Conversation with Ines Johnson-Spain on Becoming Black (2019)","authors":"Angelica Fenner","doi":"10.1353/fgs.2022.0008","DOIUrl":"https://doi.org/10.1353/fgs.2022.0008","url":null,"abstract":"Abstract:Filmmaker Ines Johnson-Spain discusses her personal journey to connect with her African paternal heritage, knowledge of which had been suppressed by her (white) parents throughout her childhood in East Germany. The resulting feature-length documentary sheds light on the GDR’s complex international entanglements as these derived from the recruitment of international students from socialist countries, including those in the Global South. Conversations with family and friends from the GDR and with her paternal relatives in Togo and Benin reveal how the traversal of national borders has, at different stages of German history, reconfigured the social web of attachments. As both the film’s director and its protagonist, Johnson-Spain performatively confronts previously unreworked racisms of the national past that have shaped the terms of her affiliations even into the present. She thereby contributes to the archivalization of Black German history—performing a psychical labor as impactful on a personal level as it is on the scale of national history and that of the Black diaspora.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"8 1","pages":"118 - 140"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89500924","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":"Introduction: The Singular Plural of Feminist Film Practice","authors":"Angelica Fenner, Barbara Mennel","doi":"10.1353/fgs.2022.0003","DOIUrl":"https://doi.org/10.1353/fgs.2022.0003","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"1 1","pages":"1 - 26"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89619628","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 explores the convergence of masculinity and foreignness in Maren Ade’s Toni Erdmann (2016) and Valeska Grisebach’s Western (2017). Identifying a growing focus on masculinity in recent works by women directors around the world, I argue that both films express an urgent need in feminist film culture to understand and challenge patriarchal oppression as necessarily connected to other forms of social hierarchy based on difference. Engaging with Luce Irigaray’s ethics of difference and her theory of wonder, I view these films as feminist efforts to go beyond solely exposing hegemonic masculinities in order to denaturalize gendered subjectivity primarily through the experience of foreignness. Wonder, I suggest, is not only the ethical or relational basis through which Ade and Grisebach articulate and denaturalize hegemonic masculinities, but also the basis on which the protagonists engage with alterity (including their own) in these films.
{"title":"The Ethics of Difference: Masculinity and Foreignness in Maren Ade’s and Valeska Grisebach’s","authors":"Gozde Naiboglu","doi":"10.1353/fgs.2022.0009","DOIUrl":"https://doi.org/10.1353/fgs.2022.0009","url":null,"abstract":"Abstract:This article explores the convergence of masculinity and foreignness in Maren Ade’s Toni Erdmann (2016) and Valeska Grisebach’s Western (2017). Identifying a growing focus on masculinity in recent works by women directors around the world, I argue that both films express an urgent need in feminist film culture to understand and challenge patriarchal oppression as necessarily connected to other forms of social hierarchy based on difference. Engaging with Luce Irigaray’s ethics of difference and her theory of wonder, I view these films as feminist efforts to go beyond solely exposing hegemonic masculinities in order to denaturalize gendered subjectivity primarily through the experience of foreignness. Wonder, I suggest, is not only the ethical or relational basis through which Ade and Grisebach articulate and denaturalize hegemonic masculinities, but also the basis on which the protagonists engage with alterity (including their own) in these films.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"25 1","pages":"141 - 159"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81708411","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 traces feminist filmmaking lineages from the New German Cinema into the twenty-first century via Margarethe von Trotta’s feature-length biopics. Conceptually, the article rethinks feminist authorship in response to twenty-first-century subject-critical frameworks, such as new materialism, Deleuzian philosophy, and actor-network theory. Connecting the third of these to feminist and queer performance studies and contemporary phenomenology, I propose a model of nonsovereign authorship that challenges traditional humanist (masculinist) conceptions of agency by emphasizing conditions and affordances of human embodiment and network entanglement. Importantly, this nonsovereignty does not void questions of intersectional feminist ethics and politics. Hannah Arendt’s focus on the Eichmann controversy and Arendt’s relationship with Martin Heidegger together facilitate layered reflections on embodiment, agency, and ethics on the diegetic level. On the level of production, von Trotta’s long-term collaborations with Barbara Sukowa and Pamela Katz allow me to apply the concept of networked authorship to the legacies of second-wave feminist theory and practice.
{"title":"Embodiment, Agency, and Ethics in Margarethe von Trotta’s Cinema: From Rosa Luxemburg (1986) to Hannah Arendt (2012)","authors":"C. Breger","doi":"10.1353/fgs.2022.0006","DOIUrl":"https://doi.org/10.1353/fgs.2022.0006","url":null,"abstract":"Abstract:This article traces feminist filmmaking lineages from the New German Cinema into the twenty-first century via Margarethe von Trotta’s feature-length biopics. Conceptually, the article rethinks feminist authorship in response to twenty-first-century subject-critical frameworks, such as new materialism, Deleuzian philosophy, and actor-network theory. Connecting the third of these to feminist and queer performance studies and contemporary phenomenology, I propose a model of nonsovereign authorship that challenges traditional humanist (masculinist) conceptions of agency by emphasizing conditions and affordances of human embodiment and network entanglement. Importantly, this nonsovereignty does not void questions of intersectional feminist ethics and politics. Hannah Arendt’s focus on the Eichmann controversy and Arendt’s relationship with Martin Heidegger together facilitate layered reflections on embodiment, agency, and ethics on the diegetic level. On the level of production, von Trotta’s long-term collaborations with Barbara Sukowa and Pamela Katz allow me to apply the concept of networked authorship to the legacies of second-wave feminist theory and practice.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"17 1","pages":"73 - 97"},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74523157","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":"Ambiguous Aggression in German Realism and Beyond: Flirtation, Passive Aggression, Domestic Violence by Barbara N. Nagel (review)","authors":"Julie Shoults","doi":"10.1353/fgs.2021.0021","DOIUrl":"https://doi.org/10.1353/fgs.2021.0021","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"117 1","pages":"127 - 129"},"PeriodicalIF":0.2,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79237136","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":"Asian Fusion: New Encounters in the Asian-German Avant-Garde by Caroline Rupprecht (review)","authors":"Arina Rotaru","doi":"10.1353/fgs.2021.0022","DOIUrl":"https://doi.org/10.1353/fgs.2021.0022","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"5 1","pages":"129 - 131"},"PeriodicalIF":0.2,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86402538","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:In Das Fahrrad, Evelyn Schmidt examines the fraught relationship of the protagonist, Susanne, to ambition and belonging in her social and national environment. The film shows how her attachment to the fantasy of good motherhood reins her in when she transgresses and continues to function even when her attachment to national narratives of happiness and success through work and a heterosexual relationship breaks down. Drawing on Sara Ahmed’s and Lauren Berlant’s contributions to contemporary affect theory, this essay categorizes Susanne’s responses to the world as queer, willful, happy, and cruelly optimistic in order to reframe the film’s perennial themes. Ultimately, I argue that the othering of lived experience and its representation in the GDR contribute (intentionally or not) to triumphalist discourses that posit neoliberal capitalism as the proper response to the systemically driven drabness, monotony, limitations, inequities, and unhappiness so often associated with life in communist and socialist states.
{"title":"Queer Moments and Cruel Optimism in Evelyn Schmidt’s Das Fahrrad (1981)","authors":"Muriel Cormican","doi":"10.1353/fgs.2021.0010","DOIUrl":"https://doi.org/10.1353/fgs.2021.0010","url":null,"abstract":"Abstract:In Das Fahrrad, Evelyn Schmidt examines the fraught relationship of the protagonist, Susanne, to ambition and belonging in her social and national environment. The film shows how her attachment to the fantasy of good motherhood reins her in when she transgresses and continues to function even when her attachment to national narratives of happiness and success through work and a heterosexual relationship breaks down. Drawing on Sara Ahmed’s and Lauren Berlant’s contributions to contemporary affect theory, this essay categorizes Susanne’s responses to the world as queer, willful, happy, and cruelly optimistic in order to reframe the film’s perennial themes. Ultimately, I argue that the othering of lived experience and its representation in the GDR contribute (intentionally or not) to triumphalist discourses that posit neoliberal capitalism as the proper response to the systemically driven drabness, monotony, limitations, inequities, and unhappiness so often associated with life in communist and socialist states.","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"18 1","pages":"27 - 52"},"PeriodicalIF":0.2,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90497951","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 Play World: Toys, Texts, and the Transatlantic German Childhood by Patricia Anne Simpson (review)","authors":"Jennifer Redmann","doi":"10.1353/fgs.2021.0025","DOIUrl":"https://doi.org/10.1353/fgs.2021.0025","url":null,"abstract":"","PeriodicalId":53717,"journal":{"name":"Feminist German Studies","volume":"27 1","pages":"135 - 136"},"PeriodicalIF":0.2,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90830268","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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