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MA3072

Tutor: Dr Daniela Berghahn

Teaching: 40 hours seminars, 20hrs film screenings and a visit to the German Film Festival in London

Value: 30 credits / 1 unit

Availability: Autumn and Spring

 

Overview 

The course provides an exemplary survey of East and West German cinema from 1945 to the present, focusing on the most critically acclaimed films and movements such as the rubble films of the 1940s, East Germany’s antifascist films, New German Cinema and reunification comedies. Examining the role which cinema has played in the construction of Germany’s split national identity, themes of particular relevance are the cinematic representation of Germany’s Nazi past, the Cold War era, reunification and multiculturalism. Particular emphasis will be placed on developments in the contemporary German film scene; an excursion to the German Film Festival in London is an integral part of this course. All films will be shown with English subtitles.

 

Course Aims

  • To acquaint students with the main trends in East, West and post-unification German film culture between 1945 and the present day and to critically assess the aesthetic, political and representational strategies adopted by German filmmakers
  • To explore key critical issues relevant to the study of post-war and contemporary filmmaking in Germany
  • To familiarise students with the characteristics of East and West Germany’s film industries and to assess their strengths and weaknesses
  • To enable students to consolidate and extend their use of the concepts and critical methods involved in film studies in order to analyse and assess the main features of German cinema over the past sixty years.

 

Course Structure

Rather than following a strict chronological approach from 1945 to the present, the course groups the films according to certain dominant thematic concerns shared by a significant number of post-war German filmmakers. The attempt to come to terms with the Nazi legacy has been identified as a perennial concern of German cinema that preoccupied filmmakers in the 1940s no less than those that revisited Germany’s burdened past in the 1990s, contributing to a wave of post-memory films in the 1990s and the new millennium.  During the Cold War some tendentious films were made which engaged with the ideological divide between communism and capitalism or which depicted the individual trauma and suffering caused by Germany’s division. Trends in post-unification German cinema are diverse and resist any attempt at classification. There is, however, no doubt as Nick James, the editor of Sight & Sound, stresses that contemporary German cinema goes from strength to strength. Over the past fifteen years German cinema has experienced a renaissance in terms of new creative impulses and international recognition, which seems to suggest that, following Weimar cinema and New German Cinema, post-unification cinema will – in years to come – be regarded as German cinema’s third golden age. Recent success stories include international box office hits such as Run, Lola Run, Goodbye, Lenin! and Downfall; the revival of a cinema of social concern; and the emergence of Young Turkish German cinema.

  

Topics include

  • Divided nation, split screen: German cinema as national cinema?
  • The industrial and political context of East and West German cinema (e.g. the ideological constraints and censorship in the East vs. the constraints and opportunities of a market-led, but highly subsidised film industry in the West)
  • German cinema and its relationship to Hollywood and other European cinemas
  • Representations of Germany’s Nazi past in relation different genres (rubble film, antifascist film, Holocaust films, European heritage cinema)
  • New German Cinema and European auteur cinema
  • New cinema of social concern
  • Cinematic responses to unification (comedies, social problem films, the legacy of the Stasi) 

Teaching

The course is taught by weekly two-hour seminars. These seminars will consist of an interactive lecture and a seminar discussions and presentations. Student presentations will be assessed (see under assessment). You are expected to actively contribute to all seminars. It is, therefore, essential that you will have watched all of the films and, ideally, some additionally recommended films prior to the weekly seminars. Since seminar discussions will also include a discussion of the essential reading, it is absolutely necessary for you to have read the texts in the course booklet. The seminar discussions will give you the opportunity you try out ideas and to develop your communication and presentation skills.  

In addition to formal classes, the course includes an excursion to the German Film Festival in London in Autumn Term (normally week 9, but exact date tbc) and a Reading Week in Spring Term (week 6). At the German Film Festival you will have the opportunity to see several recently released German films and meet filmmakers who present their work and are available for Q&A sessions. The purpose of the Reading Week is to give you the opportunity to undertake extensive reading and independent research in preparation for your first coursework essay in Spring Term.

 

Attendance

Attendance at seminars is compulsory. It will be recorded each week, and failure to attend at least 70% of classes without prior consultation or reasonable cause may result in your failing the course. Reasonable cause may include (but is not limited to): illness, family circumstances, transportation difficulties, etc. Leave of absence on medical or other grounds can only be granted by the Head of Department and only on production of appropriate written explanation (doctor’s / therapist’s letter, etc.). If there is an ongoing problem which is persistently affecting your ability to do your work, you should let your personal advisor know as soon as you  become aware of it, so that suitable provision can be made.

 

Reading and Viewing

Each week’s topic is accompanied by designated readings (‘essential reading’) in the Course Pack and required viewing, which will form the basis for class discussion. This is supplemented by ‘further reading’ relevant to the particular class as well as general course theme. You are not expected to read everything on the reading list but should select from it according to your interests in relation to your preparation for seminars and coursework. Purchase of the Course Pack is a prerequisite for enrolment on the course and weekly readings are compulsory. Copies of all films discussed are available for private viewing from Founders’ Library and you are expected to have viewed these prior to classes.

Students are strongly advised to purchase the following two essential books in addition to the Course Pack:

  • Berghahn, Daniela (2005), Hollywood behind the Wall: The Cinema of East Germany, Manchester: Manchester University Press.
  • Hake, Sabine (2002), German National Cinema, New York and London: Routledge.

NB: Failure to view the designated film or read the week’s designated reading may lead to an unexcused absence recorded against your name for that session. 

 

Seminar Presentations

10% of your overall mark for this course will be based on your seminar presentation. You will be asked to give a pre-prepared formal presentation during one week of the course. The topic and date will be agreed in Week 2 of Autumn Term. You will be assessed o the quality of the content of your presentation, the quality of your oral presentation skills and your success in stimulating discussion. In terms of the style of your presentation, you may be as creative as possible (handouts, PowerPoint, film clips, etc.), but the presentation should demonstrate an engagement with the reading(s) and screening for the week.

 

Assessment

Seminar Presentations 10%

Two 4,000 to 5,000 word essays  90% (45% each)

Deadlines

Essay one is due in Week 6 of the Spring Term,

Essay two is due in Week 1 of the Summer Term  

You may incorporate work from your seminar presentation in your essays. Essays should be typed, double-spaced, and in all other regards conform to the style sheet included in the Students’ handbook. Essays will be assessed in terms of your understanding of the topic, evidence of reading, clarity of argument, use of evidence, originality, capacity for constructive critical analysis and overall presentation. Please make sure you adhere to the proper conventions of referencing (footnotes/endnotes, bibliography, etc.).

Essays should be typed, double-spaced, and in all other regards conform to the style sheet included in the Students’ Handbook. (Marks will be deducted for sloppy presentation.)  

Essays are to be handed in at Media Arts Department Office between 9.30 am – 12 pm or 2 – 4.30pm on the date advertised at the start of the term following the course. All late submissions will be penalised in the following way: (i) for work submitted

up to twenty-four hours late, the mark will be reduced by ten percentage marks, subject to a minimum mark of a minimum Pass; (ii) for work submitted more than twenty-four hours late, the maximum mark will be zero. Extensions can only be granted by the Head of Department, Susanna Capon, and only on production of appropriate written explanation (doctor’s letter, etc.). Neither I nor your personal advisor can grant them.

Plagairism

You should take careful note of the regulations regarding plagiarism included with each list of essay questions. As you ought to know by now, plagiarism is a serious offence which will not be treated lightly and which can seriously affect your marks and even delay the award of your degree. If we have any suspicion that work submitted to us is plagiarised, we will immediately refer the issue to the College authorities for further action. If you have any doubts about what constitutes plagiarism, err on the side of caution or (better still) ask.

 

 

 

Course programme

 

Autumn Term

 

Part 1: Coming to terms with the Nazi past

 

Week 1  Rebuilding the German film industry after the war

Screening  The Murderers Are Among Us (Wolfgang Staudte, 1946)

 

Essential Reading: Shandley, Robert (2001), Rubble Films: German Cinema in the Shadow of the Third Reich, Philadelphia: Temple University Press, ‘Dismantling the dream factory’, pp 9-24.  Carter, Erica (2000), ‘Sweeping up the past: gender and history in the postwar German rubble film’, in: Ulrike Sieglohr (ed.) Heroines Without Heroes: Reconstructing Female and National Identities in European Cinema, 1945-61, London and New York: Cassell, pp. 91-110.

 

 

 

 

 

 

Further Reading: Berghahn, Daniela (2005), Hollywood behind the Wall: The Cinema of East Germany, Manchester: Manchester University Press, ‘East German film industry and the state’ (part), pp. 9-25; ‘Coming to terms with the Nazi legacy’ (part), pp. 55-85.  Hake, Sabine (2002), German National Cinema, London and New York: Routledge, ‘The reconstruction of the film industry’, pp. 86-95, ‘Rewriting history, forging new identities’, pp. 95-104. 

Week 2 Rubble films

Essential Reading: Andrew, Dudley (1998), ‘Film and history’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp. 176-198.  Shandley, Robert (2001), Rubble Films, ‘It’s a wonderful Reich: Between private innocence and public guilt’, pp. 47-76.

 

 

 

 

 

Further Reading: Rentschler, Eric (1987), ‘Germany: the past that would not go away’, in: William Luht (ed.), World Cinema since 1945, New York: Ungar, pp. 208-251.  Fehrenbach, Heide (1995), Cinema in Democratizing Germany: Reconstructing National Identity after Hitler, Chapel Hill and London: The University of North Carolina Press.

Week 3  DEFA’s antifascist tradition

Screening:  Jakob the Liar (Frank Beyer, GDR 1974)

 

Essential Reading: Mückenberger, Christiane (1999), ‘The anti-fascist past DEFA films’, in Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 58-76.  Gilman, Sander (2000), ‘Is life beautiful? Can the Shoah be funny? Some thoughts on recent and older films’, Critical Inquiry, 26, pp. 279-308.

 

 

Further Reading:  Bathrick, David (2000), ‘Rescreening the Holocaust: The children’s stories’, New German Critique, 80 (Special Issue on the Holocaust), pp. 41-58.  Berghahn, Daniela (2005), Hollywood behind the Wall, ‘The cinematic discourse on the Holocaust in the divided Germany’ and ‘Unheroic resistance in Jakob der Lügner’, pp. 85-94.

Week 4 Visit to the London Film Festival

 

Please inform yourself about the festival by visiting the website: http://www.bfi.org.uk/whatson/lff/ And by researching the role of film festivals more generally.

 

Suggested Reading: Valck, Marijke de (2007), Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam.  Turan, Kenneth (2002), Sundance to Sarajevo: Film Festivals and the World They Made, University of California Press.

Week 5  New German Cinema: Revisiting the Past 

 

 

 

 

Screening:  The Marriage of Maria Braun (Rainer Werner Fassbinder, FRG, 1978)

 

Essential Reading: Kaes, Anton (1997), ‘New German Cinema’ in: Geoffrey Nowell-Smith (ed.), The Oxford History of World Cinema, Oxford: Oxford University Press, pp. 614-627.  Elsaesser, Thomas (1996), Fassbinder’s Germany: History, Identity, Subject, Amsterdam: Amsterdam University Press, ‘The BRD Trilogy, or: History, The Love Story’, pp. 97-128. 

 

 

Further Reading: Kaes, Anton (1986), ‘History, fiction, memory: Fassbinder’s The Marriage of Maria Braun  Kaes, Anton (1989), ‘The Presence of the Past: Rainer Werner Fassbinder’s The Marriage of Maria Braun’, From Hitler to Heimat: The Return of History as Film, Cambridge, Mass.: Harvard University Press, pp. 73-103.  New German Critique (1994), 63 Special Issue on R. W. Fassbinder 

Week 6  Reading Week

 

The reading week is a chance for you to get on top of all the reading for this course, to go over sections you have not fully understood, to undertake independent research (reading secondary literature and watch additional films), and to prepare for your seminar presentations and your first essay. 

Week 7  From Heimatfilm to Edgar Reitz’s Heimat

Screening:   Heimat – A German Chronicle (Edgar Reitz, FRG, 1984)
Screening:   Heimat – A German Chronicle (Edgar Reitz, FRG, 1984)

Try to watch as many instalments of this 11 part television series, but at the very least two.

 

Essential Reading: Kaes, Anton (1989), From Hitler to Heimat: The Return of History as Film, ‘Germany as memory: Edgar Reitz’s Heimat’, Cambridge, Mass. and London: Harvard University Press, pp. 163-192.  Moltke, Johannes von (2002), ‘Evergreens: The Heimat Genre’, in: Tim Bergfelder, Erica Carter and Deniz Göktürk (eds.), The German Cinema Book, London: BFI, pp. 18-28.  

 

 

Further Reading: Hansen, Miriam, (1985), ‘Dossier on Heimat’, New German Critique, 36, Special Issue on Heimat, pp. 3-24.  Moltke, Johannes von (2005), No Place Like Home: Locations of Heimat in German Cinema, ‘Launching the Heimatfilmwelle: From Trümmerfilm to So grün ist die Heide’, Los Angeles: University of California Press, pp. 73-92 Palfreyman, Rachel (2000), Edgar Reitz’s Heimat, Oxford and Berne: Peter Lang.  

Week 8   Post-memory films, Nazi-retro or heritage cinema?

Screening: Dresden (Roland Suso Richter, 2006)   

 

Essential Reading: Assmann, Aleida (2006), ‘On the (in)compatibility of guilt and suffering in German Memory’, German Life and Letters, 59:2, pp. 187-200. Crew, David F. (2007), ‘Sleeping with the enemy? A fiction film for German television about the bombing of Dresden’, Central European History, 40, pp. 117-132.  

 

 

Further Reading: Assmann, Jan and John Czaplicka (1995), ‘Collective memory and cultural identity’, New German Critique, 65, pp. 125-133.  Eberle, Annette (2006), ‘The feature film as cultural memory’, http://www.goethe.de/kue/flm/thm/idd/en2281172.htm  Niven, Bill (ed.) (2006), Germans as Victims, Houndmills, Basingstoke: Palgrave. (contains various articles on the representation of German wartime suffering, the bombing of Dresden, etc.) 

Week 9  Films About the Third Reich and the Film Festival Circuit

Screening: Downfall (Oliver Hirschbiegel, 2004)

 

Essential Reading: Elsaesser, Thomas (2005), ‘Film Festival Networks: the New Topographies of Cinema in Europe’, in: European Cinema: Face to Face with Hollywood,  ‘German cinema: Face to face with Hollywood [2003]’, Amsterdam: Amsterdam University Press, pp. 82-108.  Koepnick, Lutz (2002), ‘Reframing the past: Heritage cinema and the Holocaust in the 1990s’, New German Critique, 87, pp. 47-82.  

 

 

Further Reading: Valck, Marijke de (2007), Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: Amsterdam University Press.  Cesarini, David and Peter Longerich (2005), ‘The massaging of history’, The Guardian, 7 April, http://film.guardian.co.uk/features/featurepages/0,4120,1453984,00.html 

Students who can read German: Fröhlich, Margit, Christian Schneider and Karsten Visarius (eds). (2007), Das Böse im Blick: Die Gegenwart des Nationalsozialismus im Film, München: edition text + kritik. (contains numerous articles on Downfall)

Part 2

 

The Cold War and life on the other side of the Wall

 

Week 10    Divided Germany, split screen: German cinema as national cinema?

Screening: Destinies of Women, Slatan Dudow, GDR, 1952

 

Essential Reading:  Hjort, Mette (2000), ‘Themes of nation’, in: Mette Hjort and Scott MacKenzie (eds.), Cinema and Nation, London and New York: Routledge, pp. 103-117. Berghahn, Daniela (2005), Hollywood behind the Wall, ‘Frauenschicksale (Destinies of Women, Slatan Dudow, 1952): women at work and the warm embrace of the collective’, pp. 183-189. 

 

 

Further Reading: Silberman, Marc (1996), ‘What is German in German cinema?’, Film History, 8, pp. 297-315. Crofts, Stephen (1998),  ‘Concepts of national cinema’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp. 385-394.

For students who can read German: Belach, Helga and Wolfgang Jacobsen (eds.) (1991), Kalter Krieg: 60 Filme aus Ost und West, Berlin: Stiftung Deutsche Kinemathek.

 

 

 

Week 11    Essay Planning and Tutorials

Please sign up for individual essay tutorials on my door during weeks 9 and 10. Bring along a brief outline (on page A4) and a bibliography for your first essay. The outline should address your main research question or working hypothesis and give an indication of how you are planning to structure your essay.

Spring Term

 

Week 1 Socialist realism or nascent new wave?

Screening: Berlin – Schönhauser Corner, Gerhard Klein, 1957 

 

Essential Reading: Claus, Horst (1999), ‘Rebels with a Cause: The Development of the Berlin-Filme by Gerhard Klein and Wolfgang Kohlhaase, in Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 93-116.

 

 

Further Reading: Feinstein, Joshua (2002), The Triumph of the Ordinary: Depictions of Daily Life in the East German Cinema, 1949-1989, Chapel Hill and London: University of North Carolina Press, ‘The Discovery of the ordinary: Berlin – Ecke Schönhauser and the twentieth congress of the CPSU’, pp. 45-77.  Film History special issue on Cold-War German Cinema (2006), ed. Marc Silberman, vol. 18:1.  Kenez, Peter (2001), ‘Socialist Realism 1933-41’, Cinema and Soviet Society, London and New York: I.B. Tauris, pp. 143-164.  

Week 2  Cinema, the state and censorship in East and West German cinema

Screening:   The Rabbit is Me, Kurt Maetzig, 1965/1989

 

Essential Reading: Berghahn, Daniela (2005), Hollywood behind the Wall, ‘The forbidden films’, pp. 135-174; (part) ‘The East German film industry and the state’, pp. 23-34. 

Further Reading: Loiperdinger, Martin (2002), ‘State legislation, censorship and funding’, in: Tim Bergfelder, Erica Carter and Deniz Göktürk, The German Cinema Book, London: BFI, pp. 148-158.  Feinstein, Joshua (2002), The Triumph of the Ordinary: Depictions of Daily Life in the East German Cinema, 1949-1989, ‘The Eleventh Plenum and Das Kaninchen bin ich’, pp. 176-193.  Soldovieri, Stefan (1999), ‘Censorship and the law: The case of Das Kaninchen bin ich’, in: Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 146-182.

Week 3  The East German woman’s film

Screening: The Legend of Paul and Paula, Heiner Carow, GDR 1973

 

Essential Reading: Rinke, Andrea (1999), ‘From models to misfits: women in DEFA films of the 1970s and 1980s’, in: Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 183-203.  Dölling, Irene (2001), ‘”We all love Paula but Paul is more important”: Constructing a ‘socialist person’ using the ‘femininity of a working woman’, New German Critique (Special Issue: East German Film), 82, Winter 2001, pp. 77-90.

 

 

Further Reading: Berghahn, Daniela (2005), Hollywood behind the Wall, ‘Women on film, or: how political is the private sphere?’, pp. 175-211.  Rinke, Andrea (2006), Images of Women in East German Cinema 1972-1982: Socialist Models, Private Dreamers And Rebels, New York: Edwin Mellen Press.  

Week 4  Ostalgie comedies

Screening Goodbye, Lenin! (Wolfgang Becker, 2003)

 

Essential Reading: Allan, Seán (2006), ‘Ostalgie, fantasy and the normalization of east-west relations in post-unification comedy’, in: David Clarke (ed), German Cinema since Unification, London and New York: Continuum, pp. 105-126.

 

Further Reading: Cook, Roger F. (2007), ‘Good Bye, Lenin! Free-market nostalgia for socialist consumerism’, Seminar, 34:2, pp. 206-219.  Finger, Anke (2005), ‘Hello Willy! Good Bye, Lenin! Transitions of an East German family’, South Central Review, 22:2, pp. 39-58. Hake, Sabine (2002), German National Cinema, ‘Post-unification cinema 1989-2000’, pp. 179-192.

TBC: Excursion to the 59th International Film Festival in Berlin

(subject to external funding)

 

Students taking this course may have the opportunity to spend 7 days in Berlin between 5 – 15 February 2009 and attend a large number of film screenings, in particular, of German films in the special section Perspektive Deutsches Kino, which looks at thematic and stylistic trends in German cinema and introduces international audiences to the latest developments in the German film industry. While in Berlin we will also visit of the film museum Stiftung Deutsche Kinemathek, the Babelsberg Film Studios and meet industry professionals and German students of film and television.  I am trying to obtain external funding for this study visit. However, I cannot as yet confirm whether the bid for funding is going to be successful.

Week 5  Cinematic responses to unification

Screening: The Lives of Others (Florian Henckel von Donnersmark, 2006)

 

Essential Reading: Berghahn, Daniela (2005), ‘East German cinema after unification’, in: David Clarke (ed), German Cinema since Unification, pp. 79-104.  Funder, Anna (2007), ‘Eyes without a face’, Sight & Sound, May 2007, pp. 16-21

 

 

Further Reading: Lewis, Alison (2002), ‘En-Gendering remembrance: Memory, gender and informers for the Stasi’, New German Critique, 86, pp. 103-134 McNab, Geoffrey, (2007), ‘The Lives of Others’, Sight & Sound, May 2007, p. 68.  

Week 6 Reading Week

The reading week is a chance for you to get on top of all the reading for this course, to go over sections you have not fully understood, to undertake independent research (reading secondary literature and watch additional films), and to prepare for your seminar presentations and your second essay.

Part 3: Trends in contemporary German cinema

 

Week 7  German auteur cinema and the traditions of European art cinema

Screening  Wings of Desire, Wim Wenders, FRG, 1987

 

Essential Reading: Elsaesser, Thomas (1994), European Cinema: Face to Face with Hollywood, ‘European culture, national cinema, the auteur and Hollywood [1994]’, pp. 35-56.  Cook, Roger F. (1997), ‘Angels, fiction and history in Berlin: Wings of Desire’, in: Roger F. Cook and Gerd Gemünden (eds.), The Cinema of Wim Wenders: Image, Narrative and the Postmodern Condition, Detroit: Wayne State University Press, pp. 163-190.

 

 

Further Reading: Elsaesser, Thomas (1989), New German Cinema: A History, New Brunswick, N.J., in particular, chapter 3 ‘The author in the film’, pp. 74-116.  Vincendeau, Ginette (1998), ‘Issues in European cinema’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp.440-448.  Kolker, Phillip and Peter Beicken (1993), The Films of Wim Wenders: Cinema as Vision and Desire, Cambridge: CUP, ‘Wings of Desire’, pp. 138-160. 

Week 8  New cinema of consensus or new cinema of social concern?

Screening:   The Edukators, Hans Weingartner, 2003

 

Essential Reading: Rentschler, Eric (2000), ‘From New German Cinema to the post-wall cinema of consensus’, in: Mette Hjort and Scott MacKenzie (eds.), Cinema and Nation, pp. 260-277.  James, Nick (2006), ‘German Cinema: All together now’, Sight & Sound, 12, pp. 26-31.  

Week 9 From national to transnational cinema

Screening:   Run, Lola Run, Tom Tykwer, 1998

 

Essential Reading: Haase, Christiane (2003), ‘You can run, but you can’t hide: Transcultural filmmaking in Run Lola Run (1998)’, in: Randall Halle and Margaret McCarthy (eds), Light Motives: German Popular Film in Perspective, Detroit: Wayne State University Press, pp. 395-416.

 

 

Further Reading: Bergfelder, Tim (2005), ‘National, transnational or supranational cinema: Rethinking European film studies’,Media, Culture and Society, 27:3, pp. 315- 331. Halle, Randall (2002), ‘German Film: Aufgehoben ensembles of transnational cinema’, New German Critique, Autumn, (Special Issue on Postwall Cinema), pp. 7-46.  

Week 10 Young German-Turkish Cinema

Screening:  Head-On, Fatih Akin, 2004

 

Essential Reading: Burns, Rob (2005),’Turkish-German cinema: from cultural resistance to transnational cinema’, in: David Clarke (ed), German Cinema since Unification, pp.127-149.  Bhaba, Homi (1983), ‘The Other Question…The stereotype and colonial discourse’, Screen 24/6: pp. 18-36.

 

 

Further Reading: Suner, Asuman (2005), ‘Dark passion’, Sight & Sound, March, pp. 18-21.  Berghahn, Daniela (2006), ‘No place like home? Or, impossible homecomings in the films of Fatih Akin’, New Cinemas, 4:3, 141-157.  Göktürk, Deniz (2002), ‘Beyond paternalism: Turkish German traffic in cinema’, in: Tim Bergfelder, Erica Carter and Deniz Göktürk (eds.), The German Cinema Book, pp. 248-256. Dyer, Richard (1993), ‘The role of stereotypes’, The Matter of Images: Essays on Representations, London, New York: Routledge, pp. 11-18.  

Week 11 Essay Tutorials

 

 

Please sign up for individual essay tutorials on my door during weeks 9 and 10. Bring along a brief outline (on page A4) and a bibliography for your first essay. The outline should address your main research question or working hypothesis and give an indication of how you are planning to structure your essay. 

 

   
 
 
 

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