Book contents
- Frontmatter
- Contents
- Acknowledgments
- Note on Translations
- Introduction: So This Was Germany—A Preliminary Account of the Berlin School
- I The First Wave
- II The Second Wave
- 4 Revolver Cinema and Électrons Libres: Cinema Must Be Dangerous
- 5 Christoph Hochhäusler: Intensifying Life
- 6 Benjamin Heisenberg: Filming Simply as Resistance
- 7 Valeska Grisebach: A Sharpening of Our Regard
- 8 Maren Ade: Filming between Sincerity and Irony
- 9 Ulrich Köhler: The Politics of Refusal
- Conclusion: A Counter-Cinema
- Filmography
- Bibliography
- Index
4 - Revolver Cinema and Électrons Libres: Cinema Must Be Dangerous
from II - The Second Wave
Published online by Cambridge University Press: 05 December 2013
- Frontmatter
- Contents
- Acknowledgments
- Note on Translations
- Introduction: So This Was Germany—A Preliminary Account of the Berlin School
- I The First Wave
- II The Second Wave
- 4 Revolver Cinema and Électrons Libres: Cinema Must Be Dangerous
- 5 Christoph Hochhäusler: Intensifying Life
- 6 Benjamin Heisenberg: Filming Simply as Resistance
- 7 Valeska Grisebach: A Sharpening of Our Regard
- 8 Maren Ade: Filming between Sincerity and Irony
- 9 Ulrich Köhler: The Politics of Refusal
- Conclusion: A Counter-Cinema
- Filmography
- Bibliography
- Index
Summary
Film is an art of movement and is as such essentially obligated to change people. We have to talk about what should happen. How should we live? How should we love? Which stories do we need? Each question of the cinema is political. … The task is to stand up. To fight! For a new society, a new love, a new film.
—Jens Börner, Benjamin Heisenberg, Christoph Hochhäusler, and Sebastian Kutzli, “Vorwort,” Revolver 5Our discussion of the Berlin School is about to take a significant turn as we now explore the group's second wave of filmmakers—directors, as I suggested in the introduction, whose subsumption under the label “Berlin School” is more problematic than that of their somewhat older first-wave peers. Arslan, Petzold, and Schanelec all attended the dffb in the early 1990s, were influenced by the same group of teachers, and even occasionally collaborated on each other's student short films. In contrast, the second-wave Berlin School filmmakers generally did not share such a cohesive institutional background. Moreover, the relationships they eventually developed with each other and with the first wave emerged only after they graduated from the various film academies they attended in the late 1990s and early 2000s. It is therefore especially interesting to note that the more widespread discursive engagement with the group as a whole did not really begin until some of these second-wave filmmakers released their debut features.
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- Information
- The Counter-Cinema of the Berlin School , pp. 151 - 161Publisher: Boydell & BrewerPrint publication year: 2013