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Acknowledgments | ||
Introduction: "Strategies of Remembrance" | 1 | |
Pt. I | Historical Predecessors: Melodrama and Modernism | |
1 | Mourning, Melancholia, and "New German Melodrama" | 29 |
2 | Modernism's Aftershocks: Peer Raben's Film Music for Fassbinder | 70 |
Pt. II | Music and the Materials of History: Alexander Kluge | |
3 | Kluge's Assault on History: Trauma, Testimony, and Difference in The Patriot | 107 |
4 | Undoing Act 5: History, Bodies, and Operatic Remains: Kluge's The Power of Emotion | 138 |
Pt. III | Queering History Through Camp and Kitsch | |
5 | Restaging History with Fantasy: Body, Camp, and Sound in the Films of Treut, Ottinger, and von Praunheim | 173 |
6 | Introjecting Kitsch: Werner Schroeter, Music, and Alterity | 231 |
Coda: Working the Pieces | 267 | |
Notes | 279 | |
Index | 313 |
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Add The new German cinema, When New German Cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity -- national, political, personal, and sexual -- music and film style played crucial roles. Most studies of the celebrated film moveme, The new German cinema to the inventory that you are selling on WonderClubX
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Add The new German cinema, When New German Cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity -- national, political, personal, and sexual -- music and film style played crucial roles. Most studies of the celebrated film moveme, The new German cinema to your collection on WonderClub |