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Further Reading/Viewing Depicting the Present


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Dr Alex Lloyd

alexandra.lloyd@mod-langs.ox.ac.uk

Further Reading/Viewing - Depicting the Present



Gegen die Wand (dir. Fatih Akin, 2004)

Lichter (dir. Hans-Christian Schmid, 2003)
Auf der anderen Seite (dir. Fatih Akin, 2007)

Brudermord (dir. Yilmaz Arslan, 2005)

Chiko (dir. Özgür Yildirim, 2007)

Draußen bleiben (dir. Alexander Riedel, 2007)

Elefantenherz (dir. Züli Aladag, 2003)

En garde (dir. Ayse Polat, 2004)

Fremde Haut (dir. Angelina Maccarone, 2005)

Kebab Connection (dir. Anno Saul, 2004)
Berghahn, Daniela, ‘“Seeing everything with Different Eyes”: The Diasporic Optic of Fatih

Akin’s Head-On (2004)’, in New Directions in German Cinema, ed. by Paul Cooke and Chris Homewood (London: I.B. Tauris, 2011), pp. 239-56

---., ‘No Place like Home? Or Impossible Homecomings in the Films of Fatih Akin’, New

Cinemas: Journal of Contemporary Film, 4.3 (2006), 141-57

---., and Claudia Sternberg (eds.), European Cinema in Motion: Migrant and Diasporic Film



in Contemporary Europe (New York and London: Palgrave Macmillan, 2010)

Brockmann, Stephen, A Critical History of German Film (Rochester, NY: Camden House,

2010)

Burns, Rob, ‘Turkish-German Cinema: From Cultural Resistance to Transnational

Cinema?’, in German Cinema since Unification, ed. by David Clarke (London: Continuum, 2006), pp. 127-34

Fiedler, Matthias, ‘German Crossroads: Visions of the Past in German Cinema after

Reunification’, in German Memory Contests: The Quest for Identity in Literature, Film, and Discourse since 1990 (Rochester, NY: Camden House, 2006), pp. 127-46

Galli, Matteo, ‘Stadt, Land, Fluss. Deutschlandbilder im deutschen zeitgenössischen

Film’, in Gedächtnis und Identität: Die deutsche Literatur nach der Vereinigung, ed. by Fabrizio Cambi (Würzburg: Königshausen & Neumann, 2008), pp. 321-41

Gremler, Claudia, ‘Migration und Utopie im deutschen Gegenwartskino am Beispiel von

Achim von Borries’ England! Und Hans-Christian Schmids Lichter’, in Local - Global

Narratives, German Monitor 68, ed. by Renate Rechtien, and Karoline von Oppen (Amsterdam: Rodopi, 2007), pp. 229-55


Hake, Sabine, and Barbara Mennel, Turkish German Cinema in the New Millennium: Sites,

Sounds, and Screens (New York and Oxford: Berghahn Books, 2012)

Kop, Kristin, ‘Reconfiguring the Border of Fortress Europe in Hans-Christian Schmid’s

Lichter’, Germanic Review, 82.1 (2007), 31-53

Landwehr, Margarete, ‘Liminal Spaces in Fatih Akin’s Gegen die Wand/Head On:

Orientalism vs. Globalization’, in Performing Difference: Representations of 'The Other' in Film and Theatre, ed. by Jonathan C. Friedman (Lanham, ML: University Press of America, 2009), pp. 76-89

Lee, Tessa C., ‘From Alien Nation to Alienation: Tracing the Figure of the Guest Worker in

Fatih Akin’s Gegen die Wand’, in Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration, ed. by Rocío G. Davis, Dorothea Fischer-Hornung, and Johanna C. Kardux (New York: Routledge, 2011), pp. 66-81

Moltke, Johannes von, No Place Like Home: Locations of Heimat in German Cinema

(Berkely, CA and London: University of California Press, 2005)

Mueller, Gabriele, ‘Welcome to Reality: Constructions of German identity in Lichter

(Schmid, 2003) and Halbe Treppe (Dresen, 2002)’, New Cinemas: Journal of Contemporary Film, 4.2 (October 2006), 117-27


Seeßlen, Georg, ‘Das Kino der doppelten Kulturen’, epd Film, 12 (2000), 22-29

Wilkinson, Jane, ‘Discrepant Narratives: The Impact of Transborder Theater Festivals on



Communities at the German-Polish Border’, in Cultural Impact in the German Context: Studies in Transmission, Reception, and Influence, ed. by Rebecca Braun and Lyn Marven (Rochester, NY: Camden House, 2010), pp. 188-210


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