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NYU DEPARTMENT OF CINEMA STUDIES

German Cinema

Allan, Sean and John Sandford. DEFA: East German cinema, 1946-1992 (New York: Berghahn Books,
1999).

Alter, Nora M. Projecting History: German Nonfiction Cinema, 1967-2000 (Ann Arbor: University of Michigan
Press, 2002).

Barlow, John D. German Expressionist Film (Boston: Twayne, 1982).

Bergfelder, Tim. The International Adventures: German Popular Cinema and European Co-Productions in the
1960s (New York: Berghahn, 2005).

Bergfelder, Tim, ed. The German Cinema Book (London: BFI, 2008).

Bergfelder, Tim et. al., eds. Film Architecture and the Transnational Imagination: Set Design in 1930s
European Cinema (Amsterdam University Press: Amsterdam, 2007).

Berghahn, Daniela. Hollywood behind the wall: the cinema of East Germany (Manchester/New York:
Manchester University Press, 2005).

Budd, Michael, ed. The Cabinet of Dr. Caligari: Texts, Contexts, Histories (New Brunswick, NJ: Rutgers
University Press, 1990).

Byg, Barton. Landscapes of Resistance: The German Films of Danile Huillet and Jean-Marie Straub (Berkeley:
University of California Press, 1995).

Carter, Erica. Dietrich's ghosts: the sublime and the beautiful in Third Reich film (London: British Film
Institute, 2004).

Clarke, David, ed. German cinema: since unification (London/New York: Continuum, 2006).

Coates, Paul. The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror (New York:
Cambridge University Press, 1991).

Collier, Jo Leslie. From Wagner to Murnau: The Transposition of Romanticism from Stage to Screen (Ann
Arbor, Mich.: UMI Research Press, 1988).

Cook, Roger and Gerd Gemunden, eds. The Cinema of Wim Wenders: Image, Narrative, and the Postmodern
Condition (Detroit: Wayne State University Press, 1997).

Corrigan, Tim. New German Film: The Displaced Image (Austin: University of Texas Press, 1983).

Corrigan, Tim, ed. The Films of Werner Herzog: Between Mirage and History
(New York: Methuen, 1986).

Curtis, Scott. Managing Modernity: Art, Science, and Early Cinema in Germany (New York: Columbia
University Press, 2009).

Davidson, John E. Deterritorializing the New German Cinema (Minneapolis, Minn.: University of Minnesota
Press, 1999).
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Davidson, John and Sabine Hake. Framing the Fifties: Cinema in a Divided Germany (New York: Berghahn
Books, 2009).

Eisner, Lotte. The Haunted Screen: Expressionism in the Cinema and the Influence of Max Reinhardt
(Berkeley: University of California Press. 2008 [1969]).

___________ . Murnau (Berkeley: University of California Press, 1973).

___________ . Fritz Lang (New York: Da Capo Press, 1976).

Elsaesser, Thomas. The New German Cinema: A History (New Brunswick, NJ: Rutgers U. Press, 1989).

___________ . Fassbinder's Germany: History, Identity, Subject (Amsterdam: Amsterdam U. Press, 1996).

___________ . A Second Life: German Cinema's First Decades (Amsterdam: Amsterdam U. Press, 1996)

___________ . Weimar cinema and after: Germany's historical imaginary (New York: Routledge, 2000.
___________ . Metropolis (London: BFI, 2008).

Fassbinder, Rainer Werner. The Anarchy of the Imagination: Interviews, Essays, Notes (Baltimore: Johns
Hopkins University Press, 1992).

Feinstein, Joshua. The triumph of the ordinary: depictions of daily life in the East German cinema, 1949-1989
(Chapel Hill: University of North Carolina Press, 2002).

Fehrenbach, Heide. Cinema in Democratizing Germany: Reconstructing National Identity After Hitler (Chapel
Hill: University of North Carolina Press, 1995).

Flinn, Caryl. The New German Cinema: Music, History, and the Matter of Style (Berkeley: University of
California Press, 2004).

Frieden, Sandra, ed. Gender and German Cinema: Feminist Interventions (Providence: Berg, 1993).

Ginsberg, Terry and Kirsten Moana Thompson, eds. Perspectives on German cinema (New York: G.K. Hall,
1996).

Gleber, Anke. The Art of Taking a Walk: Flanerie, Literature, and Film in Weimar Culture (Princeton:
Princeton University Press, 1999).

Gregor, Ulrich. The German Experimental Film of the Seventies (Munchen: Goethe-Institut, 1980).

Grundmann, Roy, ed. A Companion to Michael Haneke (Boston: Blackwell, 2010).

Guerin, Frances. A Culture of Light: cinema and technology in 1920s Germany (Minneapolis: University of
Minnesota Press, 2005).

Gunning, Tom. The Films of Fritz Lang: Allegories of Vision and Modernity (London: BFI, 2008).

Hake, Sabine. Passions and Deceptions: The Early Films of Ernst Lubitsch (Princeton, NJ: Princeton
University Press, 1992).

___________. The Cinema's Third Machine: Writing on Film in Germany, 1907-1933 (Lincoln, NE: University of
Nebraska Press, 1993).

__________ . German National Cinema (New York: Routledge, 2001).

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___________ . Popular cinema of the Third Reich (Austin: University of Texas Press, 2001).

Halle, Randall. German film after Germany: toward a transnational aesthetic (Urbana: University of Illinois
Press, 2008).

Hantke, Steffen, ed. Caligari's heirs: the German cinema of fear after 1945 (Lanham, Md.: Scarecrow Press,
2007).

Hardt, Ursula. From Caligari to California: Erich Pommer's life in the international film wars (Providence:
Berghahn Books, 1996).

Hillman, Roger. Unsettling scores: German film, music, and ideology (Bloomington: Indiana University Press,
2005).

Isenberg, Noah, ed. Weimar Cinema: an Essential Guide to Classic Films of the Era (NY: Columbia University
Press, 2008).

Jelavich, Peter. Berlin Alexanderplatz: radio, film, and the death of Weimar culture (Berkeley: University of
California Press, 2006).

Kaes, Anton. From Hitler to Heimat: The Return of History as Film (Cambridge, MA: Harvard U. Press, 1992).

____________. M (London: British Film Institute, 2008).

____________. Shell Shock Cinema: Weimar Cinema and the Wounds of War (Princeton, NJ: Princeton
University Press, 2009).

Kester, Bernadette. Film front Weimar: representations of the First World War in German films on the
Weimar period (1919-1933) (Amsterdam: Amsterdam University Press, 2003).

Knight, Julia. New German Cinema: The Images of a Generation (New York: Wallflower Press, 2004).

Koepnick, Lutz. The dark mirror: German cinema between Hitler and Hollywood (Berkeley: University of
California Press, 2002).

Kolker, Robert. The Films of Wim Wenders: Cinema as Vision and Desire (New York: Cambridge University
Press, 1993).

Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film (Princeton, NJ:
Princeton University Press, 1994 [1947]).

Kreimeier, Klaus. The UFA Story: A History of Germanys Greatest Film Company, 1918-1945 (Berkeley:
University of California Press, 1999).

Kuzniar, Alice, ed. The queer German cinema (Stanford, Calif.: Stanford University Press, 2000).

Langford, Michelle. Allegorical images: tableau, time and gesture in the cinema of Werner Schroeter
(Portland, OR: Intellect, 2006).

Linville, Susan E. Feminism, Film, Fascism: Women's Auto/biographical Film in Postwar Germany (Austin:
University of Texas Press, 1998).

Majer O'Sickey, Ingeborg and Ingeborg von Zadow, eds. Triangulated visions: women in recent
German cinema (Albany: State University of New York Press, 1998).
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Manvell, Roger. The German Cinema (New York, Praeger Publishers, 1971).

Liebman, Stuart, ed., Alexander Kluge, October 46 (1988).

Lutze, Peter. Alexander Kluge: The Last Modernist (Detroit: Wayne State University Press, 1998).

Monaco, Paul. Cinema and Society (New York: Elsevier, 1976).

Mueller, Roswitha. Valie Export: Fragments of the Imagination (Bloomington: Indiana University Press,
1994).

Murray, Bruce Arthur. Film and the German Left in the Weimar Republic: From Caligari to Kuhle Wumpe
(Austin: University of Texas Press, 1990).

Murray, Bruce and Christopher J. Wickham, eds. Framing the Past: The Historiography of German Cinema and
Television (Carbondale: Southern Illinois University Press, 1992).

Naughton, Leonie. That was the wild East: film culture, unification, and the "new" Germany (Ann Arbor:
University of Michigan Press, 2002).

Oksiloff, Assenka. Picturing the primitive: visual culture, ethnography, andearly German cinema (New York:
Palgrave, , 2001).

Petley, Julian. Capital and Culture: German Cinema, 1933-45 (London: British Film Institute, 1979).

Petro, Patrice. Joyless streets: women and melodramatic representation in Weimar, Germany (Princeton, NJ:
Princeton, 1989).

Pflaum, Hans Gunther. Germany on Film: Theme and Content in the Cinema of the Federal Republic of
Germany, edited by Robert Picht; translated by Richard C. Helt and Roland Richter (Detroit: Wayne State
University Press, 1990).

Philips, Klaus, ed. New German Filmmakers: From Oberhausen through the 1970's / edited by Klaus Phillips.
New York: Ungar Pub. Co., 1984.

Rayns, Tony, ed. Fassbinder 2d rev. and expanded ed. (London: British Film Institute, 1980).

Reimer, Robert C. Nazi-retro Film: How German Narrative Cinema Remembers the Past (New York: Twayne,
1992).

Rentschler, Rick. West German Films in the Course of Tim: Reflections on the Twenty Years since
Oberhausen (Bedford Hills, NY: Redgrave, 1984).

_____________ . The Films of G. W. Pabst: An Extraterritorial Cinema (New Brunswick, NJ: Rutgers
University Press, 1990).

_____________ . Ministry of Illusion: Nazi Cinema and its Afterlife (Cambridge: Harvard University Press,
1996).

Rentschler, Eric, ed. German Film and Literature: Adaptations and Transformations (New York: Routledge,
1986)

Roberts, Ian. German expressionist cinema: the world of light and shadow (New York: Wallflower Press,
2008).

Sanford, John. The New German Cinema (London: Eyre Methuen, 1980).
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Santner, Eric L. Stranded Objects: Mourning, Memory, and Film in Postwar Germany (Ithaca, N.Y.: Cornell
University Press, 1990).

Saunders, Thomas J. Hollywood in Berlin: American Cinema and Weimar Germany (Berkeley: University of
California Press, 1994).

Scheunemann, Dietrich. Expressionist film--new perspectives (Rochester, NY: Camden House, 2003).

Schindler, Stephen K. and Lutz Koepnick, eds. The cosmopolitan screen: German cinema and the global
imaginary, 1945 to the present (Ann Arbor: University of Michigan Press, 2007).

Shandley, Robert R. Rubble films: German cinema in the shadow of the Third Reich (Philadelphia, PA: Temple
University Press, 2001).

Shattuc, Jane. Television, Tabloids, and Tears: Fassbinder and Popular Culture (Minneapolis: University of
Minnesota Press, 1995).

Silberman, Marc. German Cinema: Texts in Context (Detroit: Wayne State University Press, 1995).

Schlpmann, Heide. The Uncanny Gaze: The Drama of Early German Cinema (Carbondale, IL: University of
Illinois Press, 2010).

Schulte-Sasse, Linda. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema (Durham: Duke
University Press, 1996).

Thompson, Kristin. Herr Lubitsch Goes to Hollywood: German and American Film After World War I
(Amsterdam: University of Amsterdam Press, 2006).

Usai, Paolo Cherchi and Lorenzo Codelli, eds. Before Caligari: German Cinema, 1895-1920 (Madison, WI:
University of Wisconsin Press, 1991).

Von Moltke, Johannes. No Place like Home: Locations of Heimat in German Cinema (Berkeley: University of
California Press, 2005).

Welch, David. Propaganda and the German Cinema, 1933-1945 (New York: Oxford University Press, 1983).

Wenders, Wim. The Logic of Images: Essays and Conversations (London: Faber & Faber, 1992).

Wilms, Wilfried and William Rasch, eds. German postwar films: life and love in the ruins (New York: Palgrave
Macmillan, 2008).

Essays

Ashkenazi, Ofer. "The Incredible Transformation of Dr. Bessel: Alternative Memories of the Great War in
German War Films of the Late 1920s." History & Memory: Studies in Representations of the Past, vol. 20, no. 1,
pp. 121-152, Spring 2008

Ashkenazi, Ofer. "Prisoners' Fanstasies in Weimar film: The Longing for a Rational and Just Legal System."
Journal of European Studies, vol. 39, no. 3, pp. 290-304, Sept 2009

Baker, Mark. ""Trummerfilme:" postwar German cinema, 1946-1948." Film Criticism v 20 Fall/Winter
1995/1996. p. 88-101.
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Bathrick, David. "Holocaust Film Before the Holocaust: DEFA, Antifascism and the Camps. Cinemas, Fall2007,
Vol. 18 Issue 1, p109-134, 26p

Berghahn, Daniela. "Post-1990 Screen Memories: How East and West German Cinema Remembers the Third
Reich and the Holocaust." German Life and Letters Volume 59, Issue 2, Date: April 2006, Pages: 294-308

Brockmann, Stephen M. "The Politics of German Comedy." German Studies Review, Vol. 23, No. 1 (Feb.,
2000), pp. 33-51.

Byg, Barton. "DEFA and the traditions of International cinema." In: The European cinema reader / edited by
Catherine Fowler. London ; New York: Routledge, 2002.

"Cold-War German Cinema." [Special Issue] Film History v. 18 no. 1 (2006) p. 2-103.

Colm Hogan, Patrick. "Narrative Universals, Nationalism, and Sacrificial Terror: From Nosferatu to Nazism."
Film Studies, Summer2006, Vol. 8 Issue 0, p93-105, 105p

Crimp, Douglas."Fassbinder, Franz, Fox, Elvira, Armin, and All the Others." In: Queer Looks: Perspectives on
Lesbian and Gay Film and Video / editors Martha Gever, Pratibha Parmar, John Greyson. pp: 257-74. New York:
Routledge, 1993.

Dyer, Richard. "Less and More Than Women and Men: Lesbian and Gay Cinema in Weimar Germany." New
German Critique. 51:5-60. 1990 Fall.

Elsaesser, Thomas. "Early German cinema: audiences, style and paradigms." Screen v 33 Summer 1992. p.
205-14.

Fisher, Jaimey. "Children of the Rubble: Youth, Pedagogy, and Politics in Early DEFA Films." In: Disciplining
Germany: youth, reeducation, and reconstruction after the Second World War Wayne State University Press,
2007.

________ . "Who's Watching the Rubble-Kids? Youth, Pedagogy, and Politics in Early DEFA Films." New German
Critique, Winter2001 Issue 82, p91, 34p

Franklin, James C. "Metamorphosis of a Metaphor: The Shadow in Early German Cinema." German Quarterly.
53 (2): 176-88. 1980 Mar.

Fuhrich, Angelika. "Woman and Typewriter: Gender, Technology, and Work in Late Weimar Film." Women in
German Yearbook, Annual 2000 p151.

Gemnden, Gerd, ed. "Special Issue on Rainer Werner Fassbinder." New German Critique, vol. 63. 1994 Fall.

Hake, Sabine. "Self-referentiality in early German cinema." Cinema Journal v 31 Spring 1992. p. 37-55.

Hake, Sabine. "Anti-Americanism and the Cold War: on the DEFA Berlin films." In: Americanization and anti-
Americanism: the German encounter with American culture after 1945 / edited by Alexander Stephan. New
York: Berghahn Books, 2005.

Hall, Sara F. "Moving Images and the Policing of Political Action in the Early Weimar Period." German Studies
Review, vol. 31, no. 2, pp. 285-302, May 2008

Halle, Randall. "German film, European film: transnational production, distribution and reception." Screen
(London, England) v. 47 no. 2 (Summer 2006) p. 251-9

_________. "German Film, Aufgehoben: Ensembles of Transnational Cinema." New German Critique, No. 87,
Special Issue on Postwall Cinema (Autumn, 2002), pp. 7-46
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_________. Happy ends" to crises of heterosexual desire: toward a social psychology of recent German
comedies."Camera Obscura no44 2000. p. 1-39.

________ . "German Film, Aufgehoben: Ensembles of Transnational Cinema." New German Critique, No. 87,
Special Issue on Postwall Cinema (Autumn, 2002), pp. 7-46

Hansen, Miriam. "Messages in a bottle?" (Frauen und Film, women's cinema and feminist film theory in West
Germany) Screen v 28 Autumn 1987. p. 30-9

Hoerschelmann, Olaf. "Memoria dextera est": film and public memory in postwar Germany." Cinema Journal
v 40 no2 2001. p. 78-97.

Jung, Uli. "Local views: A blind spot in the historiography of early German cinema. Historical Journal of Film,
Radio and Television August 2002 v22 i3 p253(21)

Kaes, Anton and Levin, David (translator). "Modernity and Its Discontents: Notes on Alterity in Weimar
Cinema." Qui Parle: Literature, Philosophy, Visual Arts, History. 5(2):135-42. 1992 Spring-Summer

_________ . "The Debate about Cinema: Charting a Controversy (1909-1929)." New German Critique;
Winter87 Issue 40, p7, 27p

__________ . "German cultural history and the study of film: Ten theses and a postscript." New German
Critique; Spring/Summer95 Issue 65, p47, 12p.

Kannapin, Detlef. "GDR Identity" in DEFA feature films." Debatte: Review of Contemporary German Affairs,
Aug2005, Vol. 13 Issue 2, p185-200, 16p;

Kapczynski, Jennifer M. (ed. and introd.), "Newer German Cinema." Germanic Review, vol. 82, no. 1, pp. 3-
100, Winter 2007.

Kirby, Lynne. "Fassbinder's Debt to Poussin." Camera Obscura, vol. 13-14. 1985 Spring-Summer. pp:5-27.

Koepnick, Lutz. "Consuming the other: identity, alterity, and contemporary German cinema." Camera Obscura
no44 2000. p. 40-73.

_________ . "Reframing the Past: Heritage Cinema and Holocaust in the 1990s." New German Critique. New
York: Oct 31, 2002. , Iss. 87; pg. 47.

" Kuhle Wampe" (special issue of) Screen, Winter74/75, Vol. 15 Issue 4

Lindenberger, Thomas. "Home sweet home: Desperately seeking Heimat in early DEFA films." Film History,
2006, Vol. 18 Issue 1, p46-58, 13p

Mack, Michael. "Film as Memory: Siegfried Kracauers's Psychological History of German 'National Culture'."
Journal of European Studies. 30(2 (118)):157-81. 2000 June.

Mayne, Judith. "Fassbinder and Spectatorship." New German Critique 12 (1977:Fall) 61

McCormick, Richard W. "From Caligari to Dietrich: Sexual, Social, and Cinematic Discourses in Weimar Film."
Signs: Journal of Women in Culture & Society. 18(3):640-68. 1993 Spring

_________. "Private Anxieties/Public Projections: 'New Objectivity,' Male Subjectivity, and Weimar Cinema."
Women in German Yearbook: Feminist Studies in German Literature & Culture. 10:1-18. 1995
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Mennel, Barbara. "Local Funding and Global Movement: Minority Women's Filmmaking and the German Film
Landscape of the Late 1990s." Women in German Yearbook: Feminist Studies in German Literature & Culture.
18:45-66. 2002

Moeller, H. B. "New German Cinema and its precarious subsidy and finance system." Quarterly Review of Film
Studies; Vol.V nr.2 (Spring 1980); p.157-168.

Moltke, Johannes von. "Camping in the Art Closet: The Politics of Camp and Nation in German Film." New
German Critique, vol. 63. 1994 Fall. pp: 77-106.

Monaco, Paul. "Across the Great Divide: Young German Cinema in the 1970s." Mundus Artium: A Journal of
International Literature and the Arts, vol. 11 no. 2. 1979. pp: 42-51.

Mueller, Gabriele. "Going East, Looking West: Border Crossings in Recent German Cinema." Seminar: A
Journal of Germanic Studies, vol. 44, no. 4, pp. 453-469, Nov 2008

Paver, Chloe E. M. "'Als Hitler und der Tonfilm kamen': Cinematic, Technological, and Historical Narratives in
Gert Hofmann's Der Kinoerzahler." Modern Language Review. 97(3):632-52. 2002 July.

Price, Brian (ed. and introd.) "Dossier on Michael Haneke." Framework: The Journal of Cinema and Media, vol.
47, no. 2, pp. 4-36, Fall 2006.

Rentschler, Eric. "Terms of Dismemberment: The Body in-and-of Fassbinder's Berlin Alexanderplatz
(1980)."New German Critique 1985 Winter, 34, 194-208.

Roper, Katherine. "Looking for the German revolution in Weimar films."Central European History v31, n1-2
(Winter-Spring, 1998):65 (26 pages).

Saunders, Thomas J. "Comedy as Redemption: American Slapstick in Weimar Culture." Journal of European
Studies. 17(4 (68)):253-277. 1987 Dec.

Schaal, Hans Dieter. "Spaces of the psyche in German Expressionist film." Architectural Design v 70 no1 Jan
2000. p. 12-15

Sanford, John. "Chaos and Control in the Weimar Film." German Life & Letters. 48(3):311-23. 1995 July.

Shaviro, Steven. "Masculinity, Spectacle, and the Body of Querelle," The cinematic body (Minneapolis:
University of Minnesota Press, 1993).

Silberman, Marc. "What Is German in the German Cinema?" Film History, Vol. 8, No. 3, Cinema and Nation -
II (1996), pp. 297-315.

Silverman, Kaja. "Fassbinder and Lacan." Camera Obscura, 1989 Jan, N19:54+.

Sontag, Susan "Novel into film: Fassbinder's Berlin Alexanderplatz." In: Where the stress falls: essays p. 123-
31. 1st ed. New York: Farrar, Straus and Giroux, 2001.

Tegel, Susan."Nazi Film Aesthetics, Historical Journal of Film, Radio and Television, vol. 26, no. 3, pp. 417-20,
August 2006

Tegel, Susan. "Veit Harlan and the Origins of 'Jud Suss,' 1938-1939: Opportunism in the Creation of Nazi Anti-
Semitic Film Propaganda." Historical Journal of Film, Radio and Television v16, n4 (Oct, 1996):515 (17 pages).

Welsch, Tricia. "Foreign exchange: German Expressionism and its legacy." Cinema Journal v 38 no4 Summer
1999. p. 98-102