Kluge, Alexander (1932--)

Author(s):  
Moira Weigel

Alexander Kluge is a German author, film director, and television producer who has also worked as a lawyer, teacher, and political lobbyist. A founding figure of the New German Cinema, he has continued to publish numerous works of fiction and social criticism, and to make experimental films and "film essays" for television. Kluge was born in Halberstadt in 1932. After studying at the University of Marburg, he earned a doctorate in law at the Goethe University of Frankfurt am Main in 1956. During this time, Kluge began writing short stories. He also befriended the philosopher Theodor Adorno, who was then teaching at the Institute for Social Research. The encounter with critical theory would profoundly shape Kluge’s work. Adorno also introduced the young writer to director Fritz Lang. In 1960, Kluge made his first film, Brutalitätim Stein (Brutality in Stone), a twelve-minute, black-and-white montage of Nazi architecture, intended to open discussion of Germany’s recent past that public discourse had suppressed. It premiered at the Oberhausen Film Festival in 1961. The following year, Kluge signed the Oberhausen Manifesto with twenty-five other filmmakers. This document, usually identified as the beginning of the New German Cinema, declared that "Daddy’s cinema is dead." Celebrating the innovative potential of experimental shorts, it called for greater political and creative freedom for, and a better system for financing and distributing, independent films. Lutze argues that Kluge belongs to a distinctly modernist tradition of figures who have opposed what they see to be the dominant culture of capitalist society, taking adversarial stances on mainstream aesthetics and politics alike.

Author(s):  
Hester Baer

This chapter examines two films about the transitional status of cinema around 1980, Wenders’s The State of Things (1982), and Gusner’s All My Girls (1980). Situating these films in relation to Deleuze’s influential Cinema books, written in response to the crisis of cinema that both films narrate, I analyse these films as exemplifications of Deleuze’s crystal-image, a figure that helps explicate the way they make visible the cinematic confrontation between time and money. Both films discursively anticipate events of the neoliberal turn, demonstrating the impending triumph of market principles over the national-cultural film project represented by the New German Cinema and DEFA. This chapter offers a feminist-queer reading of how both films disrupt normative timelines to open up alternative imaginaries.


Author(s):  
Jens Wolff

Luther was a point of reference in all three of the confessional cultures during the confessional age, though this was not something he had intended. His theological “self-fashioning” was not meant to secure, canonize, or stabilize his own works or his biography. Rather, he believed, and was convinced, that the hidden God rules in a strange way. He hides himself in the course of the world and realizes what we would have liked to realizes. Apart from this theological viewpoint, historiographic differentiation is needed: Luther had different impacts on each of the three confessions. Furthermore, one also has to differentiate between a deep impact and the unintended effects of Luther’s thinking. Luther was an extremely polarizing figure. From the beginning, he underwent a heroization and a diabolization by his contemporaries. Apart from this black-and-white reception of his person, it was, and still is, extremely difficult to analyze Luther, his work and medial effects. Historians have always been fixated on Luther: he was the one and only founder of Protestantism. His biography became a stereotype of writing and was an important element of Protestant (or anti-Protestant) identity politics. For some Protestants, his biography became identical with the history of salvation (Heilsgeschichte). For his enemies, his biography was identical with the history of the devil. In all historical fields, one has to differentiate between the different groups and people who protected or attacked Luther or shared his ideas. The history of Luther can only be written as a shared history with conflict and concordances: the so-called Anabaptists, for example, shared Luther’s antihierarchical ideal of Christian community, although on the other hand “they” were strongly opposed toward his theology and person. Luther or example, had conflicts with the humanists and with Erasmus especially; he argued about the Lord’s Supper with Zwingli, he criticized the Fuggers because of their financial transactions in an early capitalist society; and, last but not least, he was in conflict with the Roman Church. The legitimization of different pictures of Luther always depends upon the perspectives of the posterity: either Luther was intolerant against spiritualists, Anabaptists, or peasants who were willing to resort to violence; or he was defended by humanists like Sebastian Castellio for defending religious tolerance. During his lifetime Luther was an extremely polarizing figure. Hundreds of pro-Lutheran and polemical anti-Lutheran leaflets or texts were published. The many literary forms of parody, satire, caricature, the grotesque, and the absurd were cultivated during the confessional age. Luther’s biography was often used by Lutheran theologians as an instrument of heroization and identity politics in public discourse. Historically, one can differentiate between the time before and after Luther. The political and religious unity of the Holy Roman Empire was strongly disturbed, if not broken, through the Reformation. The end of the Universalist dreams of universal powers like theology and politics (pope and emperor) were some of the central preconditions for political, cultural, and theological differentiation of Europe. Religious differentiation was one of the unintended effects of theology and the interpretation of the scripture. Decades after Luther’s death, the Holy Roman Empire slowly and surprisingly turned into a poly-, multi- and interconfessional society.


Author(s):  
Jaimey Fisher

In eleven feature films across two decades, Christian Petzold has established himself as the most critically celebrated director in contemporary Germany. The best-known and most influential member of the Berlin School, Petzold's career reflects the trajectory of German film from 1970s New German Cinema to more popular fare in the 1990s and back again to critically engaged and politically committed filmmaking. His combination of critical celebration and popular success underscores Petzold's singular cinematic achievement: the deliberate and shrewd negotiation of art cinema and popular Hollywood genre. This book frames Petzold's cinema at the intersection of international art cinema and sophisticated genre cinema. This approach places his work in the context of global cinema and invites comparisons to the work of directors like Pedro Almodovar and Rainer Werner Fassbinder, who repeatedly deploy and reconfigure genre cinema to their own ends. These generic aspects constitute a cosmopolitan gesture in Petzold's work as he interprets and elaborates on cult genre films and popular genres, including horror, film noir, and melodrama. The book explores these popular genres while injecting them with themes like terrorism, globalization, and immigration, central issues for European art cinema. The volume also includes an extended original interview with the director about his work.


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