Contents

pp v-vi

Acknowledgments

pp vii-viii

Introduction: German Screen Cultures and the Long 1968

pp 1-24

Part I

pp 25-26

1 - Peter Zadek’s Ich bin ein Elefant, Madame: Discussing “1968” by Means of “1968 Thinking”

pp 27-41

2 - “Break the Power of the Manipulators”: Film and the West German 1968

pp 42-52

3 - Ideological Rupture in the dffb: An Analysis of Hans-Rüdiger Minow’s Berlin, 2. Juni

pp 53-68

4 - Helke Sander’s dffb Films and West Germany’s Feminist Movement

pp 69-86

5 - Film Feminisms in West German Cinema: A Public Sphere for Feminist Politics

pp 87-104

6 - A Laboratory for Political Film: The Formative Years of the German Film and Television Academy and Participatory Filmmaking from Workerism to Feminism

pp 105-121

7 - West Germany’s “Workers’ Films”: A Cinema in the Service of Television?

pp 122-133

8 - Guns, Girls, and Gynecologists: West German Exploitation Cinema and the St. Pauli Film Wave in the Late 1960s

pp 134-151

9 - Mediation, Expansion, Event: Reframing the Austrian Filmmakers Cooperative

pp 152-167

10 - Prague Displaced: Political Tourism in the East German Blockbuster Heißer Sommer

pp 168-182

11 - Animating the Socialist Personality: DEFA Fairy Tale Trickfilme in the Shadow of 1968

pp 183-200

12 - Allegories of Resistance: The Legacy of 1968 in GDR Visual Cultures

pp 201-217

13 - “You Say You Want a Revolution”: East German Film at the Crossroads between the Cinemas

pp 218-236

14 - Cruel Optimism, Post-68 Nostalgia, and the Limits of Political Activism in Helma Sanders-Brahms’s Unter dem Pflaster ist der Strand

pp 237-252

15 - Revolting Formats: Hellmuth Costard’s Der kleine Godard: An das Kuratorium Junger Deutscher Film

pp 253-268

Part II - In Conversation: Interviews with Filmmakers

pp 269-270

16 - An Interview with Harun Farocki: “Holger Thought about Aesthetics and Politics Together”

pp 271-280

17 - An Interview with Birgit Hein: “Art communicates knowledge that cannot be expressed in any other information system”

pp 281-291

18 - An Interview with Klaus Lemke: “Being Smart Does Not Make Good Films”

pp 292-312

Notes on the Contributors

pp 313-318

Index

pp 319-330