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Extra info for Berlin school glossary : an ABC of the new wave in German cinema
Berlin School filmmakers display a kinship to the French New Wave filmmakers in this regard. In Grisebach’s account, the realist aesthetic of the Berlin School seems to fall somewhere between a post-World War II neorealism that largely conceals the aesthetic artifice of its ‘objective’ camera and the auteurism of the French New Wave, which openly displayed its stylistic innovations. Referencing these movements from the 1950s and 1960s can of course provide only an approximate taxonomy for a film practice that has sprung up as part of a contemporary resistance to Hollywood’s global dominance.
Html. ’ 354. ’ 356. ’ 356. Marco Abel, ‘“A sharpening of our regard”: Realism, Affect and the Redistribution of the Sensible in Valeska Grisebach’s Longing (2006),’ New Directions in German Cinema, ed. B. Tauris, 2011), 204–07. ’ Jacques Rancière, Film Fables (Oxford: Berg, 2006), 75. ’ Grisebach, ‘Von hier aus,’ 86. ’ 359. ‘coop99: Film-Produktion,’ in Revolver: Kino muss gefährlich sein, ed. : Verlag der Autoren, 2006), 191. ’ Dudley Andrews, What Cinema is! (Chichester, UK: Wiley-Blackwell, 2010), 41.
A subsequent close-up of Johanna’s face all but obscures the visual information (parked and moving cars, out of focus) behind her [Fig. 10]. Though the word ‘Friedrichstrasse’ is legible in a subsequent long shot of the station, the camera position (directly in the street) serves more to embed Johanna’s departure into a multifaceted urban street scene, amid cars, motorcyclists, pedestrians, and objects, than to call attention to the station itself. indd 37 6/19/13 1:14:54 PM Berlin School Glossary FIG.