50. Kiersch, Curtis Bernhardt, 123.
e p i l o g u e
1. Theodor W. Adorno, Minima Moralia: Reflections from Damaged Life, trans. E. F. N. Jephcott (London: New Left Books, 1951), 38 –39.
2. Walter Benjamin, Illuminations: Essays and Reflections, trans. Harry Zohn (New York: Schocken, 1969), 236.
3. Angelika Bammer, introduction to Displacements: Cultural Identities in Question, ed. Angelika Bammer (Bloomington: Indiana University Press, 1994), xiii.
4. Russell A. Berman, Enlightenment or Empire: Colonial Discourse in German Culture (Lincoln: University of Nebraska Press, 1998), 219.
5. Iain Chambers, Migrancy, Culture, Identity (London: Routledge, 1994), 50; qtd. in Anton Kaes, “Leaving Home: Film, Migration, and the Urban Experience,” New German Critique 74 (spring/summer 1998): 191.
6. Jan Dawson, Wim Wenders, trans. Carla Wartenberg (New York: Zoe-trope, 1976), 12.
7. Werner Herzog, “Tribute to Lotte Eisner (1982),” in West German Filmmakers on Film: Visions and Voices, ed. Eric Rentschler (New York: Holmes and Meier, 1988), 117.
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Notes to Pages 265 –270
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307
8. Eric Rentschler, “How American Is It? The U.S. as Image and Imaginary in German Film,” Persistence of Vision 2 (1985): 13.
9. Thomas Elsaesser, “German Postwar Cinema and Hollywood,” in Hollywood in Europe: Experiences of a Cultural Hegemony, ed. David W. Ellwood and Rob Kroes (Amsterdam: VU University Press, 1994), 283 –302; see also Thomas Elsaesser, New German Cinema: A History (New Brunswick, N.J.: Rutgers University Press, 1989).
10. Elsaesser, “German Postwar Cinema and Hollywood,” 297.
11. John E. Davidson, Deterritorializing the New German Cinema (Minneapolis: University of Minnesota Press, 1999), 35– 64.
12. “Das Kinojahr 1998,” FFA Intern, February 10, 1999, 7; “Das Kinojahr 1999,” FFA Intern, February 10, 2000, 9.
13. Gerd Gemünden, Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination (Ann Arbor: University of Michigan Press, 1998), 212 –213.
14. On the heritage film see Andrew Higson, “Re-presenting the National Past: Nostalgia and Pastiche in the Heritage Film,” in Fires Were Started: British Cinema and Thatcherism, ed. Lester Friedman (Minneapolis: University of Minnesota Press, 1993), 109 –129; and Ginette Vincendeau, “Issues in European Cinema,” in The Oxford Guide to Film Studies, ed. John Hill and Pamela Church Gibson (Oxford: Oxford University Press, 1998), 440 – 448.
15. Jürgen Habermas, Die Normalität einer Berliner Republik (Frankfurt /M.: Suhrkamp, 1995).
16. For a more thorough reading of Comedian Harmonists and its ideological project see Lutz Koepnick, “‘Honor Your German Masters’: History, Memory, and National Identity in Joseph Vilsmaier’s Comedian Harmonists, ” in Light Motives: German Popular Film in Perspective, ed. Maggie McCarthy and Randall Halle (Detroit: Wayne State University Press, forthcoming).
17. See, e.g., the various contributions to Die selbstbewußte Nation: “An-schwellender Bocksgesang” und weitere Beiträge zu einer deutschen Debatte, ed. Heimo Schwilk and Ulrich Schacht (Berlin: Ullstein, 1995).
18. Wim Wenders, “Talking about Germany,” in The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition, ed. Roger F. Cook and Gerd Gemünden (Detroit: Wayne State University Press, 1996), 59.
19. Released on December 25, 1997, Comedian Harmonists attracted a total of 2.8 million viewers to German cinemas. It was by far the most successful domestic production at German box offices in 1998. “Das Kinojahr 1998,” FFA Intern, February 10, 1999, 8.
20. William J. Mitchell, The Reconfigured Eye: Visual Truth in the Post-Photographic Era (Cambridge, Mass.: MIT Press, 1994). On Wenders’s response to the visual revolutions of the 1990s see Nora M. Alter, “Documentary as Simulacrum: Tokyo-Ga, ” in The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition, ed. Roger F. Cook and Gerd Gemünden (Detroit: Wayne State University Press, 1996), 136 –162.
21. Ry Cooder, Buena Vista Social Club, Nonesuch Records 79478 –2, 1997.
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Index
Page numbers in italic type indicate illustrations.
Abend, Der, 193
Albers, Hans, 111, 110 –11, 113, 125, Abgeschminkt, 266
126, 129, 130, 131, 290n29
Abschied (Farewell), 169
Alice in den Städten (Alice in the
Achternbusch, Herbert, 226
cities), 265
actors, 260; émigré, 3, 144 – 46, 147 –
Aller, Eleanor, 154
