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• W290419498 abstract "Randall Halle. German Film After Germany. Toward a Transnational Aesthetic. Urbana and Chicago: University of Illinois Press, 2008. Since the beginning of the 1990s the entire landscape of film production in Germany has changed rapidly. The distribution and circulation of film material, actors, directors, ideas, and above all money accelerated throughout Europe, which in the last decade of the twentieth-century became an economically and culturally important actor on the global stage. By now it has become clear that the economic changes throughout this crucial time span affected the content and aesthetic of the films. The films portray no longer merely nationally important topics, but rather transcend the national cinema paradigm via transforming content and aesthetic in a way that attracts larger audiences on a European and ultimately global scale. German Film After Germany: Toward a Transnational Aesthetic, a mono- graph consisting of six chapters and an introduction, takes to task the changing landscape of film production in Europe from the 1990s until the present, and its influence on the films’ aesthetic at large. It should be of major interest for those studying transnationalism, globalization, and the accompanying transformations on the economic market through the lens of Film Studies. Throughout the analysis, German and Film Studies scholar, Randall Halle investigates the role Germany and German film took during the establishment of the European Union, which forced the nation-state dependent film business to break with this outmoded model in order to compete on a global market. Halle demands that “the humanities must begin to explore how the cultural artifacts of this new mode of production signify” (4). Even as the chapters trace the decline of the national and the emergence of the transnational aesthetic he does not see a total elimination of the national cinema, i.e. local and concrete giving way to the global and abstract. Rather, he holds that the local still exists, “even if it is transformed. It does cease to speak only to the spe- cific and begins to address common denominators, to recognize shared interests in broader scale” (15). For investigating how political, economical, and cultural trans- formations took place at the same time, affecting each other, Halle regards film “to be the most significant marker of simultaneous economic and cultural transform- ations, a marker of globalization and transnationalism” (6). The first chapter, “Apprehending Transnationalism”, is dedicated to a positioning of transnationalism, by clearly rejecting theories like cultural imperial- ism, Americanization, and statism as approaches too simplistic to deal with global changes properly. Rather, Halle suggests “a process of Hegelian Aufhebung where the older more local and concrete experiental forms are conserved and lifted onto the new level” (20). This Hegelian model of sublation functions as the framework for the entire book, trying to demystify the dangers of globalization and decon- struct the false concept of Hollywood as a major threat for the smaller national cinemas, by clarifying that although “Hollywood […] comes close to functioning as" @default.
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• W290419498 date "2011-02-03" @default.
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• W290419498 title "Review: German Film after Germany. Toward a Transnational Aesthetic" @default.
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