Transnational German Cinema

This volume explores the notion of German cinema as both a national and increasingly transnational entity. It brings together chapters that analyse the international circuits of development and distribution that shape the emerging films as part of a contemporary "German cinema", the events and spectacles that help frame and re-frame national cinemas and their discoverability, and the well-known filmmakers who sit at the vanguard of the contemporary canon. Thereby, it explores what we understand as German cinema today and the many points where this idea of national cinema can be interrogated, expanded and opened up to new readings. At the heart of this interrogation is a keen awareness of the technological, social, economic and cultural changes that have an impact on global cinemas more broadly: new distribution channels such as streaming platforms and online film festivals, and audience engagement that transcends national borders as well as the cinema space. International filmproduction and financing further heightens the transnational aspects of cinema, a quality that is often neglected in marketing and branding of the filmic product. With particular focus on film festivals, this volume explores the tensions between the national and transnational in film, but also in the events that sit at the heart of global cinema culture. It includes contributions from filmmakers, cultural managers and other professionals in the field of film and cinema, as well as scholarly contributions from academics researching popular culture, film, and events in relation to Germany.

Auteur
Irina Herrschner, PhD, is a cultural studies researcher with an interest in film festivals, contemporary mobilities and cultural diplomacy. She completed her PhD in German studies on the topic of German cinematic diplomacy and the German Film Festival in Australia at the University of Melbourne. Irina worked as a lecturer in arts and cultural management, German cultural studies and tourism and was previously the film festival director of German Cinema Melbourne. Irina currently manages the Gateway Office of the Universität Bayreuth in Melbourne.
Kirsten Stevens, PhD, is a film writer, lecturer and researcher working in the areas of film festivals, reception studies and film exhibition practice. She completed her PhD in film and screen studies at Monash University, and has taught extensively in film and screen studies, media and communications, cultural studies, and arts and cultural management. Kirsten is currently a lecturer in arts and cultural management at the University of Melbourne, Australia. She is Deputy Director of the Melbourne Women in Film Festival, Vice President of the Senses of Cinema journal, and a member of the Screen Studies Association of Aotearoa New Zealand executive. Her current research interests include: the impact of digitisation and connected viewing practices on television and film festival audiences; women's filmmaking and its circulation within alternative distribution networks; and histories of film and film culture in Australia.
Benjamin Nickl, PhD, is a cultural studies researcher with an interest in popular culture studies in film, television, literature, performative and mass media. He is also interested in educational studies and researches in the areas of transnational cultures, German, American, and Australian transnationalisms and global transcultural dialogue, as well as transnational educational practices in secondary and tertiary education. Currently, he works on transnational German visual culture at the intersection of cinema and online media.

Contenu
Part I: Films in Global Circuits.- Chapter 1. Trans-national Encounters at the Berlinale: A Look From the Inside (Irina Herrschner).- Chapter 2. Translation and Dissemination of German Films in China (1994-2018) (Jin Haina).- Chapter 3. Transnational Qualities of German Cinema: An Austro/European Audience Analysis (Deniz Özalpman).- Chapter 4. International Feature Film Co-Productions Between Australia and Germany: An Australian Perspective (Franziska Wagenfeld).- Part II: Transnational Audiences and Communities.- Chapter 5. Tuvalu Live!: Live Re-scoring, Transnational Digital Participation and Audience Engagement in a Film Festival Context (Sarah Atkinson).- Chapter 6. The Black German Experience in Afro-European Cinema - or How Woke Twitter Called Out Amma Asante for Romancing the Reich (Benjamin Nickl).- Chapter 7. #Germancinema in the Eye of Instagram: Showcasing a Method Combination (Joan Ramon Rodriguez-Amat ).- Part III: German Filmmakers in a Global Environment.- Chapter 8. Intercultural Experience Through Affective Encounters: Marten Persiel's This Ain't California (2012) (James Cleverley).- Chapter 9. Werner Herzog and the Transnational-Appeal of the Mythic Hyperreal (Stefan Popescu).- Chapter 10. Lars von Trier and German Expressionism: Understanding von Trier's Transnational Appeal (Aleks Wansbrough).- Chapter 11. Denglish, International English, Garbage Language and Corporate Speak: Transnational Non-language in Maren Ade's Toni Erdmann (Blythe Worthy).

.