contemporary German and Austrian cinema through the lens of Benjamin, Kracauer and Kluge
.PUBLICATION, DISTRIBUTION, ETC
Name of Publisher, Distributor, etc.
University of Birmingham
Date of Publication, Distribution, etc.
2015
DISSERTATION (THESIS) NOTE
Dissertation or thesis details and type of degree
Ph.D.
Body granting the degree
University of Birmingham
Text preceding or following the note
2015
SUMMARY OR ABSTRACT
Text of Note
This thesis charts the trajectory of a strand of film-theoretical optimism in texts by Walter Benjamin (1882-1940), Siegfried Kracauer (1889-1966) and Alexander Kluge (1932-) from different moments in the twentieth century; the empirical corpus looks to post-reunification German and Austrian cinema to find evidence of this theoretical optimism in contemporary filmmaking practices. The thinkers advocate the leftist-political potential of film to stimulate a critical mode of spectatorship, and are to varying degrees influenced by Brecht and the neo- Marxist politics of the \({Frankfurter Institut für Sozialforschung}\). The objective of this thesis is thus twofold. First, it illustrates the continuing relevance of the following principal strands in the film-theoretical texts of Benjamin, Kracauer and Kluge: the representation of the figure of the worker in the \(Arbeiterfilm\) genre; the possibilities and limits of capturing reality using different modes of realism; the imperative of challenging viewers in order to transform them from 'consumers' into collaborators; and, following on from this, notions of shock and distraction, focusing on Benjamin's concept of the 'Schockwirkung'. Second, it shows how this diachronic, neo-Marxist approach can continue to illuminate facets of the political in contemporary cinema by German-speaking directors in an age of advanced capitalism and digital reproducibility.