Moving Frames

As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the mediuma relationship that has grown more complexly connected even as the underlying technologies continue to evolve.Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.

Martin P. Sheehan is Interim Chair of the Department of Foreign Languages and Associate Professor of German at Tennessee Tech University. His research on dramatic form, performance, and photography has been featured inSeminar,Archiv,ColloquiaGermanica,Interdisciplinary Humanities, andStudia Neophilogica. A member of the digital humanities research collective at Vanderbilt University since 2016, his current projects explore visual culture, disability in German dramatic comedy, social network analysis.

List of Illustrations
Acknowledgments

Introduction: Photographs as Rupture and Affect in German Film
Carrie Collenberg-González and Martin P. Sheehan

Chapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprechts Zille FilmSlums of Berlin (1925)
Jason Doerre

Chapter 2. Objecting Objects: Photographs and Subjectivity inThe Blue Angel (1930)
Martin P. Sheehan

Chapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer Cinema
John E. Davidson

Chapter 4. Filming After Walker Evans: Wim Wenders American Pictures inKings of the Road (1976)
Stefanie Harris

Chapter 5. The Transgression of Overpainting: Jürgen Böttchers Radical Experiments with Intermediality inTransformations (1981)
Matthew Bauman

Chapter 6. The Promise of Agency: Photographs and Value inTattoo (2002)
Cynthia Porter

Chapter 7. Curating the Image: Visual Intertextuality inThe Baader Meinhof Complex (2008)
Reinhard Zachau

Chapter 8. Re-presenting German Heritage Films: Photographic Memory inAimee& Jaguar (1999),Good Bye, Lenin! (2003), andAlmanyaWelcome to Germany (2011)
Carrie Collenberg-González

Chapter 9. Imaging the Good Life: Destabilizing Subjecthood and Conceptions of the Normative Family inGhosts (2005)
Simone Pfleger

Chapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead inRammbock (2010)
Melissa Etzler

Chapter 11. Possible Archives: Encountering a Surveillance Photo inKarl Marx City (2016)
Anke Pinkert

Afterword: Toward a Camera Ludica: Agency and Photography in Videogame Ecologies
Curtis L. Maughan

Index