東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

New German documentary: The discour...

Niednagel, Matthew Mason.

Linked to FindBook

Google Book

Amazon

博客來

New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria).

Record Type:	Electronic resources : Monograph/item
Title/Author:	New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria)./
Author:	Niednagel, Matthew Mason.
Description:	313 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0009.
Contained By:	Dissertation Abstracts International66-01A.
Subject:	Cinema. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3161901
ISBN:	9780496954438

New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria).
Niednagel, Matthew Mason.

New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria). - 313 p.

Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0009.

Thesis (Ph.D.)--Princeton University, 2005.

This dissertation examines the transnational practice of "new documentary" in German-speaking Europe to challenge established notions of what is really "new" in the focus, form, and function of recent non-fiction media. Moreover, my project addresses a gap in the field of German studies, bypassing the oft-rehearsed canon of postwar cinema and the increasingly-tenuous concept of national cinema to examine a representative set of recent German, Swiss, and Austrian documentaries produced for a broader German-language media landscape, with a particular focus on Michael Brynntrup's NETC.ETERA (1999), Lutz Dammbeck's Das Meisterspiel (The Master's Game, 1997), Thomas Frickel's Deckname Dennis (Code Name Dennis, 1997), Birgit Hein's Baby I Will Make You Sweat (1994), Jan Peters' Dezember 1--31 (1999), Samir's Babylon II (1993), and Ulrich Seidl's Mit Verlust ist zu Rechnen (Losses Are Inevitable, 1992). Since the early 1990s, these filmmakers have been making a new type of variegated, entertaining, and subjective non-fiction film that I have termed the "New German Documentary." My analysis of their work elaborates four constitutive parameters of new documentary: the first, which I call the "personal imperative," describes the inter-personal dimension of the affective economy that structures and guides viewer identification in the new documentary. The second, which I term "ludic reflexivity," articulates the manner in which contemporary works of visual non fiction expose, play with and reflect on their own constructedness. The third distinguishing trait is the gesture of "epistemic hesitation," which designates how these films produce knowledge not by concealing, but by foregrounding their own uncertainty. The final parameter is the impulse towards "hybridity," which explores how new documentaries borrow formally, technologically, and institutionally from other areas of contemporary media practice. These four identifying traits provide the structure for this dissertation: each of four chapters elaborates the discursive function of one of these key features through close readings of representative new documentaries from Germany, Switzerland, and Austria, stopping along the way to reflect on important cinematic precedents as well as the critical debates that have informed both their scholarly and popular reception.

ISBN: 9780496954438Subjects--Topical Terms:

854529
Cinema.

New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria).
LDR:03273nmm 2200277 4500 001 1827166
005 20061222091109.5
008 130610s2005 eng d
020 $a 9780496954438
035 $a (UnM)AAI3161901
035 $a AAI3161901
040 $a UnM $c UnM
100 1 $a Niednagel, Matthew Mason. $3 1916112
245 1 0 $a New German documentary: The discourse of personal non-fiction in the age of media convergence (Switzerland, Austria).
300 $a 313 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0009.
500 $a Adviser: Thomas Levin.
502 $a Thesis (Ph.D.)--Princeton University, 2005.
520 $a This dissertation examines the transnational practice of "new documentary" in German-speaking Europe to challenge established notions of what is really "new" in the focus, form, and function of recent non-fiction media. Moreover, my project addresses a gap in the field of German studies, bypassing the oft-rehearsed canon of postwar cinema and the increasingly-tenuous concept of national cinema to examine a representative set of recent German, Swiss, and Austrian documentaries produced for a broader German-language media landscape, with a particular focus on Michael Brynntrup's NETC.ETERA (1999), Lutz Dammbeck's Das Meisterspiel (The Master's Game, 1997), Thomas Frickel's Deckname Dennis (Code Name Dennis, 1997), Birgit Hein's Baby I Will Make You Sweat (1994), Jan Peters' Dezember 1--31 (1999), Samir's Babylon II (1993), and Ulrich Seidl's Mit Verlust ist zu Rechnen (Losses Are Inevitable, 1992). Since the early 1990s, these filmmakers have been making a new type of variegated, entertaining, and subjective non-fiction film that I have termed the "New German Documentary." My analysis of their work elaborates four constitutive parameters of new documentary: the first, which I call the "personal imperative," describes the inter-personal dimension of the affective economy that structures and guides viewer identification in the new documentary. The second, which I term "ludic reflexivity," articulates the manner in which contemporary works of visual non fiction expose, play with and reflect on their own constructedness. The third distinguishing trait is the gesture of "epistemic hesitation," which designates how these films produce knowledge not by concealing, but by foregrounding their own uncertainty. The final parameter is the impulse towards "hybridity," which explores how new documentaries borrow formally, technologically, and institutionally from other areas of contemporary media practice. These four identifying traits provide the structure for this dissertation: each of four chapters elaborates the discursive function of one of these key features through close readings of representative new documentaries from Germany, Switzerland, and Austria, stopping along the way to reflect on important cinematic precedents as well as the critical debates that have informed both their scholarly and popular reception.
590 $a School code: 0181.
650 4 $a Cinema. $3 854529
650 4 $a Biography. $3 531296
690 $a 0900
690 $a 0304
710 2 0 $a Princeton University. $3 645579
773 0 $t Dissertation Abstracts International $g 66-01A.
790 1 0 $a Levin, Thomas, $e advisor
790 $a 0181
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3161901