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The haunted public sphere
Descriptive
TitleInfo
Title
The haunted public sphere
SubTitle
women and the power of emotion in the works of Alexander Kluge and the films of the Berlin School
Name
(type = personal)
NamePart
(type = family)
Polak-Springer
NamePart
(type = given)
Katrin
NamePart
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1980-
DisplayForm
Katrin Polak-Springer
Role
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author
Name
(type = personal)
NamePart
(type = family)
Naqvi
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(type = given)
Fatima
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Fatima Naqvi
Affiliation
Advisory Committee
Role
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chair
Name
(type = personal)
NamePart
(type = family)
Levine
NamePart
(type = given)
Michael
DisplayForm
Michael Levine
Affiliation
Advisory Committee
Role
RoleTerm
(authority = RULIB)
internal member
Name
(type = personal)
NamePart
(type = family)
Helfer
NamePart
(type = given)
Martha
DisplayForm
Martha Helfer
Affiliation
Advisory Committee
Role
RoleTerm
(authority = RULIB)
internal member
Name
(type = personal)
NamePart
(type = family)
Schwab
NamePart
(type = given)
Gabriele
DisplayForm
Gabriele Schwab
Affiliation
Advisory Committee
Role
RoleTerm
(authority = RULIB)
outside member
Name
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NamePart
Rutgers University
Role
RoleTerm
(authority = RULIB)
degree grantor
Name
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NamePart
Graduate School - New Brunswick
Role
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school
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Text
Genre
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theses
OriginInfo
DateCreated
(qualifier = exact)
2012
DateOther
(qualifier = exact);
(type = degree)
2012-05
CopyrightDate
(qualifier = exact)
2012
Place
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(type = code)
xx
Language
LanguageTerm
(authority = ISO639-2b);
(type = code)
eng
Abstract
(type = abstract)
My dissertation sheds light on the German filmmaker and author Alexander Kluge and his ideas on filmmaking as they evolved out of his conception of the public versus the private spheres since the early 1960s. It was Kluge’s contention that personal experiences of war and violence could not be expressed publicly in the postwar Federal Republic, causing a rift between the two realms and a haunting presence of trauma within individuals and society as a whole. What Kluge, in cooperation with Oskar Negt, called “alternative public sphere” in Public Sphere and Experience (1972) and History and Obstinacy (1981) is closely linked to Woman and so-called “proletarian” forces countering instrumental reason and the bourgeois cultural matrix. Analyzing four crucial films from Kluge’s creative work, I outline the increasingly allegorical role of his concept of “female mode of production,” which constitutes Kluge’s aesthetics and thematic focus. How the ideas of “alternative public sphere” and “female mode of production” are linked to the cinema and Kluge’s theory of film is the focus of another chapter that scrutinizes Kluge’s recent literary compilation Cinema Stories (2007). Finally, I read a selection of contemporary German films considered the new filmic avant-garde through the lens of Kluge’s approach to film, to the “female mode of production,” and to the public sphere. This allows me to compare the ethics, the formal and political attitude of the so-called Berlin School directors to the vanguard movement of Young German Film in the sixties and early seventies. I conclude that the filmic Autoren today deal with a similar problem as Alexander Kluge has done throughout his career, namely the dissociation of personal, lived experience from public representation. They also employ formal and thematic strategies that can be related to the thoughts behind the Oberhausen generation of German filmmakers. While the generation of the leftist student movements sought public recognition of the atrocities committed under National Socialism, the Berlin School directors deal with mediated experience in times of media and finance corporatism as virtual realities threaten to take over the empiric world.
Subject
(authority = RUETD)
Topic
German
Subject
(authority = ETD-LCSH)
Topic
Women in motion pictures
Subject
(authority = ETD-LCSH)
Topic
Motion pictures--Germany--History and criticism
Subject
(authority = ETD-LCSH)
Topic
Motion pictures, German--History and criticism
RelatedItem
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TitleInfo
Title
Rutgers University Electronic Theses and Dissertations
Identifier
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ETD
Identifier
ETD_3876
PhysicalDescription
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electronic resource
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application/pdf
InternetMediaType
text/xml
Extent
ix, 257 p. : ill.
Note
(type = degree)
Ph.D.
Note
(type = bibliography)
Includes bibliographical references
Note
(type = statement of responsibility)
by Katrin Polak-Springer
Subject
Name
(authority = LC-NAF)
NamePart
(type = personal)
Kluge, Alexander,--1932---Criticism and interpretation
Identifier
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http://hdl.rutgers.edu/1782.1/rucore10001600001.ETD.000065244
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TitleInfo
Title
Graduate School - New Brunswick Electronic Theses and Dissertations
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rucore19991600001
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NjNbRU
Identifier
(type = doi)
doi:10.7282/T3VT1R12
Genre
(authority = ExL-Esploro)
ETD doctoral
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Rights
RightsDeclaration
(ID = rulibRdec0006)
The author owns the copyright to this work.
RightsHolder
(type = personal)
Name
FamilyName
Polak-Springer
GivenName
Katrin
Role
Copyright Holder
RightsEvent
Type
Permission or license
DateTime
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(qualifier = exact);
(point = start)
2012-04-09 06:58:53
AssociatedEntity
Name
Katrin Polak-Springer
Role
Copyright holder
Affiliation
Rutgers University. Graduate School - New Brunswick
AssociatedObject
Type
License
Name
Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
Copyright
Status
Copyright protected
Availability
Status
Open
Reason
Permission or license
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