Book contents
- Frontmatter
- Dedication
- Contents
- INTRODUCTION
- FILM, POLITICS AND THE PUBLIC SPHERE
- RETHINKING HISTORY
- REALISM AS PROTEST
- OPERA AS A TOWER PLANT OF EMOTION'
- STORYTELLING AND POLITICS
- TELEVISION AND COUNTER-PUBLIC SPHERES
- TELEVISION INTERVIEWS
- EARLY CINEMA/RECENT WORK
- Selected Bibliography of English-Language Texts
- Acknowledgments
- Notes on Contributors
- Index of Names
- Index of Works
- Film Culture in Transition
In Search of Germany: Alexander Kluge’s THE PATRIOT
Published online by Cambridge University Press: 05 February 2021
- Frontmatter
- Dedication
- Contents
- INTRODUCTION
- FILM, POLITICS AND THE PUBLIC SPHERE
- RETHINKING HISTORY
- REALISM AS PROTEST
- OPERA AS A TOWER PLANT OF EMOTION'
- STORYTELLING AND POLITICS
- TELEVISION AND COUNTER-PUBLIC SPHERES
- TELEVISION INTERVIEWS
- EARLY CINEMA/RECENT WORK
- Selected Bibliography of English-Language Texts
- Acknowledgments
- Notes on Contributors
- Index of Names
- Index of Works
- Film Culture in Transition
Summary
For the people, history is and remains a collection of stories. It is what people can remember and what is worth being told again and again: a retelling. The tradition flinches at no legend, triviality, or error, provided it has some connection with the battles of the past. Hence the notorious impotence of the facts in the face of colorful pictures and sensational stories.
Hans Magnus EnzensbergerWhen crises occur, one searches the depths of one's memory to discover some vestige of the past, not the past of the individual, faltering and ephemeral, but rather that of the community, which, though left behind, nonetheless represents that which is permanent and lasting.
Saul FriedländerIf we want to approach our buried past, we have to go about it in the manner of someone who is digging.
Walter BenjaminNomadic History
'We must begin to work on our history. I mean something very concrete by that; we could even start by telling each other stories'. Alexander Kluge made this statement in his Fontane Prize acceptance speech in September 1979; it announced a programme that he himself wanted to fulfil in his film DIE PATRIOTIN/THE PATRIOT, which premiered in the same month. Although the original conception of the film goes back to the fall of 1977, it had lost none of its relevance two years later. On the contrary, at the beginning of 1979 the American television series Holocaust had reignited interest in German history. And a film entitled THE PATRIOT seemed to answer those critics of Holocaust who wanted German history to be represented not by American television specials but by German films. Kluge had indeed intended to make a German film about German history, and to counter Holocaust in every respect. In its treatment of history as well as in its way of dealing with stories and images, THE PATRIOT differed radically not only from the Hollywood television series, but also from the classical narrative cinema. Kluge's aversion to the conventional narrative film, apparent since his first feature film of 1966, ABSCHIED VON GESTERN/YESTERDAY GIRL, shaped THE PATRIOT as well.
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- Alexander KlugeRaw Materials for the Imagination, pp. 95 - 126Publisher: Amsterdam University PressPrint publication year: 2012