Film and the Public Sphere Study Notes

On Film and the Public Sphere - Introduction

  • Authors: Alexander Kluge, Thomas Y. Levin, and Miriam B. Hansen

  • Published In: New German Critique, No. 24/25, Special Double Issue on New German Cinema (Autumn 1981 - Winter 1982)

  • Stable URL: JSTOR Link

  • Publisher: New German Critique and Duke University Press

  • Access Date: 28/08/2012 18:24

Narrative Cinema

  • Kluge's reference to the cinema of the 1920s:

    • The silent era deeply influences his filmmaking style.

    • Emphasizes storytelling as the essence of narrative cinema.

    • Suggests the history of a country is a vast narrative, composed of multiple stories.

Montage-Film

  • Concept of montage in filmmaking:

    • Asserts that a narrative focusing on a single fate cannot encompass historical material without distortion.

    • Defines montage as the "morphology of relations":

    • It conveys the relationship between experiences.

    • Distinguishes between documentary and mise-en-scène:

    • States that mere documentation lacks emotional connection and presents a false objectivity.

    • Argues that experience is defined by emotions, actions, and desires.

    • Discusses the integration of authentic material:

    • No narrative can succeed without some documentation to anchor the story in reality.

Auteur Film-Cooperative Film

  • Kluge's belief in auteur cinema:

    • Recognizes classic filmmakers (Dovshenko, Griffith, Dreyer, etc.) and contemporary ones like Woody Allen and Francis Ford Coppola.

    • Elements of cooperation among filmmakers to expand upon shared cinematic experiences.

    • Criticizes the ready-made film (Konfektionsfilm):

    • Calls for auteur cinema to evolve beyond delivering isolated works.

Leaving the Garden Paths

  • Exploration of the creative process of filmmaking:

    • Describes filmmaking as being inherently non-academic and critical of traditional structures.

    • Uses the metaphor of garden paths:

    • Suggests that refined topics may lead to missed opportunities and failures in revolutions.

    • Connects filmmaking to the psychological pursuit of happiness, asserting film is inherently dynamic and forward-moving.

The Critical Measure of Production: What is Left Out

  • Observations on German cinema:

    • German cinema is gaining international recognition but struggles with precarious production conditions.

    • Argues that historical depth and context are critical for cinematic storytelling and self-examination in film production.

    • Advocates for a shift toward multiplicity in cinematic forms to combat stagnation and to explore diverse narratives.

The Media Are Standing on Their Head

  • Discussion on media and their representation of experience:

    • Media should reflect human experiences rather than just structure a narrative.

    • Stresses responsibility to non-spectators, arguing that they influence media production and reception.

    • Claims that spectators and non-spectators together create the media through their collective imaginations.

Utopian Cinema

  • Positioning of cinema's relative youth compared to other artistic forms:

    • Celebrates cinema's spontaneous connection with deep-rooted imaginative faculties.

    • Explores the utopian potential of cinema, suggesting it can reflect and challenge societal realities alongside deeper artistic expressions.

    • Acknowledges an ongoing need to excavate layered cultural representations that are often hidden beneath contemporary media.

The Spectator as Entrepreneur

  • Analysis of the spectator's role in the cinematic economy:

    • Critiques commodification of spectatorship; likens film to entrepreneurship, where spectators must scrutinize every detail.

    • Discusses the psychological impacts of this commodification and the dangers of conceptual imperialism.

    • Advocates for a language and experience that allows for deeper appreciation and understanding of film without sheer consumption.

The Public Sphere

  • Kluge's definition of the oppositional public sphere:

    • Highlights the fundamental need to maintain intimacy and ownership of personal experiences even in film and media representations.

    • Discusses a real-life example of film production concerning the eviction of occupied buildings in Frankfurt.

    • Emphasizes the importance of professional relationships in creating a productive public sphere amidst personal experiences and collective struggles.

Institutional Independence and Politics of Production

  • The challenges faced by the four generations of New German Cinema:

    • Discuss the evolving nature and discrimination against new filmmakers from established funding structures.

    • Explains the complexities within film production and the increasingly bureaucratic environment.

The Relationship of Public Sphere to Politics

  • Discuss Kluge's reflections on the intertwined nature of politics and the public sphere:

    • Denotes the basic conditions dependant on a vibrant public sphere for healthy political discourse.

    • Analogizes the historical relevance of public space in facilitating community and communication.

Significance of Phantasy

  • The role of phantasy in public discourse and media:

    • Emphasizes phantasy's omnipresence, noting societal repression impacts personal expression.

    • Argues for the inclusion of phantasy as an essential communal medium, promoting creativity and innovative thought.

    • Suggests new forms for documentary film might allow for creative and politically charged storytelling.

Montage, Authenticity, Realism

  • Kluge’s theories of montage and realism:

    • Montage is a method to convey relationships between shots, contributing to a deeper understanding of the narrative.

    • Discusses Brecht's thoughts on realism, emphasizing the need to explore underlying relationships rather than just visual representation.

    • Points out that successful montages must facilitate understanding while remaining rooted in authentic representation.