Edited By Julian Preece and Nick Hodgin
Andreas Dresen is a leading European filmmaker whose œuvre now spans three decades and includes some of the most acclaimed German films of recent times, such as Halbe Treppe (Grill Point, 2002), Sommer vorm Balkon (Summer in Berlin, 2005) and Halt auf freier Strecke (Stopped on Track, 2011). The essays collected in this volume by leading scholars from the USA, UK and Ireland place him in the tradition of auteur cinema while emphasising his roots in the pre-1990 film industry of DEFA in the GDR. Dresen works with an established team of performers, technicians and scriptwriters, uses improvisation and non-professional actors, and makes music and song an integral component of many of his films. He is a scholar-filmmaker who pushes at the boundaries of his chosen modes and genres (documentary, neo-realism, films about films or literary adaptation); he is socially committed, casting a Brechtian eye on interpersonal encounters in neoliberal environments; and he is always interested to tell universal stories from the localities he knows best, the working-class milieus of Germany’s east.
Marco Abel, ‘There is no Authenticity in the Cinema: An Interview with Andreas Dresen’, Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema (2009) 50, n.p. David Clarke, ‘In search of home: filming post-unification Berlin’, in Clarke (ed.), German Cinema since Unification (London: Continuum, 2006), pp. 151–80 (173–77 on Nachtgestalen). Jean E. Conacher, ‘Adapting Hein’s Willenbrock: Andreas Dresen and the Legacy of the GDR “Ensemble” Tradition’, in Bernadette Cronin, Rachel MagShamhráin and Nikolai Preuschoff (eds), Adaptation as a Collaborative Art – Process and Practice, Palgrave Macmillan, forthcoming. Paul Cooke, ‘“If you want authenticity, you should look out the window” (Abel 2009): Transfiguring Reality in Andreas Dresen’s Halbe Treppe’, Contemporary German Cinema (Manchester / New York: Manchester University Press, 2012), pp. 61–71. Mila Ganeva, ‘Encounters on a Street Corner: Sommer vorm Balkon and the Return of the Berlin Film’, Transit (2010) 5:1, n.p. Jörn Glasnapp, ‘Am Rand, am Ufer: Frankfurt an der Oder und die deutsch-polnische Grenze in Andreas Dresens Halbe Treppe und Hans-Christian Schmids Lichter’, in Rundfunk und Geschichte 33:3/4 (2008), pp. 50–55. Jörn Glasnapp, ‘Prenzlberger Nächte sind lang: Tragikomischer Alltag in Andreas Dresen Sommer vorm Balkon’, in Glasnapp and Claudia Lillge (eds), Die Film- komödie der Gegenwart (Paderborn: Fink, 2008), pp. 289–308. Christine Haase and Martin Kagel, ‘“I am interested in the truths in-between, not the simple truth”: In conversation with German Director Andreas Dresen’, in Martin Kagel and Laura Tate...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.