Difference between revisions of "Alexander Kluge"
| Line 1: | Line 1: | ||
[[Image:Alexander_Kluge.jpg|thumb|258px]] | [[Image:Alexander_Kluge.jpg|thumb|258px]] | ||
| − | '''Alexander Kluge''' (1932) made his first feature film in 1966 ''Abschied von gestern'' [Yesterday Girl] which was awarded with the Silver Lion in Venice. This is considered the birth of the [[New German Cinema]]. Work by the other representatives of the New Cinema, [[Rainer Werner Fassbinder]], [[Wim Wenders]] and [[Werner Herzog]] gradually found recognition later on. Their works made German cinema into an international brand, however Kluge is considered the most radical of all of them. | + | '''Alexander Kluge''' (1932) is a German author and film director. |
| + | |||
| + | {{TOC limit|3}} | ||
| + | |||
| + | He made his first feature film in 1966 ''Abschied von gestern'' [Yesterday Girl] which was awarded with the Silver Lion in Venice. This is considered the birth of the [[New German Cinema]]. Work by the other representatives of the New Cinema, [[Rainer Werner Fassbinder]], [[Wim Wenders]] and [[Werner Herzog]] gradually found recognition later on. Their works made German cinema into an international brand, however Kluge is considered the most radical of all of them. | ||
"One experience by a film, one insight by a film; this is a crystallized highlight and also this is a structure of the film," Kluge defined a role of the film medium in the Andreas Ammer’s documentary. The director is convinced that cinema had taken a wrong turn at its very beginning. He sees narrative based works as suppressing the viewer’s imagination. As a contrast to these works, his more fragmented works are based on one event, experience or insight evoke a loose association for his audience. | "One experience by a film, one insight by a film; this is a crystallized highlight and also this is a structure of the film," Kluge defined a role of the film medium in the Andreas Ammer’s documentary. The director is convinced that cinema had taken a wrong turn at its very beginning. He sees narrative based works as suppressing the viewer’s imagination. As a contrast to these works, his more fragmented works are based on one event, experience or insight evoke a loose association for his audience. | ||
| Line 16: | Line 20: | ||
* with Oskar Negt, ''Öffentlichkeit und Erfahrung: Zur Organisationsanalyse von bürgerlicher und proletarischer Öffentlichkeit'', Frankfurt am Main: Suhrkamp, 1972. (in German) | * with Oskar Negt, ''Öffentlichkeit und Erfahrung: Zur Organisationsanalyse von bürgerlicher und proletarischer Öffentlichkeit'', Frankfurt am Main: Suhrkamp, 1972. (in German) | ||
** ''[http://monoskop.org/log/?p=5040 Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere]'', trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff, University of Minnesota Press, 1993, 305 pp. | ** ''[http://monoskop.org/log/?p=5040 Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere]'', trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff, University of Minnesota Press, 1993, 305 pp. | ||
| + | * [http://www.suhrkamp.de/autoren/alexander_kluge_2493.html?d_view=veroeffentlichungen Kluge's books published by Suhrkamp] | ||
==Literature== | ==Literature== | ||
| Line 25: | Line 30: | ||
* http://www.kluge-alexander.de/ | * http://www.kluge-alexander.de/ | ||
* [http://eai.org/artistBio.htm?id=406 Kluge's biography on EAI] | * [http://eai.org/artistBio.htm?id=406 Kluge's biography on EAI] | ||
| − | |||
* http://klugedaskapital.weebly.com/ | * http://klugedaskapital.weebly.com/ | ||
* [http://alexander-kluge.avu.cz/ Alexander Kluge visits Prague], 2012. | * [http://alexander-kluge.avu.cz/ Alexander Kluge visits Prague], 2012. | ||
Revision as of 21:05, 24 August 2014
Alexander Kluge (1932) is a German author and film director.
Contents
He made his first feature film in 1966 Abschied von gestern [Yesterday Girl] which was awarded with the Silver Lion in Venice. This is considered the birth of the New German Cinema. Work by the other representatives of the New Cinema, Rainer Werner Fassbinder, Wim Wenders and Werner Herzog gradually found recognition later on. Their works made German cinema into an international brand, however Kluge is considered the most radical of all of them.
"One experience by a film, one insight by a film; this is a crystallized highlight and also this is a structure of the film," Kluge defined a role of the film medium in the Andreas Ammer’s documentary. The director is convinced that cinema had taken a wrong turn at its very beginning. He sees narrative based works as suppressing the viewer’s imagination. As a contrast to these works, his more fragmented works are based on one event, experience or insight evoke a loose association for his audience.
Kluge’s practice of film essays is a parallel to the Neo-Marxist Frankfurt School, which examined broader social implications of culture in the contemporary society since 1950s; where Alexander Kluge met the German philosopher and music theorist Theodor W. Adorno. Kluge’s work embodies research into culture. He deciphers elements of culture and through epic dialogue he develops theoretical frameworks as the topics of his research.
Kluge examines possibilities of the alternative thought about the way we live. He asks for different readings of history. "He brings together life stories, daily routines and everyday wishes and life projects into one space," philosopher Jürgen Habermas describes work of his friend in the documentary of Angelika Wittlich. This space creates an external and overarching methodology.
There are close links between the structure of film and literature. "Unhappiness in itself clouds the possibility to see the truth," we read in notes at the end of Schlachtbeschreibung [The Battle], 1964. The author’s analysis of the Stalingrad’s furnace is comparable to his research into the key problems of financial crises in his recent project Früchte des Vertrauens [Fruits of Trust] (2009). In both works he combines acted parts with documentary sources, quotations, private questionnaires, notes from archives and fiction.
Films
Writings
- with Oskar Negt, Öffentlichkeit und Erfahrung: Zur Organisationsanalyse von bürgerlicher und proletarischer Öffentlichkeit, Frankfurt am Main: Suhrkamp, 1972. (in German)
- Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff, University of Minnesota Press, 1993, 305 pp.
- Kluge's books published by Suhrkamp
Literature
- October 46: "Alexander Kluge: Theoretical Writings, Stories and an Interview", MIT Press, 1988, 218 pp.
- New German Critique 49: Special Issue on Alexander Kluge, New York: Telos, 1990, 196 pp.
- Tara Forrest (ed.), Alexander Kluge: Raw Materials for the Imagination, Amsterdam University Press, 2012, 440 pp.
