German film after Germany: Toward a transnational aesthetic

German Film after Germany: Toward a Transnational Aesthetic

Volumn , Issue , 2008, Pages 1-139

  Halle, Randall ^a  

^a UNIVERSITY OF PITTSBURGH   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84894873841     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (203)

1. Abu-Lughod, Janet. Before European Hegemony: The World-System A.D. 1250-1350. Oxford: Oxford University Press, 1991.
2. Adelson, Leslie. "Against Between: A Manifesto." Unpacking Europe: Towards a Critical Reading. Ed. Salah Hassan and Iftikhar Dadi. Rotterdam: NAI Publishers, 2001. 244-55.
3. Adelson, Leslie. "Opposing Oppositions: Turkish-German Questions in Contemporary German Studies." German Studies Review 17:2 (1994): 305.
4. Aitken, Ian. European Film Theory and Cinema: A Critical Introduction. Edinburgh: Edinburgh University Press, 2001.
5. Aksoy, Asu, and Kevin Robins. "Thinking across Spaces: Transnational Television from Turkey." European Journal of Cultural Studies 3 (2000): 343-65.
6. Altenburg, Christiane, and Ingo Fließ, eds. Jenseits von Hollywood: Drehbuchautoren über ihre Kunst und ihr Handwerk. Frankfurt am.Main: Verlag der Autoren, 2000.
7. Alter, Nora M. Projecting History: German Nonfiction Cinema, 1967-2000. Ann Arbor: University of Michigan Press, 2002.
8. Alter, Nora M., and Lutz Koepnick, eds. Sound Matters: Essays on the Acoustics of Modern German Culture. New York: Berghahn Books, 2004.
9. Amend, Heike, and Michael Bütow. Der bewegte Film: Aufbruch zu neuen deutschen Erfolgen. Berlin: Vistas, 1997.
10. Amin, Samir. Eurocentrism. New York: Monthly Review Press, 1989.
11. Anderson, Benedict. Imagined Communities. New York: Verso, 1991.
12. Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.
13. Auer, Manfred. Top oder Flop? Marketing für Film-und Fernsehproduktionen. Gerlingen: Bleicher, 2000.
14. Balio, Tino. "'A Major Presence in all of the World's Important Markets': The Globalization of Hollywood in the 1990s." Contemporary Hollywood Cinema. Ed. Steve Neale and Murray Smith. New York: Routledge, 1998. 58-74.
15. Bamyeh, Mohammed. The Ends of Globalization. Minnesota: University of Minnesota Press: 2000.
16. Barber, Benjamin. 1995. Jihad vs. McWorld. New York: Times Books, 1995.
17. Barry, Brian, and Robert Goodin, eds. Free Movement: Ethical Issues in the Transnational Migration of People and Money. University Park: Penn State University Press, 1992.
18. Beck, Ulrich. Was ist Globalisierung? Frankfurt: Suhrkamp, 1997.
19. Behn, Manfred, ed. Schwarzer Traum und weiße Sklavin: Deutsch-dänische Filmbeziehungen 1910-1930. Munich: edition text & kritik, 1994.
20. Bergfelder, Tim. "The Nation Vanishes: European Co-productions and Popular Genre Formulae in the 1950s and 1960s." Cinema and Nation. Ed. Mette Hjort and Scott Mackenzie. London: Routledge, 2000. 139-53.
21. Bergfelder, Tim, Erica Carter, and Deniz Göktürk, eds. The German Cinema Book. London: British Film Institute, 2003.
22. Berghahn, Daniela. "East German Cinema after Unification." German Cinema: Since Unification. Ed. David Clarke. New York: Continuum, 2006. 79-102.
23. Bermann, Peter. "The Specter of Amerikanisierung, 1840-1990." American Culture in Europe: Interdisciplinary Perspectives Ed. Mike-Frank G. Epitropoulos and Victor Roudometof. Westport, Conn.: Praeger, 1998.
24. Betz, Mark. "The Name above the (Sub-)Title: Internationalism, Co-production, and Polyglot European Art Cinema." Camera Obscura 46 (2001): 1-46.
25. Böhme, Hartmut, and Klaus R. Scherpe. Literatur und Kulturwissenschaften: Positionen, Theorien, Modelle. Reinbek bei Hamburg: Rowohlt, 1996.
26. Burns, Rob. "Turkish-German Cinema: From Cultural Resistance to Transnational Cinema?" In Clarke, German Cinema: Since Unification. 127-49.
27. Buscombe, Edward. "Film History and the Idea of National Cinema." Australian Journal of Screen Theory 9-10 (1981): 141-53.
28. Chase-Dunn, Christopher. Global Formation: Structures of the World-Economy. Cambridge: Blackwell, 1998.
29. Chatterjee, Partha. Nationalist Thought and the Colonial World: A Derivative Discourse. Minneapolis: University of Minnesota Press, 1993.
30. Cheah, Pheng, and Bruce Robins, eds. Cosmopolitics: Thinking and Feeling Beyond the Nation. Minneapolis: University of Minnesota Press, 1998.
31. Clarke, David, ed. German Cinema: Since Unification. New York: Continuum, 2006.
32. Colin, Gönül Dönmez. "New Turkish Cinema: The Young Turks Have Arrived." Blimp 42 (2000): 85-110.
33. Corrigan, Tim. "The Commerce of Auteurism: A Voice Without Authority." New German Critique 94 (2004): 43-58.
34. Corrigan, Tim. The Cinema Without Walls: Movies and Culture after Vietnam. New Brunswick, N.J.: Rutgers University Press, 1991.
35. Coury, David N. "From Aesthetics to Commercialism: Narration and the New German Comedy." Seminar 33 (1997): 356-73.
36. Crofts, Stephen. "Concepts of National Cinema." In Hill and Gibson, Oxford Guide to Film Studies. 385-95.
37. Crofts, Stephen. "Reconceptualising National Cinema/s." Quarterly Review of Film and Video 14 (1993): 49-67.
38. Davidson, John. "Shades of Grey: Coming to Terms with German Film since Unification." In Clarke, German Cinema: Since Unification. 43-77.
39. Davidson, John. "Crime and the Cynical Solution: Black Comedy, Critique, and the Spirit of Self-Concern in Recent German Film." In Halle and McCarthy, Light Motives. 259-81.
40. Davidson, John. Deterritorializing the New German Cinema. Minneapolis: University of Minnesota Press, 1999.
41. Davidson, John. "Hegemony and Cinematic Strategy." Perspectives on German Cinema. Ed. Terri Ginsberg and Kirten Moana Thompson. New York: Prentice Hall, 1996. 48-71.
42. Delanty, Gerard. Inventing Europe. Idea, Identity, Reality. London: MacMillan, 1995.
43. Deutsch, Karl. Nationalism and Social Communication. Cambridge, Mass.: MIT Press, 1966.
44. Dyer, Richard, and Ginette Vincendeau, eds. Popular European Cinema. London: Routledge, 1992.
45. Eleftheriotis, Dimitris. Popular Cinemas of Europe. Studies of Texts, Contexts and Frameworks. New York: Continuum, 2001.
46. Eleftheriotis, Dimitris. Weimar Cinema and After. New York: Routledge, 2000.
47. Eleftheriotis, Dimitris. A Second Life: German Cinema's First Decades. Amsterdam: Amsterdam University Press, 1996.
48. Eleftheriotis, Dimitris. New German Cinema: A History. London: British Film Institute, 1992.
49. Elsaesser, Thomas. European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press, 2005.
50. Elsaesser, Thomas, with Michael Wedel, eds. The BFI Companion to German Cinema. London: British Film Institute, 1999.
51. Everett, Wendy, ed. European Identity in Cinema. 2d ed. Bristol: Intellect, 2005.
52. Ezra, Elizabeth, ed. European Cinema. Oxford: Oxford University Press, 2004. Filmförderungsgesetz. Berlin: Filmförderungsanstalt, 1992.
53. Finney, Agnus. The State of European Cinema: A New Dose of Reality. London: Cassell, 1996.
54. Fitzgerald, Theresa. "Defence: A Prospect for Europe." Sight and Sound 58 (1988): 14-15.
55. Forbes, Jill, and Sarah Street, eds. European Cinema: An Introduction. Basingstoke: Palgrave, 2000.
56. Fowler, Catherine, ed. The European Cinema Reader. London: Routledge, 2002.
57. Frank, Andre Gunder. Reorient: Global Economy in the Asian Age. Berkeley: University of California Press, 1998.
58. Gallasch, Petra. Close-up: Filmschauspiel. Gerlingen: Bleicher, 2002.
59. Gemünden, Gerd. "Hollywood in Altona: Minority Cinema and the Transnational Imagination." German Pop Culture: How 'American' Is It?. Ed. Agnes Mueller. Ann Arbor: University of Michigan Press, 2004. 180-90.
60. Gemünden, Gerd. "Nostalgia for the Nation: Intellectuals and National Identity in Unified Germany." Acts of Memory: Cultural Recall in the Present. Ed. Mieke Bal, Jonathan Crewe, and Leo Spitzer. Hanover: University Press of New England, 1999. 120-33.
61. Gemünden, Gerd. Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination. Ann Arbor: University of Michigan Press, 1998.
62. Giddens, Anthony. The Consequences of Modernity. Stanford: Stanford University Press, 1990.
63. Ginsberg, Terri, and Kirsten Moana Thompson, eds. Perspectives on German Cinema. New York: Prentice Hall, 1996.
64. Göktürk, Deniz. "Strangers in Disguise: Role-Play beyond Identity Politics in Anarchic Film Comedy." New German Critique 92 (2004): 100-22.
65. Göktürk, Deniz. "Turkish Delight-German Fright: Migrant Identities in Transnational Cinemas." Mapping the Margins: Identity Politics and the Media. Ed. Deniz Derman and Karen Ross. Creskill, N.J.: Hampton Press, 2002.
66. Göktürk, Deniz. "Migration und Kino: Subnationale Mitleidskultur oder transnationale Rollenspiele?" Interkulturelle Literatur in Deutschland: Ein Handbuch. Ed. Carmine Chiellino. Stuttgart: Metzler, 2000.
67. Göktürk, Deniz. "Turkish Women on German Streets: Closure and Exposure in Transnational Cinema." Spaces in European Cinema. Ed. Myrto Konstantarakos. Exeter: Intellect, 2000.
68. Guéhenno, Jean-Marie. The End of the Nation-State. Minneapolis: University of Minnesota Press, 1995.
69. Hake, Sabine. German National Cinema. New York: Routledge, 2002.
70. Hake, Sabine. Popular Cinema of the Third Reich. Austin: University of Texas Press, 2002.
71. Hake, Sabine. Passions and Deceptions: The Early Films of Ernst Lubitsch. Princeton, N.J.: Princeton University Press, 1992.
72. Halle, Randall. "German Film, European Film: Transnational Production, Distribution, and Reception." Screen 47 (2006): 251-61.
73. Halle, Randall. "German Film Aufgehoben: Ensembles of Transnational Cinema." New German Critique 87 (2002): 7-47.
74. Halle, Randall. "History Is Not a Matter of Generations: Interview with Harun Farocki." Camera Obscura 46 (2001): 47-77.
75. Halle, Randall. "'Happy Ends' to Crises of Heterosexual Desire: Toward a Social Psychology of Recent German Comedies." Camera Obscura 44 (2000): 1-49.
76. Halle, Randall, and Margaret McCarthy, eds. Light Motives: German Popular Film in Perspective. Detroit: Wayne State University Press, 2003.
77. Hardt, Ursula. From Caligari to California: Erich Pommer's Life in the International Film Wars. Providence: Berghahn, 1996.
78. Hauser, Johannes. Neuaufbau der westdeutschen Filmwirtschaft 1945-1955 und der Einfluss der US-amerikanischen Filmpolitik: vom reichseigenen Filmmonopolkonzern (UFI) zur privatwirtschaftlichen Konkurrenzwirtschaft. Pfaffenweiler: Centaurus, 1989.
79. Hayward, Susan. French National Cinema. New York: Routledge, 1993.
80. Helbig, Jörg, ed. Intermedialität, Theorie und Praxis eines interdisziplinären Forschungsfeldes. Berlin: E. Schmidt, 1998.
81. Heller, Heinz-B., Matthias Kraus, and Thomas Meder, eds. Über Bilder sprechen: Positionen und Perspektiven der Medienwissenschaft. Marburg: Schüren, 2001.
82. Hertel, Carlos. Die Wa(h)re Kunst: Ansätze zur Verbesserung der Wettbewerbsfähigkeit der europäischen Filmindustrie. Potsdam: Verlag für Berlin-Brandenburg, 1997.
83. Higson, Andrew. Waving the Flag: Constructing a National Cinema in Britain. Oxford: Oxford University Press, 1995.
84. Higson, Andrew. "The Concept of National Cinema." Screen 10 (1989): 36-46.
85. Higson, Andrew, and Richard Maltby, eds. "Film Europe" and "Film America": Cinema, Commerce, and Cultural Exchange, 1920-1939. Exeter: University of Exeter Press, 1999.
86. Hill, John, and Pamela Church Gibson, eds. World Cinema: Critical Approaches. Oxford: Oxford University Press, 2000.
87. Hill, John, eds. The Oxford Guide to Film Studies. Oxford: Oxford University Press, 1998.
88. Hjort, Mette, and Scott Mackenzie, eds. Cinema and Nation. London: Routledge, 2000.
89. Hobsbawm, Eric. Nations and Nationalism since 1780: Programme, Myth, Reality. Cambridge: Cambridge University Press, 1992.
90. Hofstede, Bart. Nederlandse Cinema Wereldwijd: De Internationale Positie van de Nederlandse Film. Amsterdam: Boekman Studies, 2000.
91. Hopf, Florian. "Haben wir noch eine Filmpolitik? Das neue Filmförderungsgesetz." epd Film 12 (1986): 24-25.
92. Hornberger, Ann-Christin, and Peter Christian Hall, eds. 15 Jahre 3sat. Biberach: Höhn Print, 1999.
93. Houcken, Robin. The International Feature Film Industry: National Advantage and International Strategies for European Film Companies. Potsdam: Verlag für Berlin-Brandenburg, 1999.
94. Hughes, Helen, and Martin Brady. "German Film after the Wende." The New Germany: Social, Political, and Cultural Challenges of Unification. Ed. John McKenzie and Derek Lewis. Exeter: Exeter University Press, 1995. 303-18.
95. Huntington, Samuel. The Clash of Civilizations and the Remaking of World Order. New York: Simon and Schuster, 1996.
96. Hurst, Heike, and Heiner Gassen, eds. 'Kameradschaft'-'Querelle': Kino zwischen Deutschland und Frankreich. Munich: Institut Français, 1991.
97. Hurst, Matthias. "Mittelbarkeit, Perspektive, Subjektivität: Über das narrative Potential des Spielfilms." Erzählen und Erzähltheorie im 20. Jahrhundert. Ed. Jörg Helbig. Heidelberg: Carl Winter Universitätsverlag, 2001. 233-51.
98. Huyssen, Andreas, and Klaus R. Scherpe. Postmoderne: Zeichen eines kulturellen Wandels. Reinbek bei Hamburg: Rowohlt Taschenbuch Verlag, 1997.
99. Jäckel, Anne. European Film Industries. London: British Film Institute, 2003.
100. Jacobson, Wolfgang, Anton Kaes, and Hans Helmut Prinzler. Geschichte des deutschen Films. Stuttgart: Metzler, 1993.
101. Jäger, Margret, Gabriele Cleve, Ina Ruth, and Siegfried Jäger. Von deutschen Einzeltätern und ausländischen Banden: Medien und Straftaten. Duisburg: Duisburger Institut für Sprach-und Sozialforschung, 2003.
102. Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington: Indiana University Press, 1992.
103. Jung, Uli, ed. Der deutsche Film: Aspekte seiner Geschichte von den Anfängen bis zur Gegenwart. Trier: WVT, 1993.
104. Kaes, Anton. "German Cultural History and the Study of Film: Ten Theses and a Postscript." New German Critique 65 (1995): 47-58.
105. Kettner, Matthias. "Zur Beduetung des Globalisierungsbegriffs." Deutsche Zeitschrift für Philosophie 45 (1997): 903-18.
106. King, Anthony D., ed. Culture, Globalization, and the World-System. Minneapolis: University of Minnesota Press, 1991.
107. Koch, Gertrud. "Die neue Drahtlosigkeit: Globalisierung der Massenmedien." Deutsche Zeitschrift für Philosophie 45 (1997): 919-28.
108. Koepnick, Lutz. The Dark Mirror: German Cinema between Hitler and Hollywood. Berkeley: University of California Press, 2002.
109. Koepnick, Lutz. "Consuming the Other: Identity, Alterity, and Contemporary German Cinema." Camera Obscura 44 (2000): 41-73.
110. Konstantarakos, Myrto. Spaces in European Cinema. Exeter: Intellect, 2000.
111. Kosta, Barbara. Recasting Autobiography: Women's Counterfictions in Contemporary German Literature and Film. Ithaca: Cornell University Press, 1994.
112. Kreimeier, Klaus. Die Ufa-Story: Geschichte eines Konzerns. Munich: Carl Hanser Verlag, 1992.
113. Kreimeier, Klaus. Notizen im Zwielicht: Fernsehalltag und Bildschirmwirklichkeit. Marburg: Schüren, 1992.
114. Kuzniar, Alice. The Queer German Cinema. Stanford: Stanford University Press, 2000.
115. Layoun, Mary. Travels of a Genre: The Modern Novel and Ideology. Princeton: Princeton University Press, 1990.
116. Lev, Peter. The Euro-American Cinema. Austin: University of Texas Press, 1993.
117. Levitt, Malcolm. The Political Economy of Monetary Union. Basingstoke: Macmillan, 2000.
118. Marks, Laura U. The Skin of the Film. Durham: Duke University Press, 2000.
119. Mathijs, Ernest, and Xavier Mendik, eds. Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London: Routledge, 2004.
120. Mattelart, Armand. Mapping World Communication: War, Progress, Culture. Minneapolis: University of Minnesota Press, 1994.
121. McCarthy, Margaret. "Teutonic Water: Effervescent Otherness in Doris Dörrie's Nobody Loves Me." Camera Obscura 44 (2000): 177-201.
122. McCormick, Richard. Politics of the Self: Feminism and the Postmodern in West German Literature and Film. Princeton: Princeton University Press, 1991.
123. McLuhan, Marshall. The Global Village: Transformations in World Life and Media in the 21st Century. New York: Oxford University Press, 1989.
124. Mennel, Barbara. "Fremdes Begehren: Transkulturelle Beziehungen in Literatur, Kunst und Medien." German Studies Review 28 (2005): 692-93.
125. Mennel, Barbara. "Masochism, Marginality, and the Metropolis: Kutlug Ataman's Lola and Billy the Kid." STCL 28 (2004): 286-315.
126. Mennel, Barbara. "Bruce Lee in Kreuzberg and Scarface in Altona: Transnational Auteurism and Ghettocentrism in Thomas Arslan's Brothers and Sisters and Faith Akin's Short Sharp Shock." New German Critique 87 (2002): 133-57.
127. Mennel, Barbara. "Local Funding and Global Movement: Minority Women's Filmmaking and the German Film Landscape for the Late 1990s." Women in German Yearbook 18 (2002): 45-68.
128. Michaelsen, Scott, and David E. Johnson, eds. Border Theory: The Limits of Cultural Politics. Minneapolis: University of Minnesota Press, 1998.
129. Miller, Toby. Global Hollywood. London: British Film Institute, 2001.
130. Miller, Toby. "The Crime of Monsieur Lang: GATT, the Screen, and the New International Division of Cultural Labour." In Moran, Film Policy. 72-85.
131. Milward, Alan S. The European Rescue of the Nation-State. London: Routledge, 2000.
132. Mirow, Thomas. "Sicherung der Programmproduktion zwischen Standortpolitik und Medienpolitik." Entwicklung und Perspektiven der Programmindustrie. Ed. Hermann-Dieter Schröder. Baden-Baden: Nomos, 1999.
133. Mitman, Elizabeth. "Fantasizing Integration and Escape in the Post-Unification Road Movie." In Halle and McCarthy, Light Motives. 326-49.
134. Moltke, Johannes von. "Beyond Authenticity: Experience, Identity, and Performance in the New German Cinema." Ph.D. diss., Duke University, 1998.
135. Moran, Albert, ed. Film Policy: International, National, and Regional Perspectives. New York: Routledge, 1996.
136. Murray, Bruce A. Film and the German Left in the Weimar Republic. Austin: University of Texas Press, 1990.
137. Murray, Bruce A., and Christopher J. Wickham, eds. Framing the Past: The Historiography of German Cinema and Television. Carbondale: Southern Illinois University Press, 1992.
138. Naficy, Hamid, and Teshome Gabriel, eds. Otherness and the Media: The Ethnogi-raphy of the Imagined and the Imaged. Chur, Switzerland: Harwood Academic GmbH, 1993.
139. Neale, Stephen, and Murray Smith, eds. Contemporary Hollywood Cinema. New York: Routledge, 1998.
140. Nida-Rümelin, Julian. Strukturelle Rationalität: Ein philosphischer Essay über praktische Vernunft. Stuttgart: Reclam, 2001.
141. Nowell-Smith, Geoffrey, ed. The European Experience. London: British Film Institute, 1989.
142. Nowell-Smith, Geoffrey, and Steven Ricci, eds. Hollywood and Europe: Economics, Culture, and National Identity, 1945-1995. London: British Film Institute, 1998.
143. O'Regan, Tom. Australian National Cinema. New York: Routledge, 1996.
144. Petrie, Duncan, and Colin MacCabe, eds. Screening Europe: Image and Identity in Contemporary European Cinema. London: British Film Institute, 1992.
145. Pflaum, Hans Günter. Deutschland im Film: Themenschwerpunkte des Spielfilms in der Bundesrepublik Deutschland. Munich: M. Huber, 1985.
146. Pflaum, Hans Günter, and Hans Helmut Pinzler. Film in der Bundesrepublik Deutschland: Der neue deutsche Film von den Anfängen bis zur Gegenwart: mit einem Exkurs über das Kino der DDR. Munich: C. Hanser, 1992.
147. Pracht, Hans-Gerd. Kulturelle Filmförderung des Bundes. Bonn: BMI, 1996.
148. Prager, Brad. "Beleagured under the Sea: Wolfgang Petersen's Das Boot (1981) as a German Hollywood Film." In Halle and McCarthy, Light Motives. 237-59.
149. Prinzler, Hans Helmut. Chronik des deutschen Films 1895-1994. Stuttgart: Metzler, 1995.
150. Puttnam, David, and Neil Watson. The Undeclared War: The Struggle for Control of the World's Film Industry. London: Harper Collins, 1997.
151. Rajewsky, Irina O. Intermedialität. Tübingen: Francke, 2002.
152. Rentschler, Eric. "From New German Cinema to the Post-Wall Cinema of Consensus." Cinema and Nation. Ed. Mette Hjort and Scott Mackenzie. London: Routledge, 2000. 260-78.
153. Rentschler, Eric. The Ministry of Illusion: Nazi Cinema and Its Afterlife. Cambridge: Harvard University Press, 1996.
154. Rentschler, Eric. "Film der Achtiziger Jahre." Geschichte des deutschen Films. Ed. Wolfgang Jacobsen, Anton Kaes, and Hans Helmut Prinzler. Stuttgart: Metzler, 1993.
155. Rentschler, Eric. The Films of G. W. Pabst: An Extraterritorial Cinema. New Brunswick, N.J.: Rutgers University Press, 1990.
156. Rentschler, Eric. West German Filmmakers on Film. New York: Holmes and Meier, 1988.
157. Roudometof, Victor, and Roland Robertson. "The Space between the Boundaries: Globalization and Americanization." American Culture in Europe: Interdisciplinary Perspectives. Ed. Mike-Frank G. Epitropoulos and Victor Roudometof. Westport, Conn.: Praeger, 1998.
158. Said, Edward. Culture and Imperialism. New York: Knopf, 1993.
159. Sanford, John. The New German Cinema. Totowa, N.J.: Barnes and Noble, 1980.
160. Sassen, Saskia. Globalization and Its Discontents. New York: W. W. Norton, 2002.
161. Saunders, Thomas Jeffry. From Berlin to Hollywood: American Cinema and Weimar Germany. Berkeley: University of California Press, 1994.
162. Saunders, Thomas Jeffry. "Weimar, Hollywood, and the Americanization of German Culture, 1921-1933." Ph.D. diss., University of Michigan, 1986.
163. Schenk, Irmbert, ed. Erlebnisort Kino. Marburg: Schüren, 2000.
164. Schlesinger, Philip. "The Sociological Scope of 'National Cinema.'" Cinema and Nation. Ed. Mette Hjort and Scott Mackenzie. London: Routledge, 2000. 19-32.
165. Schmieding, Walther. Kunst oder Kasse: Der Ärger mit dem deutschen Film. Hamburg: Rütting und Loening, 1961.
166. Schulte-Sasse, Linda. Entertaining the Third Reich: Illusions of Wholeness in Nazi Cinema. Durham: Duke University Press, 1996.
167. Seagrave, Kerry. Foreign Films in America: A History. Jefferson, N.C.: McFarland & Co., 2004.
168. Seagrave, Kerry. American Films Abroad: Hollywood's Domination of the World's Movie Screens from the 1890s to the Present. Jefferson, N.C.: McFarland & Co., 1997.
169. Semati, M. Mehdi. New Frontiers in International Communication Theory. Lanham, Md.: Rowman and Littlefield, 2004.
170. Semati, M. Mehdi, and Patty J. Sotirin. "Hollywood's Transnational Appeal: Hegemony and Democratic Potential?" Journal of Popular Film and Television 26 (1999): 176-88.
171. Shandley, Robert. Rubble Films: German Cinema in the Shadows of the Third Reich. Philadelphia: Temple University Press, 2001.
172. Shohat, Ella, and Robert Stam, eds. Multiculturalism, Postcoloniality, and Transnational Media. New Brunswick, N.J.: Rutgers University Press, 2003.
173. Shohat, Ella. Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge, 1994.
174. Sieg, Katrin. Ethnic Drag: Performing Race, Nation, and Sexuality in West Germany. Ann Arbor: University of Michigan Press, 2002.
175. Silberman, Marc. "European Cinema in the 90s: Whither Germany?" Schreiben nach der Wende: Ein Jahrzent deutscher Literatur 1989-1999. Ed. Gerhard Fischer and David Roberts. Tübingen: Stuaffenburg, 2001. 317-30.
176. Silberman, Marc. "What Is German in the German Cinema?" Film History 8 (1996): 297-315.
177. Silberman, Marc. German Cinema: Texts in Context. Detroit: Wayne State University Press, 1995.
178. Silberman, Marc. "Post-Wall Documentaries: New Images from a New Germany." Cinema Journal 33 (1994): 22-41.
179. Sklar, Robert. Film: An International History of the Medium. London: Thames and Hudson, 1994.
180. Smith, Anthony D. Nationalism and Modernism. London: Routledge 1998.
181. Smith, Anthony D. Nations and Nationalism in a Global Era. Cambridge: Polity Press, 1995.
182. Smith, Anthony D. National Identity. Reno: University of Nevada Press, 1991.
183. Soila, Tytti, Astrid Söderbergh Widding, and Gunnar Iversen, eds. Nordic National Cinemas. New York: Routledge, 1998.
184. Sorlin, Pierre. Italian National Cinema. New York: Routledge, 1996.
185. Steiner, Frederick. Stepping Out: Von der Filmhochschule zum Spielfilm: Junge Regisseure erzählen. Marburg: Schüren, 2003.
186. Stephan, Alexander. Americanization and Anti-Americanism: The German Encounter with American Culture after 1945. New York: Berghahn, 2005.
187. Straubhaar, Joseph D., "Beyond Media Imperialism: Asymetrical Interdependence and Cultural Proximity." Critical Studies in Mass Communications 8 (1991): 39-59.
188. Street, Sarah. Transatlantic Crossings: British Feature Films in the USA. New York: Continuum, 2002.
189. Thiermeyer, Michael. Internationalisierung von Film und Filmwirtschaft. Köln: Bõhlau, 1994.
190. Thompson, John B. The Media and Modernity: A Social Theory of the Media. Oxford: Hart, 2000.
191. Thompson, Kristin. Exporting Entertainment: America in the World Film Market, 1907-34. London: British Film Institute, 1985.
192. Tinkcom, Matthew, and Amy Villarejo, eds. Keyframes: Popular Cinema and Cultural Studies. New York: Routledge, 2003.
193. Tomlinson, John. Globalization and Culture. Chicago: University of Chicago Press, 1999.
194. Tomlinson, John. Cultural Imperialism: A Critical Introduction. Baltimore: Johns Hopkins University Press, 1991.
195. Töteberg, Michael, ed. Szenenwechsel: Momentaufnahme des jungen deutschen Films. Reinbeck: Rowohlt, 1999.
196. Trumbour, John. Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry, 1920-1950. Cambridge: Cambridge University Press, 2001.
197. Viehoff, Reinhold, and Rien T. Segers, eds. Kultur-Identität-Europa. Über die Schwierigkeiten und Möglichkeiten einer Konstruktion. Frankfurt am Main: Suhrkamp, 1999.
198. Vincendeau, Ginette. "Issues in European Cinema." In Hill and Gibson, eds., Oxford Guide to Film Studies. 440-48.
199. Wallerstein, Immanuel. The Modern World-System. New York: Academic Press, 1974.
200. Wayne, Mike. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. Bristol: Intellect, 2001.
201. Wenzel, Harald. Die Amerikanisierung des Medienalltags. Frankfurt: Campus, 1998.
202. Wilinsky, Barbara. Sure Seaters: The Emergence of Art House Cinema. Minneapolis: University of Minnesota Press, 2001.
203. Willemen, Paul. "The National." Looks and Frictions: Essays in Cultural Studies and Film Theory. London: British Film Institute, 1994.