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"German Ways of War: The Affective Geographies and Generic Transformations of German War Films" by Jaimey Fisher is a book that analyzes German war films from World War I to the post-1989-90 era. The book explores how the war genre transforms spaces through mobility and affects for its characters, crews, and audiences. It draws on theories of critical geographers and examines concepts such as landscape versus territory, the intersection of landscape and gender, the production and manipulation of scale, and the centrality of distance in both war and cinema. The book also discusses the transition to topological modern spaces in the war film genre. [Extracted from the article]

The article investigates how the early and mid-1950s had moments of deliberate revival of Weimar cinema. It cites the author's analysis of the revival of the horror mode as part of an ongoing reevaluation of genre in German cinema in line with a growing interest in popular cinema and greater sensitivity to genre in German film studies. It notes his argument that early and mid-1950s saw the flourishing of a horror mode in German cinema for a particular specific cultural and historical reasons.

The article offers the author's view on the narrative complexity and the horror effects of the German war films "Unsühnbar," "Westfront 1918," directed by Georg Wilhelm Pabst, and "Hunde, wollt ihr ewig leben," directed by Frank Wisbar. The author examines affective-emotional aspects of war films, the use of narrative complexity in the films, and political warnings in the films. Other topics include somatic empathy and the body in film.

The article reviews the 66th Locarno Film Festival held in Locarno, Switzerland in 2012, which featured the films "La fille de nulle part" ("The Girl From Nowhere"), directed by Jean-Claude Brisseau, "Mueum Hours," directed by Jem Cohen, and "Mobile Home," directed by François Pirot.

The article discusses the prevalence and popularity of war films in the 1950s with combat films as the second most popular genre including films made by directors who worked during the Nazi time. It notes how scholarly attention paid to said films stresses the tendency of films to divert attention and responsibility away from their protagonists during the time when West Germany was remilitarizing. It cites the "Heimatfilm" which explores and resolve the tensions of postwar reterritorialization.

The article presents criticism on the ghost trilogy films directed by Christian Petzold, including "Die innere Sicherheit," "Gespenster," and "Yella." It says that "Die innere Sicherheit" depicts the struggles of two parents and their teen-aged daughter. It states that "Gespenster" does not offer a vehicular conclusion by the end of the film. It adds that two shots from "Yella" indicate uneven geographical development, which geographer David Harvey refers as the core of globalization.

Representations of the Chernobyl disaster, and its cultural and political resonance, became symptomatic of what the essay analyzes as a transnational imaginary in German cinema around the year 2000. While much has been written (as in the work of Randall Halle, Deniz Gokturk, and Barbara Mennel) about post-1989 transnational cinema, environmentalism and environmental catastrophe is one aspect of the transnational that has been largely neglected. Focusing on Hans-Christian Schmid's 23, the essay suggests that the catastrophe of Chernobyl was a key moment in Germany's political consciousness and represented a transnational turn in the usually national discourse of coming to terms with the past. Schmid's 23 and films like England and Am Tag als Bobby Ewing Starb demonstrate how the Cheronbyl disaster stood in for the trauma and subsequent paranoia (which the essay analyzes in a psychoanalytic framework) of Cold-War politics. [ABSTRACT FROM AUTHOR]

The article discusses several German feature films, including Die Mörder sind unter uns, Die Straße, die Sinfonie der Großstadt, ... Und über uns der Himmel, Irgendwo in Berlin, and Wege im Zwielicht.

Reports on the outcome of the Munich Film Festival 2004 in Germany. List of films that won awards; Actors and actresses who won awards.

Focuses on the divergence of policies among the Allies toward German films and filmmakers. Discussions on the cultural histories intersect the institutional history of early DEFA films; Policy of antifascism; Demonstration of social crisis in generational and gender roles in the film.

International Noir, Homer B. Petty and R. Barton Palmer (eds) (2014) Edinburgh: Edinburgh University Press, 272 pp., ISBN 13: 9780748691104, h/bk, £65.00 The Nazi Past in Contemporary German Film: Viewing Experiences of Intimacy and Immersion, Axel Bangert (2014) Rochester, NY: Camden House, 199 pp., ISBN: 9781571139054, h/bk, £55.00 Contemporary German Cinema, Paul Cooke (2012) Manchester: Manchester University Press, 320 pp., ISBN-13: 9780719076190, p/bk, £14.99 Cultures of Representation: Disability in World Cinema, Benjamin Fraser (ed.) (2006) New York: Wallflower Press and Columbia University Press, 256 pp., ISBN 9780231177498, p/bk, $30 [ABSTRACT FROM AUTHOR]