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"Fenner, Angelica"
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Witnessing after the Human: Post‐Holocaust Landscapes of Ruination and Regeneration in Claude Lanzmann's Shoah
This essay explores potential implications of the nonhuman turn in memory studies via Claude Lanzmann's documentary, Shoah (1985), an enduring monument to the capacity for audiovisual affordances to facilitate oral history as it relates to collectivized trauma and atrocity originating during the Holocaust. I apply a new materialist approach to the film's editing, which excerpts interviews gathered in fourteen countries and interweaves these with location footage from former extermination sites whose landscapes bear witness both to past ruination and to ecological regeneration. The resulting montage, I argue, illustrates how witnessing “after the human” remains inherently relational, situated not only between filmmaker and human subjects but also between camera and environment in a broader actor network, testifying to the capacity for nonhuman modes of perception to bring these landscapes into focus in excess of what the naked human eye can see, effectively as lieux de mémoire plus‐qu'humain.
Journal Article
“Sold Out!” DokLeipzig 2024 Achieves Highest Attendance on Record
History’s recursivity was one motif binding this year’s showcase, exploring pressing issues such as war and its long-term effects, the Cold War and GDR history, decolonization, migration and refugees, climate change, gender, coming of age, education, and aging and death. According to folklore, the women overcome by these seizure-like movements, or taranta, are responding to the bite of tarantulas; yet over the centuries, these convulsions came to be understood as a form of socially sanctioned expurgation of anxieties, frustrations, and possibly of trauma. Hovering over the enlarged still at an editing/viewing table in a dimly lit room, the two cousins speculate over the visible evidence, also digging up family photos in which Bertrand’s parents are similarly positioned with their backs to the camera and comparing body shapes, facial profiles, and hair. Included were Baruschke, a portrait of a spy who worked for the secret services of both East and West Germany, and Iron Age, which tracks the fates of young people in the formerly vital industrial city of Eisenhüttenstadt, and the only two films produced with the state production company DEFA, Volkspolizei (1985) and Imbiß Spezial (1990).
Journal Article
Introduction: The Singular Plural of Feminist Film Practice
Key concepts associated with second-wave feminism, including the body, solidarity, and collectivity, are regaining currency and shaping twenty-first-century debates in response to changing social, economic, and technological conditions, as well as developments in the film industry. The editors of the double issue observed that collectives \"emerge in periods of crisis\" and that in the 1970s they \"formed around issues of gender, race, and politics,\" while in the twenty-first century they responded to \"the growing impact of digital media and mobile technologies; new paradigms of relational aesthetics; new configurations of labor and precarity; and the rise of neoliberal politics\" (Camera Obscura Collective 1). Stöckl, in turn, lacked female role models for the characters she sought to bring to life, turning instead to the women of Greek tragedy, a choice that distinguished her work from the social realism that became characteristic of much-but by no means all-cinefeminism in the ensuing decade. The two women's intimate conferral, positioned in tension with the inherited knowledge connoted by the rows of books behind them, suggests an important starting point for gendered solidarity-an argument recent scholarship on this film affirms (Gerhardt, \"On Liberated Women\"; Baer, The Cat).
Journal Article
Refracting the Gaze
Filmmaker Ines Johnson-Spain discusses her personal journey to connect with her African paternal heritage, knowledge of which had been suppressed by her (white) parents throughout her childhood in East Germany. The resulting feature-length documentary sheds light on the GDR’s complex international entanglements as these derived from the recruitment of international students from socialist countries, including those in the Global South. Conversations with family and friends from the GDR and with her paternal relatives in Togo and Benin reveal how the traversal of national borders has, at different stages of German history, reconfigured the social web of attachments. As both the film’s director and its protagonist, Johnson-Spain performatively confronts previously unreworked racisms of the national past that have shaped the terms of her affiliations even into the present. She thereby contributes to the archivalization of Black German history—performing a psychical labor as impactful on a personal level as it is on the scale of national history and that of the Black diaspora.
Journal Article
Race under Reconstruction in German Cinema
By applying a Cultural Studies approach to individual film sequences, publicity photos, and press reviews, Angelica Fenner relates West German discourses around race and integration to emerging economic and political anxieties, class antagonism, and the reinstatement of conventional gender roles.
eBook
Feminist Filmmaking before Feminism
Director Ula Stöckl occupies a unique place in film history. Her debut feature, Neun Leben hat die Katze (1968; The Cat Has Nine Lives, 1977), is considered the first West German feminist film. As the first woman to enroll in the film program at the Ulm School of Design, in 1962, and also its first graduate, she lacked female role models and peers, turning instead to the women protagonists of classical Greek drama as a means to conceive of gendered resistance to patriarchy. While Stöckl’s interest in form contrasts with the social realism prevalent in the women’s filmmaking movement of the 1970s, there is an undeniable politics to her aesthetics. In this edited conversation, which took place at the Berlin Film Festival in 2020, Stöckl reminisces about her early training in 35 mm film, the forms of creativity that emerged among peers of her generation in response to the limited resources available to them, and her own teaching methods as a professor of film production at the University of Central Florida.
Journal Article
The Hybrid Approach: An Interview with the Filmmaker Branwen Okpako
For this film, Okpako returned to her homeland, gathering footage at various sites relevant to Okigbo's biography, including the river Idoto, which inspired many of his poems; the shrines in Ojoto, for whose upkeep he was responsible, since he had been identified as the reincarnation of his maternal grandfather, a priest; and Cambridge House in Ibadan, where he ran the university press. With support from fora such as Schwarze Deutsche Frauen und Schwarze Frauen in Deutschland (ADEFRA e.V., Afro-German Women and Women of Color in Germany) and Initiative Schwarze Deutsche und Schwarze Menschen in Deutschland (ISD, Association of Black Germans/People of Color in Germany) and, more recently in the United States, the Black German Cultural Society, many people have devoted considerable emotional energy to reconstructing missing links in their family lineage, thereby integrating disparate mixed cultural and national origins and consciously defining anew the parameters of family and of community.
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