Gender and German Cinema. Feminist Interventions

This article proposes that E. A. Dupont's 1925 film Variet� both represents the variety acts that were so popular in Weimar Germany and becomes such an act itself. Simultaneously, the film depicts how variety shows aroused illicit sexual energy in their participants. Thus, through its discourse on the social effects of the burgeoning entertainment industry, Variet� can be interpreted as engaging analytically with the technological world in which it was produced.

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Margarethe von Trotta's Sisters: "Brides Under a Different Law"

Mouton¹

1995

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Margarethe von Trotta's representation of the sister relationship suggests new ways of envisioning personal identity and personal relationships. Her telling of the female identity-formation story moves beyond the Freudian model and the traditional masculine and feminine positionings in narrative. It focuses on the sister attachment itself and on the relational "space between" the sisters, since it is here that the two subjectivities are formed and where the possibilities for a relationship of creative mutuality and independence are played out. (JMM)

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Gender and German Cinema. Feminist Interventions

Cited by 8 publications

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Rape and War, Gender and Nation, Victims and Victimizers: Helke Sander's BeFreier und Befreite

Rape and War, Gender and Nation, Victims and Victimizers: Helke Sander's BeFreier und Befreite

Dazzled by the Light: Technological Entertainment and Its Social Impact in Variete

Margarethe von Trotta's Sisters: "Brides Under a Different Law"

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