Martina Moeller (Rabat) p.81-100
2014 Issue 3
Sondernummer zum Thema: “Späte Trümmerfilme und ‚Neotrümmerfilm‘: Wiederkehrende Traditionen des Weimarer Kinos und der Romantik als Metaphern der Nachkriegskrise”
Gastherausgeberin: Martina Moeller (Rabat)
Abstract
This study investigates to what extent The Good German(2006) by Steven Soderbergh is reminiscent of a visual and narrative level of German post-war rubble films. I will outline how typical elements of rubble films, such as Romantic motifs, documentary shots of ruins, and visual and narrative references to film noir, reappear in The Good German and I will analyse their narrative functions. Finally, this study will explore if we can consider The Good German as ‘neo-rubble film’ and, if so, why Soderbergh produced a rubble film genre revival in 2006.