Aftershocks of the New
Feminism and Film History

Explores how the mechanisms of modernism, German cinema and feminist film theory have evolved, and discusses the directions in which they are headed. The book aims to locate the debate over the place of cinema within modernity in a complex matrix of contending sensibilities, voices and impulses.

The beginning of the 21st century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. The essays in this volume are joined by a common concern to chart another side to modernity - precisely after the shock of the new - when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. The text explores how the mechanisms of modernism, German cinema and feminist film theory have evolved, and discusses the directions in which they are headed. Patrice Petro raises such questions as: What roles do television and other media play in film studies? and How is German film theory situated within international film theory? The book aims to locate the debate over the place of cinema within modernity in a more complex matrix of contending sensibilities, voices and impulses.

The "Place" of Television in Film Studies * Feminism and Film History * German Film Theory and Anglo-American Film Studies * After Shock, Between Boredom and History * Historical Ennui, Feminist Boredom * World Weariness, Weimar Women, and Visual Culture * Nazi Cinema at the Intersection of the Classical and the Popular * The Hottentor and the Blonde Venus * Film Feminism and Nostalgia for the Seventies