Carrie Collenberg-González is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include “Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)” in Feminist German Studies (2020) and “The Daisy Oracle: A New Gretchenfrage in Goethe’s Faust” in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.

• List of IllustrationsAcknowledgmentsIntroduction: Photographs as Rupture and Affect in German FilmCarrie Collenberg-González and Martin P. SheehanChapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925)Jason DoerreChapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)Martin P. SheehanChapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer CinemaJohn E. DavidsonChapter 4. Filming After Walker Evans: Wim Wenders’ “American Pictures” in Kings of the Road (1976)Stefanie HarrisChapter 5. The Transgression of Overpainting: Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981)Matthew BaumanChapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)Cynthia PorterChapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)Reinhard ZachauChapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya–Welcome to Germany (2011)Carrie Collenberg-GonzálezChapter 9. Imaging the “Good Life”: Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)Simone PflegerChapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)Melissa EtzlerChapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)Anke PinkertAfterword: Toward a Camera Ludica: Agency and Photography in Videogame EcologiesCurtis L. MaughanIndex

“The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point…Highly Recommended.” • Choice

Carrie Collenberg-González is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include “Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)” in Feminist German Studies (2020) and “The Daisy Oracle: A New Gretchenfrage in Goethe’s Faust” in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.

• List of IllustrationsAcknowledgmentsIntroduction: Photographs as Rupture and Affect in German FilmCarrie Collenberg-González and Martin P. SheehanChapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925)Jason DoerreChapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)Martin P. SheehanChapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer CinemaJohn E. DavidsonChapter 4. Filming After Walker Evans: Wim Wenders’ “American Pictures” in Kings of the Road (1976)Stefanie HarrisChapter 5. The Transgression of Overpainting: Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981)Matthew BaumanChapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)Cynthia PorterChapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)Reinhard ZachauChapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya–Welcome to Germany (2011)Carrie Collenberg-GonzálezChapter 9. Imaging the “Good Life”: Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)Simone PflegerChapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)Melissa EtzlerChapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)Anke PinkertAfterword: Toward a Camera Ludica: Agency and Photography in Videogame EcologiesCurtis L. MaughanIndex

“The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point…Highly Recommended.” • Choice

Carrie Collenberg-González is Assistant Professor and Section Head of German and director of the Deutsche Sommerschule am Pazifik at Portland State University. She has published on Heinrich von Kleist, German cinema, immersion instruction, the aesthetics of terrorism, and the Red Army Faction. Her most recent articles include “Rape Culture and Dialectical Montage: A Radical Reframing People on Sunday (1930)” in Feminist German Studies (2020) and “The Daisy Oracle: A New Gretchenfrage in Goethe’s Faust” in the Goethe Yearbook (2021). She is co-author of Cineplex: German Language and Culture Through Film (2014) and her co-edited volume Heinrich von Kleist: Artistic and Philosophical Legacies is forthcoming.

• List of IllustrationsAcknowledgmentsIntroduction: Photographs as Rupture and Affect in German FilmCarrie Collenberg-González and Martin P. SheehanChapter 1. Layers of Exposure: The Photographic Approach in Gerhart Lamprecht’s Zille Film Slums of Berlin (1925)Jason DoerreChapter 2. Objecting Objects: Photographs and Subjectivity in The Blue Angel (1930)Martin P. SheehanChapter 3. Before- and Afterlives: On the Stillness of Photographs at the Outset of Adenauer CinemaJohn E. DavidsonChapter 4. Filming After Walker Evans: Wim Wenders’ “American Pictures” in Kings of the Road (1976)Stefanie HarrisChapter 5. The Transgression of Overpainting: Jürgen Böttcher’s Radical Experiments with Intermediality in Transformations (1981)Matthew BaumanChapter 6. The Promise of Agency: Photographs and Value in Tattoo (2002)Cynthia PorterChapter 7. Curating the Image: Visual Intertextuality in The Baader Meinhof Complex (2008)Reinhard ZachauChapter 8. Re-presenting German Heritage Films: Photographic Memory in Aimee & Jaguar (1999), Good Bye, Lenin! (2003), and Almanya–Welcome to Germany (2011)Carrie Collenberg-GonzálezChapter 9. Imaging the “Good Life”: Destabilizing Subjecthood and Conceptions of the Normative Family in Ghosts (2005)Simone PflegerChapter 10. Violence, Death, and Photographs: Capturing the (Un)Dead in Rammbock (2010)Melissa EtzlerChapter 11. Possible Archives: Encountering a Surveillance Photo in Karl Marx City (2016)Anke PinkertAfterword: Toward a Camera Ludica: Agency and Photography in Videogame EcologiesCurtis L. MaughanIndex

“The editors clearly state that the volume is not an exhaustive analysis of photography in German film but rather a beginning of the discussion. Well written and approachable, this volume is certainly an excellent starting point…Highly Recommended.” • Choice