THE AESTHETICS OF VIOLENCE AND POWER IN ULI EDEL’S DER BAADER MEINHOF KOMPLEX

Auteurs-es

  • Noah Soltau

DOI :

https://doi.org/10.17742/IMAGE.TGVC.5-2.3

Résumé

The confluence of art, politics, and aesthetics has a troubled and troubling history, and the article reflects on that by examining the aesthetics of Uli Edel’s filmDer Baader Meinhof Komplex in terms of its use of iconic historical and—in terms of film history—stereotypical images. The absence of conventional narrative structures in the film opens it up to methods of understanding and critique that use image and montage as a means of analysis, rather than examining a cogent (because absent) narrative. By cataloguing the use of different genre conventions and iconic film images and tropes, the article points toward the development of a “terror(ism)” genre.

Références

Téléchargements

Publié

2014-10-03

Numéro

Vol. 5 No. 2 (2014): Terrorism and its Legacy in German Visual Culture

Rubrique

Articles

Licence

Creative Commons License
This work by https://journals.library.ualberta.ca/imaginations is licensed under a  Creative Commons 4.0 International License although certain works referenced herein may be separately licensed, or the author has exercised their right to fair dealing under the Canadian Copyright Act.

Comment citer

THE AESTHETICS OF VIOLENCE AND POWER IN ULI EDEL’S DER BAADER MEINHOF KOMPLEX. (2014). Revue D’études Interculturelles De L’image, 5(2), 29-45. https://doi.org/10.17742/IMAGE.TGVC.5-2.3