Paul Cooke
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German neo-noir
in European film noir
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This chapter explores the perceived shift from a modernist to postmodernist mode in filmmaking since the late 1960s, and focuses initially on the work of Fassbinder and Wenders who have made much use of neo-noir. It argues that, with regard to German neo-noir at least, his parody-pastiche dichotomy remains productive, while at the same time suggesting that in pastiche we can still find elements of critical engagement. The chapter explores how the dichotomy is useful in an analysis of the complex relationship between German neo-noir and Hollywood, a relationship which is central to an understanding of much German film culture. The roots of film noir from the 1940s and 1950s are traceable, at least in part, to the work of directors from Germany's 'Weimar' Period of the 1920s and 1930s, many of whom emigrated to America in order to escape persecution under the Nazis.

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