Stuart Liebman
Biographic Data
| ID | 3864461 |
|---|---|
| NAME | Stuart Liebman |
| GIVEN NAMES | Stuart |
| FAMILY NAME | Liebman |
| SIGNATURE | LIEBMAN S |
| AFFILIATIONS | Queens University of Charlotte |
| VERIFIED | No |
| TOTAL WORKS | 21 |
| TOTAL CITATIONS | 26 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1977 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 3 |
Annette Michelson Remembered
Nineteen scholars, writers, and friends remember Annette Michelson (1922-2018), cofounder of October. Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte
Night and Fog”: A Film in HistorySylvie Lindeperg
Sylvie Lindeperg occupies the Chair in Film History at the University of Paris 1 (Panthéon-Sorbonne) and has written several authoritative studies of early films about the Holocaust. Her most important is the wide-ranging, impressively detailed study of Alain Resnais’ brilliant documentary, Nuit et brouillard (Night and Fog), which she published in French in 2007. Now available in English, it is a most welcome—indeed, a pathbreaking—addition to t…
A Closer Look at Alfred Radok's Film Distant Journey
Daleká cesta (Distant Journey, Czechoslovakia, 1949) is one of the most important and explicit early feature films about the Holocaust. The authors draw upon different versions of the script, censorship records, newspaper clippings in five languages, and other archival records to follow the film's genesis, authorship, production history, distribution, and reception, both in Czechoslovakia and abroad. The story both reflects and elucidates the shi…
Roundtable on the Return to Classical Film Theory
Stuart Liebman: I want to take up several issues in Malcolm's introduction in order to amplify, and perhaps to qualify, some of his remarks. He rightly notes that we are presently living through a period of scholarly engagement with early film theory. Malcolm implies that the current interest is somehow larger and more extensive than it used to be, and there is some truth in that. In addition to those texts he mentions, one must cite Richard Tayl…
« Je me suis toujours retrouvée à l’épicentre des événements… »: Entretien avec Wanda Jakubowska
Les premiers films sur la shoah: Les Juifs sous le signe de la Croix
A Response to My Critics
It's one thing to work on a film for seven years; discussing it in academic circles is quite another. Liberators Take Liberties has been presented in New York as a film that had provoked a great deal of controversy in Germany. This statement is inaccurate. Now and then I receive insulting letters, mostly from former participants in the war, because the film I made does not support their arguments. Some four out of fifty publications have also mad…
"Some Very Personal Thoughts about the Accusations of Revisionism Made against Helke Sander's Film "Liberators Take Liberties
Helke Sander's film has initiated the first important public debate on the topic of war, rape, and children. The filmmaker treats a historically unique event: the mass rape of approximately two million women by Red Army soldiers after the collapse of Hitlerian fascism at the end of the Second World War. Until this film, the subject had been personally as well as politically taboo in the Federal Republic, silently repressed and covered in darkness…
After the Fall: Women in the House of the Hangmen
at all. The days in mid-January when the Russians began their final onslaught on the Nazi Reich fifty years ago have, quite predictably, already been passed over in silence. On the other hand, January 27, the day the Red Army liberated Auschwitz, has just been observed in the Bundestag with a ceremonial silence by now familiar. Newspapers and short spots on television have publicly heralded the momentary cessation of business as usual. The New Yo…
Further Thoughts on Helke Sander's Project
Annette Michelson: We are here to discuss a work by the important German feminist filmmaker Helke Sander. Although this film won the Nestor Almendros Prize at the Human Rights Film Festival of 1993 in New York and was the subject, last fall, of a day-long symposium at the Graduate Center of the City University, it has not yet received a fully articulated and nuanced response in the United States. It seems to us that the film raises important ques…
Remembering/Forgetting
Blood, Sperm, and Tears
With Liberators Take Liberties: War, Rapes, Children, Helke Sander has, to put it politely, divided opinion. Some believe she is involved in feminist historical revisionism; others have praised her as a cathartic breaker of taboos. Moreover, this long documentary film has occasioned a public debate between Sander and myself in the Frankfurter Rundschau of November 1992,1 and in the United States the film has also received mixed reviews-sympatheti…
Aufzeichnungen zum Neuen deutschen Film
The Assault of the Present on the Rest of Time
We speak about the opera of the 19th century; it is considered the summit of dramatic art. In the film Die Macht der Gefiihle (The Power ofEmotion), opera was likened to a power plant of emotions. The film Carmen by Carlos Saura has shown that such older forms of dramatic art tap certain currents in spectators; this is something we did not know before. Bound up with our own century is another power plant of emotions the cinema. Presumably, in the…
Why Should Film and Television Cooperate: On the Mainz Manifesto
The changes in the media landscape that represent challenges to film and television in no way derive solely from the new private media. Rather, these changes are rooted in losses of publicity' inherent in all societal processes. Active counter-production, which is rooted in the cultural mission of television and the film-historical mission of cinema, must gather together the forces of both, for if each acts only on its own behalf, they will proba…
Why Kluge
On New German Cinema, Art, Enlightenment, and the Public Sphere: An Interview with Alexander Kluge
Stuart Liebman: Two months from now, that is in February 1987, German filmmakers can celebrate the twenty-fifth anniversary of the Oberhausen Manifesto,' a mythical moment of birth for the New German Cinema. Yet any visitor to Munich today who is interested in German film must be struck by the fact that there are only two German films now playing in local cinemas. One is a popular comedy, Mdnner [Men], while the other is a curious art film, Parad…
Cinematographic Views
French film theory, 1910–1921
(1983). French film theory, 1910–1921. Quarterly Review of Film Studies: Vol. 8, No. 1, pp. 1-23
Documenting the Left
Magnification and Other Writings
I will never find the way to say how I love American close-ups. Point blank. A head suddenly appears on screen and drama, now face to face, seems to address me personally and swells with an extraordinary intensity. I am hypnotized. Now the tragedy is anatomical. The decor of the fifth act is this corner of a cheek torn by a smile. Waiting for the moment when 1,000 meters of intrigue converge in a muscular denoument satisfies me more than the rest…
Magnification and Other Writings
I will never find the way to say how I love American close-ups. Point blank. A head suddenly appears on screen and drama, now face to face, seems to address me personally and swells with an extraordinary intensity. I am hypnotized. Now the tragedy is anatomical. The decor of the fifth act is this corner of a cheek torn by a smile. Waiting for the moment when 1,000 meters of intrigue converge in a muscular denoument satisfies me more than the rest…
Further Thoughts on Helke Sander's Project
Annette Michelson: We are here to discuss a work by the important German feminist filmmaker Helke Sander. Although this film won the Nestor Almendros Prize at the Human Rights Film Festival of 1993 in New York and was the subject, last fall, of a day-long symposium at the Graduate Center of the City University, it has not yet received a fully articulated and nuanced response in the United States. It seems to us that the film raises important ques…
On New German Cinema, Art, Enlightenment, and the Public Sphere: An Interview with Alexander Kluge
Stuart Liebman: Two months from now, that is in February 1987, German filmmakers can celebrate the twenty-fifth anniversary of the Oberhausen Manifesto,' a mythical moment of birth for the New German Cinema. Yet any visitor to Munich today who is interested in German film must be struck by the fact that there are only two German films now playing in local cinemas. One is a popular comedy, Mdnner [Men], while the other is a curious art film, Parad…
A Response to My Critics
It's one thing to work on a film for seven years; discussing it in academic circles is quite another. Liberators Take Liberties has been presented in New York as a film that had provoked a great deal of controversy in Germany. This statement is inaccurate. Now and then I receive insulting letters, mostly from former participants in the war, because the film I made does not support their arguments. Some four out of fifty publications have also mad…
Why Should Film and Television Cooperate: On the Mainz Manifesto
The changes in the media landscape that represent challenges to film and television in no way derive solely from the new private media. Rather, these changes are rooted in losses of publicity' inherent in all societal processes. Active counter-production, which is rooted in the cultural mission of television and the film-historical mission of cinema, must gather together the forces of both, for if each acts only on its own behalf, they will proba…
"Some Very Personal Thoughts about the Accusations of Revisionism Made against Helke Sander's Film "Liberators Take Liberties
Helke Sander's film has initiated the first important public debate on the topic of war, rape, and children. The filmmaker treats a historically unique event: the mass rape of approximately two million women by Red Army soldiers after the collapse of Hitlerian fascism at the end of the Second World War. Until this film, the subject had been personally as well as politically taboo in the Federal Republic, silently repressed and covered in darkness…
After the Fall: Women in the House of the Hangmen
at all. The days in mid-January when the Russians began their final onslaught on the Nazi Reich fifty years ago have, quite predictably, already been passed over in silence. On the other hand, January 27, the day the Red Army liberated Auschwitz, has just been observed in the Bundestag with a ceremonial silence by now familiar. Newspapers and short spots on television have publicly heralded the momentary cessation of business as usual. The New Yo…
Remembering/Forgetting
Blood, Sperm, and Tears
With Liberators Take Liberties: War, Rapes, Children, Helke Sander has, to put it politely, divided opinion. Some believe she is involved in feminist historical revisionism; others have praised her as a cathartic breaker of taboos. Moreover, this long documentary film has occasioned a public debate between Sander and myself in the Frankfurter Rundschau of November 1992,1 and in the United States the film has also received mixed reviews-sympatheti…
Why Kluge
Magnification and Other Writings
I will never find the way to say how I love American close-ups. Point blank. A head suddenly appears on screen and drama, now face to face, seems to address me personally and swells with an extraordinary intensity. I am hypnotized. Now the tragedy is anatomical. The decor of the fifth act is this corner of a cheek torn by a smile. Waiting for the moment when 1,000 meters of intrigue converge in a muscular denoument satisfies me more than the rest…
Documenting the Left
French film theory, 1910–1921
(1983). French film theory, 1910–1921. Quarterly Review of Film Studies: Vol. 8, No. 1, pp. 1-23
Cinematographic Views
Why Should Film and Television Cooperate: On the Mainz Manifesto
The changes in the media landscape that represent challenges to film and television in no way derive solely from the new private media. Rather, these changes are rooted in losses of publicity' inherent in all societal processes. Active counter-production, which is rooted in the cultural mission of television and the film-historical mission of cinema, must gather together the forces of both, for if each acts only on its own behalf, they will proba…
Why Kluge
On New German Cinema, Art, Enlightenment, and the Public Sphere: An Interview with Alexander Kluge
Stuart Liebman: Two months from now, that is in February 1987, German filmmakers can celebrate the twenty-fifth anniversary of the Oberhausen Manifesto,' a mythical moment of birth for the New German Cinema. Yet any visitor to Munich today who is interested in German film must be struck by the fact that there are only two German films now playing in local cinemas. One is a popular comedy, Mdnner [Men], while the other is a curious art film, Parad…
The Assault of the Present on the Rest of Time
We speak about the opera of the 19th century; it is considered the summit of dramatic art. In the film Die Macht der Gefiihle (The Power ofEmotion), opera was likened to a power plant of emotions. The film Carmen by Carlos Saura has shown that such older forms of dramatic art tap certain currents in spectators; this is something we did not know before. Bound up with our own century is another power plant of emotions the cinema. Presumably, in the…
Aufzeichnungen zum Neuen deutschen Film
A Response to My Critics
It's one thing to work on a film for seven years; discussing it in academic circles is quite another. Liberators Take Liberties has been presented in New York as a film that had provoked a great deal of controversy in Germany. This statement is inaccurate. Now and then I receive insulting letters, mostly from former participants in the war, because the film I made does not support their arguments. Some four out of fifty publications have also mad…
"Some Very Personal Thoughts about the Accusations of Revisionism Made against Helke Sander's Film "Liberators Take Liberties
Helke Sander's film has initiated the first important public debate on the topic of war, rape, and children. The filmmaker treats a historically unique event: the mass rape of approximately two million women by Red Army soldiers after the collapse of Hitlerian fascism at the end of the Second World War. Until this film, the subject had been personally as well as politically taboo in the Federal Republic, silently repressed and covered in darkness…
After the Fall: Women in the House of the Hangmen
at all. The days in mid-January when the Russians began their final onslaught on the Nazi Reich fifty years ago have, quite predictably, already been passed over in silence. On the other hand, January 27, the day the Red Army liberated Auschwitz, has just been observed in the Bundestag with a ceremonial silence by now familiar. Newspapers and short spots on television have publicly heralded the momentary cessation of business as usual. The New Yo…
Further Thoughts on Helke Sander's Project
Annette Michelson: We are here to discuss a work by the important German feminist filmmaker Helke Sander. Although this film won the Nestor Almendros Prize at the Human Rights Film Festival of 1993 in New York and was the subject, last fall, of a day-long symposium at the Graduate Center of the City University, it has not yet received a fully articulated and nuanced response in the United States. It seems to us that the film raises important ques…
Remembering/Forgetting
Blood, Sperm, and Tears
With Liberators Take Liberties: War, Rapes, Children, Helke Sander has, to put it politely, divided opinion. Some believe she is involved in feminist historical revisionism; others have praised her as a cathartic breaker of taboos. Moreover, this long documentary film has occasioned a public debate between Sander and myself in the Frankfurter Rundschau of November 1992,1 and in the United States the film has also received mixed reviews-sympatheti…
« Je me suis toujours retrouvée à l’épicentre des événements… »: Entretien avec Wanda Jakubowska
Les premiers films sur la shoah: Les Juifs sous le signe de la Croix
Roundtable on the Return to Classical Film Theory
Stuart Liebman: I want to take up several issues in Malcolm's introduction in order to amplify, and perhaps to qualify, some of his remarks. He rightly notes that we are presently living through a period of scholarly engagement with early film theory. Malcolm implies that the current interest is somehow larger and more extensive than it used to be, and there is some truth in that. In addition to those texts he mentions, one must cite Richard Tayl…
A Closer Look at Alfred Radok's Film Distant Journey
Daleká cesta (Distant Journey, Czechoslovakia, 1949) is one of the most important and explicit early feature films about the Holocaust. The authors draw upon different versions of the script, censorship records, newspaper clippings in five languages, and other archival records to follow the film's genesis, authorship, production history, distribution, and reception, both in Czechoslovakia and abroad. The story both reflects and elucidates the shi…
Night and Fog”: A Film in HistorySylvie Lindeperg
Sylvie Lindeperg occupies the Chair in Film History at the University of Paris 1 (Panthéon-Sorbonne) and has written several authoritative studies of early films about the Holocaust. Her most important is the wide-ranging, impressively detailed study of Alain Resnais’ brilliant documentary, Nuit et brouillard (Night and Fog), which she published in French in 2007. Now available in English, it is a most welcome—indeed, a pathbreaking—addition to t…
Annette Michelson Remembered
Nineteen scholars, writers, and friends remember Annette Michelson (1922-2018), cofounder of October. Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte
Art (17 works) · European history and politics (8 works) · Art history (7 works) · Philosophy (6 works) · Philosophy (6 works) · Aesthetics (5 works) · Cinema and Media Studies (5 works) · Computer Science (5 works) · German History and Society (5 works) · Law (5 works)