"In this vibrant collection of essays, Patrice Petro draws on her
capacious understanding of feminist theory and German film theory
to articulate what is, was, and should be at stake in our
interpretive practices. Whether analyzing the disorienting
photomontages of Hannah Hoch, the disturbing portraits of Otto Dix,
or the charged performance of Marlene Dietrich in Blonde Venus,
Petro remains firmly in command of historical contexts, theoretical
implications, and ideological consequences."-Maria Tatar, author of
Lustmord: Sexual Murder in Weimar Germany "Patrice Petro's
Aftershocks of the New is unified by a focus on the connection
between feminist film criticism and historical research. It also
invokes a history of the film studies discipline (including
television) as she rehearses and comments upon some of the major
debates in the field over the past two decades."-Lucy Fischer,
director of the film studies program, University of Pittsburgh The
beginning of this century has brought with it a host of assumptions
about the newness of our technologies, globalized economies, and
transnational media practices. The essays here 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. Patrice Petro explores how the mechanisms of
modernism, German cinema, and feminist film theory have evolved,
and she discusses the directions in which they are headed. Petro's
essays-some published here for the first time-raise such questions
as: What roles do television and other media play in film studies?
What is the place of feminist film theory in our conceptions of
film history? How is German film theory situated within
international film theory? Rather than continue to sensationalize
sensation, Aftershocks of the New aims to lower the volume of
debates over the place of cinema within the culture of modernity.
It accomplishes this by locating them within a more complex matrix
of contending sensibilities, voices, and impulses. Patrice Petro
teaches film studies in the English department at the University of
Wisconsin-Milwaukee, where she is also the director of the Center
for International Education. She is the author of Joyless Streets:
Women and Melodramatic Representation in Weimar Germany, and the
editor of Fugitive Images: From Photography to Video.
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