1. Of the term Aufarbeitung, Adorno writes: "In this usage ‘working through the past’ does not mean seriously working upon the past, that is, through a lucid consciousness breaking its power to fascinate. On the contrary, its intention is to close the books on the past and, if possible, even remove it from memory." Theodor Adorno, "The Meaning of Working Through the Past,"in Critical Models: Interventions and Catchwords, trans. Henry Pickford (New York: Columbia University Press, 1998), 89. Curiously, the more common Vergangenheitsbewältigung connotes a greater sense of conquest than Aufarbeitung. See also the translator's note, 337–38, n. 1.

2. Barton Byg, Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Marie Straub (Berkeley: University of California Press, 1995), 51.

3. Writing in the early 1990s, like Karban, it would have been difficult to be upbeat about Germany's film scoring situation. Unlike France, Germany had no taxation system on ticket prices to help finance composers. Producers rarely put much money into music budgets, and up to 40 percent of a film composer's pay, according to Karban, went toward GEMA (Germany's equivalent of ASCAP in the United States). Thomas Karban, "En Allemagne," Ciném Action 62 (January 1992): 188–95, esp. 189.

4. Joseph Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge: Harvard University Press, 1990).

5. Tomas Kulka, Kitsch and Art (University State Park: Pennsylvania State University Press, 1996).

6. The original reference is to Papaskino. English accounts, however, refer both to Papaskino (cinema of our fathers) and to Opaskino (grandfathers). Compare, for example, Eric Rentschler, who in 1988 refers to "Papa's Cinema," but in 1981/2 speaks of "Opaskino." Compare West German Filmmakers on Film: Visions and Voices (New York: Holmes and Meier), 1, with "American Friends and the New German Cinema: Patterns of Reception," New German Critique 24/5 (fall/winter 1981/82), 17. For the purposes of this study, I refer

7. Thomas Elsaesser, "‘It started with these images’—Some Notes on Political Filmmaking after Brecht in Germany: Helke Sander and Harun Farocki," Discourse 7 (1985), 95–120.

8. See the work of scholars working in North America, like Anton Kaes, Timothy Corrigan, Richard McCormick, and Barbara Kosta, and in Europe, Elsaesser and Julia Knight.

9. Eric Santner, Stranded Objects: Mourning, Memory, and Film in Postwar Germany (Ithaca, N.Y.: Cornell University Press, 1990), 23.

10. Thomas Elsaesser, "Historicizing the Subject: A Body of Work?" New German Critique 63 (fall 1994), 33. See also Fredric Jameson, who believes Syberberg's Our Hitler should not be considered as mourning work: "The trauma of loss does not, however, seem a very apt way to characterize presentday Germany's relationship to Hitler; Syberberg's operative analogy here is rather with the requiem as an art form, in which grief is redemptively transmuted into jubilation." Signatures of the Visible (New York: Routledge, 1990), 233 n. 2.

11. Elsaesser, "Historicizing the Subject," 15.

12. English-language exceptions include, among others, David Bathrick, "Inscribing History, Prohibiting and Producing Desire: Fassbinder's Lili Marleen," New German Critique 63 (1994), 34–53; Timothy Corrigan, "Werner Schroeter's Operatic Cinema," Discourse 3 (spring 1981), 46–59; Gertrud Koch, "Alexander Kluge's Phantom of the Opera," New German Critique 49 (winter 1990), 79–88; and sections of Elsaesser's Fassbinder's Germany: History, Identity, Subject (Amsterdam: Amsterdam University Press, 1996); and Byg's Landscapes of Resistance. Australian scholar Roger Hillman has written several essays, including an excellent analysis of The Marriage of Maria Braun in "Narrative, Sound, and Film: Fassbinder's The Marriage of Maria Braun," in Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography, ed. L. Devereaux and R. Hillman (Berkeley: University of California Press, 1995), 181–95. In Germany, Norbert Jürgen Schneider's full-length study remains the definitive work on music and the movement. See his Handbuch Filmmusik: Musikdramaturgie im Neuen Deutschen Film (Munich: Ölschläger, 1986).

13. Walter Benjamin, "Thesis on the Philosophy of History," Illuminations: Essays and Reflections (New York: Schocken, 1969), 263.

14. Miriam Hansen, "Introduction," New German Critique 49 (winter 1990), 10.

15. The second movement, the "Kaiserhymn," written after Haydn's exposure to English music, was later integrated into Haydn's string quartet, 1797 (op. 76 no. 3). Having served as the national anthem for Austria as well as Germany (as it would continue to do after the war), the piece is multiply inscribed with nationalist fervor. Albrecht Rietmüller observes that the piece did not

Rietmüller maintains that the music alone conveys powerful nationalist connotations, like flags ("other textless symbols") (327). From the piece's beginnings, he notes, the British interpreted it as an homage to their own anthem, "God Save the King." The following was written when Haydn received an honorary doctorate from Oxford in the 1790s: "The Divine Hymne, written for your imperial master, in imitation of our loyal song, ‘God save great George our King’ and set so admirably to music by yourself, I have translated and adapted to your melody, which is simple, grave, applicating, and pleasing." Quoted in Riethmueller, "‘Gott! erhalte’: National Anthems and the Semantics of Music," in Word and Music Studies: Defining the Field, ed. W. Bernhardt, S. P. Scher, and W. Wolf (Amsterdam: Rodopi, 1999), 324.

16. Jameson, Signatures of the Visible, 68.

17. Thomas Elsaesser, "Myth as the Phantasmagoria of History: H. J. Syberberg, Cinema and Representation," New German Critique 24/5 (fall/winter, 1981/2), 152.

18. Fassbinder's selection is in ironic contrast to the typical humanist reception of the work. Compare to Ernst Bloch, who said, "From Marx we know what can be done; from Beethoven we know what we can hope for." Quoted by his son, Professor Jan Bloch, "Ernst Bloch in Exile," lecture at the University of Florida, 4 October 1988.

19. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), 128.

20. Sigmund Freud, Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey, vol. 10 (London: Hogarth, 1953–74), 206 n. 1.

21. Examples include Fassbinder's remake of Jutzi's 1929 Mother Kusters fahrt ins Glück, Sanders-Brahms's politicized maternal melodrama Germany, Pale Mother, Jutta Brückner's Hungerjahre / Hunger Years (1980), Reitz's return to the Heimat genre, and the movement's scattered references to melodramatic icons like Zarah Leander.

22. That significant exception is Rosa von Praunheim, who remains selfidentified as gay and not queer.

23. The study, for instance, does not examine East German films, or much nonfiction or nonfeature work. It has its inevitable imbalances, devoting more time to Fassbinder and Kluge, say, than to Straub and Wenders, whose innovative use of music merits further study.

24. Rentschler, "American Friends and the New German Cinema." In this meticulously researched essay, Rentschler charges U.S. media and film festival circuits of "co-opting" only a small fragment of the movement, of turning directors into stars, of divesting material of politicized content, and of being insensitive to the larger initial context in which these films appeared.

25. Raul Hilberg, The Politics of Memory: The Journey of a Holocaust Historian (Chicago: Ivan Dee, 1996), 83.

26. Art Spiegelman, Maus: A Survivor's Tale (New York: Pantheon). Volume 1, "My Father Bleeds History," published 1986; volume 2, "And Here My Troubles Began," published 1991.

27. "Representations of History in Films by S. Schönemann, H. Farocki and M. Verhoeven," lecture presented at the Goethe Institute, Toronto, 15 November 1998.