1. Young, "Germany's Memorial Question," 877.

2. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (London: Thames and Hudson, 2001), 23.

3. Hilberg, The Politics of Memory, 83.

4. George Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis: University of Minnesota Press, 1990), 213.

5. Olaf Hoerschelmann,"‘Memoria Dextera Est’:Film and Public Memory in Postwar Germany," Cinema Journal 40, no. 2 (2001), 78–97.

6. Esther Newton, "Role Models," in Camp, ed. Cleto, 107.

7. Theodore Fiedler, "Alexander Kluge: Mediating History and Consciousness," in New German Filmmakers from Oberhausen Through the 1970s, ed. Klaus Phillips (New York: Ungar, 1984), 205.

8. Elsaesser, Fassbinder's Germany, 106.

9. German film scholars, for instance, have directed their attention away from the New German Cinema to other topics: Nazi cinema, contemporary filmmaking in an ethnically diverse Germany, 1950s Heimatfilm, and spectacledriven revue films. The work in these previously unexplored areas is both politically astute and historically informed. It demonstrates that one needn't work with the imprimatur of the "art film" or the Autorenfilm associated with established or "respectable" film movements, like the New German Cinema, to produce sophisticated studies. If these shifts in German film scholarship reinforce a larger movement away from the New German Cinema and what it represents (art cinema, auteur cinema, overtly political cinema, anticommercial, naval-gazing cinema), that same evasion suggests, however contradictorily, a nostalgia for the 1970s and early 1980s, the period of greatest activity in both the New German Cinema and its commentators. Why? Perhaps because this was a time marked by what Patrice Petro has called a "community of the question," in which film scholars labored with a certain sense of political camaraderie or aim in their fields (Petro, Aftershock). Contemporary film scholarship, like that in German cinema studies, shows how the political or ideological meanings of a film may be entirely redirected through new reading contexts: consider the Heimatfilm and contemporary studies of nation formation and transnationalism, or in queer studies, with Kuzniar's The Queer German Cinema exemplifying how productive new interpretive and historical contexts can be for films that preceded them.

10. Thomas Elsaesser, Weimar Germany and After: Germany's Historical Imaginary (New York: Routledge, 2000).