1. On a letter accusing the film Machorka-Muff of insulting the nation and the city, Straub added the annotation, "We love this nation and the city of Bonn." Cited in Reinhold Rauh, ed., Machorka-Muff: Jean-Marie Straubs und Danièle Huillets Verfilmung einer Satire von Heinrich Böll (Münster: MAKS, 1988), 67. Unless otherwise noted, all translations are my own.

2. Vincent Nordon also speaks of a "nomadic gaze": "Violence et passion (Straub, encore)," Ça cinéma 9 (1976):26.

3. Jean-Claude Bonnet, "Trois Cinéastes du texte," Cinématographe 31 (October 1977):2-6.

4. See the special issue on Alexander Kluge, October 46 (Fall 1988), and Raymond Bellour and Mary Lea Bandy, eds., Jean-Luc Godard: Son + Image, 1979-1991 (New York: Museum of Modern Art, 1992).

5. Helmut Färber, "Im Anschluß an das Protokoll der Chronik der Anna Magdalena Bach," Filmkritik 10 (1966):695-703.

6. "Enretien avec Jean-Marie Straub et Danièle Huillet," in Der Tod des Empedokles/La mort d'Empédocle , ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole régionale des beaux-arts, 1987), 41.

7. Cited in Sylvia Harvey, May '68 and Film Culture (London: British Film Institute, 1978), 97.

8. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 215-216.

9. Thomas Elsaesser, New German Cinema: A History (New Brunswick: Rutgers University Press, 1989); Anton Kaes, From Hitler to Heimat: The Return of History as Film (Cambridge: Harvard University Press, 1989) [revised, translated version of Deutschlandbilder. Die Wiederkehr der Geschichte als Film (Munich: edition text und

kritik, 1987)]; Eric L. Santner, Stranded Objects: Mourning, Memory, and Film in Postwar Germany (Ithaca: Cornell University Press, 1990).

1. Filmkritik 1 (1977): inside front cover, n.p.

2. Walter Benjamin, One-Way Street and Other Writings, trans. Edmund Jephcott and Kingsley Shorter (London: NLB, 1979), 67; excerpted in Film (March 1956):137. Bitomsky, referring here to Othon, is cited by Karsten Witte, " Moses und Aron von Straub/Huillet," in Im Kino. Texte vom Sehen und Hören (Frankfurt am Main: Fischer, 1985), 124.

3. Hanns Eisler, Composing for the Films (New York: Oxford University Press, 1947), 120-121. Co-authored by Theodor W. Adorno, who is not cited in this edition.

4. Ibid., 36.

5. See Bertolt Brecht, "Der Dreigroschenprozeß," in Versuche 1-12 (Berlin: Suhrkamp, 1958), 280-281; and Eisler, Composing, 121.

6. Richard Roud, Jean-Marie Straub (London: Secker and Warburg/British Film Institute, 1971; New York: Viking, 1972), 15; Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hanser Verlag, 1976), 241, cited hereafter as HKS .

7. Michael Klier, Porträts der Filmemacher: Jean-Marie Straub, WDR, Cologne, 1970. Film.

8. HKS, 241; "Erstes Lexikon des Jungen Deutschen Films," Filmkritik 1 (1966):44-48.

9. See Roy Armes, "Jean-Marie Straub: Strict Counterpoint," in The Ambiguous Image (London: Secker and Warburg, 1976), 208-215; and Roud, Jean-Marie Straub , esp. 7-27.

10. "Lexikon," 47.

11. Ibid.

12. "Antigone nue," Libération , 1 September 1992.

13. Helge Heberle and Monika Funke Stern, "Das Feuer im Innern des Berges" [Interview with Danièle Huillet], Frauen und Film 32 (June 1982):4-12.

14. Ibid., 6.

15. Ibid., 5-7.

16. Ibid., 5.

17. Ibid.

18. Ibid., 9.

19. Ibid., 10.

20. Ibid., 12.

21. Ibid., 11, 12.

22. Gertrud Koch, "Ex-Changing the Gaze: Re-Visioning Feminist Film Theory," New German Critique 34 (Winter 1985):140-141.

23. Elin Diamond, "Brechtian Theory/Feminist Theory: Toward a Gestic Feminist Criticism," TDR/The Drama Review 32 (1988):82-94.

24. Koch, "Ex-Changing," 142.

25. Teresa de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 60.

26. HKS, 241-242.

27. Heberle and Stern, "Feuer im Innern des Berges," 5.

28. "Notes on Gregory's Work Journal by Danièle Huillet," Enthusiasm 1 (December 1975):32-54.

29. See, e.g., Peter Gidal, "Straub/Huillet Talking and Short Notes on Some Contentious Issues," Ark/Journal from the Royal College of Art (January 1976):90.

30. "Enretien avec Jean-Marie Straub et Danièle Huillet," in Der Tod des Empedokles/La mort d'Empédocle, ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole régionale des beaux-arts, 1987), 44.

31. See Barbara Bronnen, "Jean-Marie Straub (interview)," in Die Filmemacher. Zur neuen deutschen Produktion nach Oberhausen, eds. Barbara Bronnen and Corinna Brocher (Munich: Bertelsmann, 1973), 25-45; Maureen Turim, " Ecriture Blanche: The Ordering of the Filmic Text in The Chronicle of Anna Magdalena Bach," Purdue Film Studies Annual (1976):177-192; Maureen Turim, "Jean-Marie Straub and Danièle Huillet: Oblique Angles on Film as Ideological Intervention," in New German Filmmakers, ed. Klaus Phillips (New York: Ungar, 1984), 335-358; and Gertrud Koch, " Moses und Aron : Musik, Text, Film und andere Fallen der Rezeption,'' in Die Einstellung ist die Einstellung: Visuelle Konstruktionen des Judentums (Frankfurt am Main: Suhrkamp, 1992), 30-52.

32. See David Caldwell, "Personal and Political Bonding in the Work of Straub/ Huillet," in Sex and Love in Motion Pictures: Proceedings of the Second Annual Film Conference of Kent State University, ed. Douglas Radcliff-Umstead (Kent: Romance Languages Department, 1984), 80-84; and Whitney Chadwick and Isabelle de Courtivron, eds., Significant Others: Creativity and Intimate Partnership (London: Thames and Hudson, 1993).

33. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana University Press, 1988); Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley, Los Angeles, and London: University of California Press, 1993); David Michael Levin, ed., Modernity and the Hegemony of Vision (Berkeley, Los Angeles, and London: University of California Press, 1993). Even Eisler and Adorno refer to the traditional idea that hearing was passive and feminine and seeing was active and masculine; see Eisler, Composing, 20-21.

34. André Bazin, " Le Journal d'un curé de campagne and the Stylistics of Robert Bresson," in What Is Cinema? ed. Hugh Gray (Berkeley, Los Angeles, and London: University of California Press, 1967), 133.

35. See Andreas Huyssen, "The Vamp and the Machine: Fritz Lang's Metropolis," in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986), 65-81.

36. Bazin, " Le Journal and Bresson," 133.

37. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press, 1960), e.g., ix.

38. See Roland Barthes, The Grain of the Voice: Interviews 1962-1980, trans. Linda Coverdale (New York: Hill and Wang, 1985), esp. "From Speech to Writing," 3-7.

39. Mark Nash and Steve Neal, "Film: 'History/Production/Memory,'" Screen 18, no. 4 (Fall/Winter 1977-1978):87-91.

40. See Cesare Pavese, Dialogues with Leucò , trans. William Arrowsmith and D. S. Carne-Ross (Boston: Eridanos, 1989).

41. See George Steiner, Antigones (New York: Oxford University Press, 1984), 136.

42. Marc Chevrie, "Le retour d'Empédocle. J.-M. Straub et D. Huillet: entre deux films," Cahiers du cinéma 418 (April 1989):64. For the conversations quoted in the film, see Joachim Gasquet's Cézanne: A Memoir with Conversations, trans. Christopher Pemberton (London: Thames and Hudson, 1991).

43. Hans Hurch, "Von Steinen und Menschen," Falter 16 (1992):24.

44. Peter Handke, "Kinonacht, Kinotiernacht," Die Zeit, 20 November 1992.

45. Film at the Public program, ed. Jonathan Rosenbaum, November 1982. The program also contains excerpts from interviews with the filmmakers under the heading, "Straub and Huillet on Filmmakers They Like and Related Matters," 5-8.

46. "Erde, Raum und Menschen: Aus einem Gespräch mit Jean-Marie Straub über das Theater- und Filmprojekt der Antigone," Frankfurter Rundschau, 22 April 1991.

47. Cited in Dietmar Schings, "Eine Frau im Licht," Deutsches Allgemeines Sonntagsblatt, 14 February 1992.

48. Handke, "Kinonacht."

49. Laurence Giavarini, "Puissance des fantômes," Cahiers du cinéma 460 (1992):74.

50. Manfred Blank, L'insistence du regard/Die Beharrlichkeit des Blicks, Hessischer Rundfunk/Arte, 1993. Film.

51. Alain Bergala, "Le plus petit planète du monde," Cahiers du cinéma 364 (1984):27-31. Translation by Thom Andersen and Bill Jones.

52. Cited in Winfried Günther, " Antigone," epd Film 11 (1992):29.

53. Among the first films exhibited to the public were the Lumière brothers' La Sortie des Usines Lumière, L'Arrivée d'un train en gare de la Ciotat, and L'Arroseur arrosé , all made in 1895. Straub/Huillet "quote" Workers Leaving the Lumière Factory with a shot of an Egyptian factory in Too Early, Too Late.

54. Kracauer, Theory of Film, ix.

55. Sylvia Harvey, May '68 and Film Culture (London: British Film Institute, 1978), 66.

56. See "Die Größe des Films, das ist die Bescheidenheit, daß man zur Fotografie verurteilt ist," filmwärts [Straub/Huillet issue] 9 (December 1987):10-11.

57. Roswitha Mueller, "Introduction," Discourse [Special issue: German Avant-Garde Cinema: The Seventies] 6 (Fall 1983):8.

58. Rosalind E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1984), 14.

59. "Andi Engel Talks to Jean-Marie Straub," Cinemantics 1 (1 January 1970):19.

60. Blank, L'insistence du regard.

61. Robert Bresson, "Zum Selbstverständnis des Films V," Filmkritik 9 (1966): 527-528.

62. Ibid., 528.

63. See, e.g., David Bordwell's description of the visual "theatricalization" of Moses and Aaron as against Bazin: The Films of Carl-Theodor Dreyer (Berkeley, Los Angeles, and London: University of California Press, 1981), 149.

64. "The Film as Art," Jean Renoir interview, Pacifica Radio Archive, 1960 [copyright 1983].

65. Ibid.

66. Brecht, cited in Wilhelm Große, Bearbeitungen des Johanna-Stoffes (Munich: R. Oldenbourg, 1980), 90.

67. See Große, Johanna-Stoff , 64.

68. Bertolt Brecht, Die heilige Johanna der Schlachthöfe , in Die Stücke von Bertolt Brecht in einem Band (Frankfurt am Main: Suhrkamp, 1978), 285.

69. David Bordwell, Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985), 271-273.

70. Thomas Elsaesser, New German Cinema: A History (New Brunswick: Rutgers University Press, 1989), 295.

71. Ibid., 40-41.

72. On Brecht and the cinema, see also Dana Polan, The Political Language of Film and the Avant-Garde (Ann Arbor: UMI Research Press, 1985); Martin Walsh, The Brechtian Aspect of Radical Cinema, ed. Keith M. Griffiths (London: British Film Institute, 1981); Pia Kleber and Colin Visser, eds., Re-interpreting Brecht: His Influence on Contemporary Drama and Film (Cambridge: Cambridge University Press, 1990); Sylvia Harvey, "Whose Brecht? Memories for the Eighties," Screen 23, no. 1 (May/June 1982):45-59; and Peter Wollen, "The Two Avant-Gardes," Edinburgh '76 Magazine 1:77-86.

73. D. N. Rodowick, The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory (Urbana: University of Illinois Press, 1988), 5.

74. Colin MacCabe, "Class of '68: Elements of an Intellectual Autobiography 1967-81," in Tracking the Signifier: Theoretical Essays, Film, Linguistics, Literature (Minneapolis: University of Minnesota Press, 1985), 15.

75. Rodowick, Crisis of Political Modernism, 158.

76. Thomas Elsaesser, "General Introduction: Early Cinema from Linear History to Mass Media Archaeology," in Early Cinema: Space/Frame/Narrative, ed. Thomas Elsaesser and Adam Barker (London: British Film Institute, 1990), 18.

77. Rodowick, Crisis of Political Modernism, 272.

78. Ibid., 280.

79. Cited in ibid., 289-290.

80. See Nash and Neal, "Film," 87-88.

81. Cited in Rodowick, Crisis of Political Modernism, 296-297.

82. See Harvey, May '68 and Film Culture, 47.

83. MacCabe, "Class of '68," 31.

1. Thomas Elsaesser, New German Cinema: A History (New Brunswick: Rutgers University Press, 1989), 93. Cited hereafter as NGC.

2. On various aspects of the frustration of political action and a resulting melancholy withdrawal since the 1960s, see, e.g., Todd Gitlin, Years of Hope, Days of Rage (New York: Bantam, 1987), 246; Russell Berman, Modern Culture and Critical Theory: Art, Politics, and the Legacy of the Frankfurt School (Madison: University of Wisconsin Press, 1989), 43, 98; and Richard W. McCormick, Politics of the Self: Feminism and the Postmodern in West German Literature and Film (Princeton: Princeton University Press, 1991), 17. Since Straub/Huillet's political engagement arose in the "apolitical"

1950s, they could represent what Gitlin refers to as the "missing radical generation"; see Gitlin, Years of Hope, 176.

3. "Entretien Dominique Païni-Jean Narboni," in Der Tod des Empedokles/La mort d'Empédocle, ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole des beaux-arts régionale, 1987), 62. This book is hereafter cited as Dunkerque.

4. Both Kluge and Wenders criticize Straub/Huillet for not reaching a wider audience. See Robert Phillip Kolker and Peter Beicken, The Films of Wim Wenders: Cinema as Vision and Desire (Cambridge: Cambridge University Press, 1993), 32; Alexander Kluge, "Gespräch mit Alexander Kluge," Filmkritik 12 (1976):588-589; and Tim Corrigan, A Cinema Without Walls: Movies and Culture after Vietnam (New Brunswick: Rutgers University Press, 1991), 121. Peter Handke's similar inclination to depoliticize Straub/Huillet's aesthetic radicalism will be discussed in chap. 11.

5. Cited in Anton Kaes, From Hitler to Heimat: The Return of History as Film (Cambridge: Harvard University Press, 1989), 101.

6. Gilberto Perez, "Bell-Bottom Blues," Nation (18 February 1991):211.

7. Martin Schaub, "Bilderarbeit," Cinema 3 (1976):43.

8. Ibid.

9. Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1978), 231, 241, 251n.

10. See Elsaesser, NGC, 49.

11. D. B. Polan, "Brecht and the Politics of Self-Reflexive Cinema," Jump Cut 17 (April 1978):30.

12. "Andi Engel Talks to Jean-Marie Straub," Cinemantics 1 (1 January 1970):21.

13. "Balayez-moi tout ça!" [Interview], Les Lettres Françaises, 13 January 1971.

14. Rolf Aurich, "'Irgendwo muß ein Punkt sein, daß man sieht, da brennt etwas': Versuch darüber, was der Neo-Realismus, André Bazin, Roberto Rossellini und eine Moral mit den Filmen von Danièle Huillet und Jean-Marie Straub zu tun haben könnten," filmwärts [Straub/Huillet issue] 9 (December 1987):9.

15. See Peter Wuss, Die Tiefenstruktur des Filmkunstwerks: Zur Analyse von Spielfilmen mit offener Komposition (Berlin: Henschel, 1990), and Filmanalyse und Psychologie: Strukturen des Films im Wahrnehmungsprozeß (Berlin: Edition Sigma, 1993).

16. Norbert Elias, "Gedanken zur Bundesrepublik," Merkur 9/10 (1985):733-755.

17. Rolf Aurich, "Magazin: Eine letzte Anmerkung," filmwärts 3 (May 1986):16.

18. Klaus-Detlef Müller, Die Funktion der Geschichte im Werk Bertolt Brechts (Tübingen: Niemeyer, 1967), 29.

19. Brecht, Arbeitsjournal, 2 vols., ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1973), 1:18 (3 March 1938).

20. Ibid., 1:144 (9 August 1940).

21. "After Othon, before History Lessons: Geoffrey Nowell-Smith Talks to Jean-Marie Straub and Danièle Huillet," Enthusiasm 1 (December 1975):31.

22. Cited in "A Work Journal of the Straub/Huillet Film Moses and Aaron by Gregory Woods," Enthusiasm 1 (December 1975):48.

23. Cited in K.-D. Müller, Funktion der Geschichte, 29.

24. See Timothy Corrigan, New German Film: The Displaced Image (Austin: University of Texas Press, 1983); James Franklin, New German Cinema: From Oberhausen to Hamburg (Boston: Twayne, 1983); Eric Rentschler, West German Film in

the Course of Time: Reflections on the Twenty Years since Oberhausen (Bedford Hills, N.Y.: Redgrave, 1984); John Sandford, The New German Cinema (London: Oswald Wolff, 1980), 27-36; and Maureen Turim, "Jean-Marie Straub and Danièle Huillet: Oblique Angles on Film as Ideological Intervention," in West German Filmmakers, ed. Klaus Phillips (New York: Ungar, 1984), 335-358.

25. See Kaes, From Hitler to Heimat; Eric L. Santner, Stranded Objects: Mourning, Memory, and Film in Postwar Germany (Ithaca: Cornell University Press, 1990); and Elsaesser, NGC .

26. Kaes, From Hitler to Heimat , 9, 18-20.

27. See Elsaesser, NGC , esp. 8-35; Elsaesser downplays the importance of politics in the decade before 1967, however. Perhaps the audience was not as political as later, but the motives and positions among young filmmakers and critics certainly were. See also Rentschler, West German Film .

28. Franklin, New German Cinema , 35.

29. See Elsaesser, NGC , 24, 27.

30. Harun Farocki, unpublished interview with the author, February 1992.

31. Elsaesser, NGC , 20.

32. "Le cinema du Papa est mort" had been the title of a French review of Last Year at Marienbad . See Hans-Dieter Roos, "Brief aus Paris: Papas Kino ist tot," Filmkritik 1 (1962):7.

33. Sylvia Harvey cites the importance of Brecht and Benjamin for French film theory in the 1960s as well, especially in Cahiers du cinéma and Cinétique: May '68 and Film Culture (London: British Film Institute, 1978), 69.

34. See Filmkritik 5 (1968).

35. Enno Patalas, "Herr K. erobert Venedig," Filmkritik 10 (1966):547.

36. Wilhelm Roth, "Nachlese in Mannheim," Filmkritik 11 (1968):740.

37. Frankfurter Rundschau , 30 November 1965.

38. On the importance of the festival to the New German Cinema, see Rentschler, West German Film , 75, and Franklin, New German Cinema , 21.

39. See the discussion in chap. 4.

40. Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hansen Verlag, 1976), 13.

41. Franklin, New German Cinema , 47-48, 130, 136, 141.

42. Enno Patalas, "Ansichten einer Gruppe," Filmkritik 5 (1966):247.

43. In a 1980 interview, Straub/Huillet name the following as those whose work they admired while in Germany: Vlado Kristl, Peter Nestler, Rudolf Thome, Klaus Lemke, Max Zihlmann, Hellmuth Costard, Werner Nekes. See Jochen Brunow, "Der Maschine Widerstand leisten," Filme 1 (1980):31-32. On the marginality of Thome and Lemke and their alternative to Oberhausen, cf. Elsaesser, NGC , 120, 136.

44. See Elsaesser, NGC , 43-44, 74.

45. Ibid., 78.

46. Ibid., 73.

47. See, e.g., Schaub, "Bilderarbeit," 33, 43; Ulrich Greiner, "Achtung Liebe! Vorsicht Kino!" Die Zeit , 2 March 1984.

48. The groundbreaking work for many of these interpretations was Alexander Mitscherlich and Margarete Mitscherlich's The Inability to Mourn (London: Tavistock, 1975).

49. Santner, Stranded Objects , 30.

50. Jochen Brunow, "Der Maschine Widerstand leisten: Begegnung mit Danièle Huillet und Jean-Marie Straub," Filme 1 (1980):31.

51. Ibid.

52. Peter Gidal, "Straub/Huillet Talking and Short Notes on Some Contentious Issues," Ark/Journal from the Royal College of Art (January 1976):97.

53. "Andi Engel Talks to Jean-Marie Straub," 21.

54. Ibid.

55. Cited in "Straub and Huillet on Filmmakers They Like and Related Matters," Film at the Public program, ed. Jonathan Rosenbaum, November 1982, 5.

Straub/Huillet returned to this example in the press conference after the Berlin premiere of Antigone in 1992, this time identifying with Artur Brauner, the Jewish producer of those films, whose Europa, Europa (directed by Agneszka Holland) was refused the imprimatur of a "German" film.

56. Kaes, From Hitler to Heimat , 19, 114.

57. See B. Ruby Rich's criticism of this tone in Kluge's authorial voice: "She Says, He Says: The Power of the Narrator in Modernist Film Politics," Discourse [Special issue: German Avant-Garde Cinema: The Seventies] 6 (Fall 1983):31-46.

58. "Andi Engel Talks to Jean-Marie Straub," 21.

59. Kaes, From Hitler to Heimat , 120, 239.

60. Cited in Elsaesser, NGC , 136.

61. Ibid.

62. Kaes, From Hitler to Heimat , 132.

63. Santner, Stranded Objects , xiii.

64. Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988) 100, ll. 447-450. Since the subtitles have not been translated, I have left the original German in the text. For a rather free translation of Brecht's version, see Judith Malina, Sophocles' Antigone, Adapted by Bertolt Brecht, Based on the German Translation by Friedrich Hölderlin (New York: Applause Theatre Book Publishers, 1990). A more literal rendering:

It's false. Earth is a burden. Home is not only
Earth, not house only. Not where one has poured out sweat
Not the house that helplessly sees the approaching fire
Not where he bowed his neck, not that calls he home.

65. I discuss this issue in more detail in the chapters on Not Reconciled and History Lessons . See also James E. Young, "The Counter-Monument: Memory Against Itself in Germany Today," Critical Inquiry 18 (Winter 1992):267-296.

66. Martin Walsh, The Brechtian Aspect of Radical Cinema , ed. Keith M. Griffiths (London: British Film Institute, 1981), 59.

67. Antigone , press materials courtesy Edition Manfred Salzgeber, Berlin.

68. Elsaesser, NGC , 298; Corrigan, New German Film , 22-23. See also Pierre Sorlin, "Challenging Hollywood," in European Cinemas, European Societies 1939-1990 (London: Routledge, 1991), 138ff.

69. Peter Zach, "Vom Unglück in einer Maschine zu sein, die viele Freiheiten beinahe hat, aber in sich das Glück nur ab und zu zeigt" [Interview with Straub/Huillet], Blimp (March 1985):16; "Entretien avec Jean-Marie Straub et Danièle Huillet," in Dunkerque , 34.

70. Elsaesser, NGC , 284-289.

71. Kuby wrote a number of works critical of rearmament and the West German Right, particularly Franz Josef Strauss. See his Das ist des Deutschen Vaterland: 70 Millionen in zwei Wartesälen (Stuttgart: Scherz and Goverts, 1957), and Franz Josef Strauss: Ein Typus unserer Zeit [with Eugen Kogon, Otto von Loewenstern, and Jürgen Seifert] (Vienna: Kurt Desch, 1963). Howard Vernon is perhaps best known for his roles in Godard's Alphaville and Lang's The Thousand Eyes of Dr. Mabuse .

72. Straub/Huillet criticize this abandonment of Germany and the German language by Fassbinder and Wenders, arguing it diminished the space for their own films to function. See Zach, "Vom Unglück in einer Maschine zu sein," 16.

73. Zach, "Vom Unglück in einer Maschine zu sein," 20.

74. Michael Klier, Porträts der Filmemacher: Jean-Marie Straub , WDR, Cologne, 1970. Film.

1. Chronicle won the German film critics' prize (Bambi), was screened at "critics' week" in Cannes, and won the Grand Prize at the festivals in London and Prades (all 1968).

2. Anticipating the continued use of siblings in acting roles, as in Empedocles and Antigone , this actor is the sister of Renate Lang, who played Inn in Machorka-Muff .

3. Roy Armes, "Jean-Marie Straub: Strict Counterpoint," in The Ambiguous Image (London: Secker and Warburg, 1976), 211, 212.

4. For English translations of such documents, see Hans T. David and Arthur Mendel, eds., The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents (New York: W. W. Norton, 1966).

5. See Esther Meynell, The Little Chronicle of Anna Magdalena Bach (Boston: E. C. Schirmer, 1934). The book was first published anonymously in 1925 and was also published in Germany without the author's name: Die Kleine Chronik der Anna Magdalena Bach (Reutlingen: Bertelsmann, 1957). Examples of events from Meynell's chronicle that appear in the film include Bach's discourse on the virtues of the basso continuo (113); the acoustic marvels of the Apollo-Saal in the Berlin Opera (118); the co-rector who "turned out Krause in the middle of a hymn and put Küttler in his place" (127); the wording of Bach's intransigence--"He would not retract anything in the matter, let it cost what it might" (128); the origins of "A Musical Offering" during Bach's visit to Potsdam, where the monarch played a theme for him "and Sebastian proceeded to develop it in his own learned and incomparable manner, to the great astonishment and admiration of the King" (170-171). Although these are documents used by both Meynell and Straub/Huillet, it is plausible that the 1957 publication brought the filmmakers to think of using them in the film.

6. Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hanser Verlag, 1976), 205. Cited hereafter as HKS .

7. Most of the information on the attempts to produce Chronicle, Machorka-Muff , and Not Reconciled is drawn from the following: Rainer Rother, "Das mühsame Geschäft des Filmemachens: Zur Entstehungsgeschichte von Machorka-Muff und Nicht versöhnt oder Es hilft nur Gewalt, wo Gewalt herrscht ," in Machorka-Muff: Jean-

Marie Straub und Danièle Huillets Verfilmung einer Satire von Heinrich Böll , ed. Reinhold Rauh (Münster: MAKS, 1988), 65-78; "Andi Engel Talks to Jean-Marie Straub," Cinemantics 1 (1 January 1970):16-23; and Uwe Nettelbeck, "Plädoyer für ein Projekt: Der Fall Jean-Marie Straub," Die Zeit , 14 October 1966.

8. Cahiers du cinéma 180 (July 1966):57.

9. Ibid.

10. See "Andi Engel Talks to Jean-Marie Straub and Danièle Huillet Is There Too," Enthusiasm 1 (December 1975):1.

11. "Engel Talks to Straub," 17.

12. Ibid.; "Engel Talks to Straub and Huillet," 2.

13. "Engel Talks to Straub," 16.

14. See Nettelbeck, "Plädoyer für ein Projekt"; Filmkritik 12 (1966):662; and Filmkritik 3 (1967):122.

15. " Chronik der Anna Magdalena Bach " [Interview with Jean-Marie Straub], Film (April 1968):25. Hereafter cited as Film .

16. Ibid.

17. Ibid.

18. See Philippe Sollers on anti-Fascism and pop culture in the 1950s: "Why the United States?" in The Kristeva Reader , ed. Toril Moi (New York: Columbia University Press, 1986), 283-284.

19. Klaus Eder, "Der wiedergefundene Barock," Film (April 1968):28; Straub refers to the "Gesetzeshüter" in the video portrait by Michael Klier.

20. "Engel Talks to Straub and Huillet," 1.

21. Film , 25.

22. Ibid.

23. Ibid., 27.

24. Michael Gielen has described the care with which Straub/Huillet planned the cuts from shot to shot in Moses and Aaron (see chap. 7).

25. For the screenplay, see Jean-Marie Straub, Chronik der Anna Magdalena Bach (Frankfurt am Main: Verlag Filmkritik, 1969).

The excerpts from the works performed are the following:

1. Brandenburg Concerto no. 5 (BWV 1050), Allegro I, measures 147-227, harpsichord and orchestra, 1720-1721

2. Clavierbüchlein for Wilhelm Friedemann Bach, Prelude VI(BWV 928), clavichord, 1720

3. Clavierbüchlein for Anna Magdalena Bach, Minuet II of the Suite in D Minor (French Suite I, BWV 812), spinet, 1722

4. Adagio of the Sonata no. 2 in D Major (BWV 1028), viola da gamba and harpsichord obligato, c. 1720

5. Largo of the Trio Sonata no. 2 in C Minor (BWV 526), organ, 1727

6. "Magnificat" in D Major (BWV 243), nos. 11 and 12 to measure 19, 1728-1731

7. Clavierbüchlein for Anna Magdalena Bach, Tempo di gavotta of the Partita in E Minor (BWV 830), spinet, 1725

8 . Cantata (BWV 205), "Der zufriedengestellte Äolus," 1725

9 . Trauer Ode (BWV 198), final chorus, 1727

10 . Cantata (BWV 244a), "Funeral Music for Prince Leopold," measure 25 to the end, 1729

11 . St. Matthew Passion (BWV 244), initial chorus, 1736

12 . Cantata (BWV 42), introductory sinfonia (Da capo of measures 1-53 and recitative for tenor: "Am Abend aber desselbigen Sabbats"), 1725

13 . Prelude for organ in B Minor (BWV 544), first part, 1727-1731

14 . First Kyrie of the B Minor Mass for Chorus and Orchestra (BWV 232), measures 1-30, 1731-1733

15 . Cantata (BWV 215), "Preise dein Glücke, gesegnetes Sachsen," initial chorus, measures 1-181, 1734

16 . Ascension Oratorio (BWV 11), final chorus, second part, 1735

17 . Usual Latin Sunday motet for the 11th Sunday after Trinity, from the Florilegium Portens of Erhard Bodenschatz, in eight parts, by Leone Leoni

18 . Chorale "Kyrie, Gott heiliger Geist" (BWV 671), from the third part of the Clavierübung, organ, 1739

19 . Italian Concerto (BWV 971), andante, 1735

20 . Cantata (BWV 140), "Wachet auf, ruft uns die Stimme," first duet, measures 1-36, 1731

21 . Goldberg Variations (BWV 988), 25th variation, clavecin, 1741-1742

22 . Cantata (BWV 82), "Ich habe genug," last recitative and last aria, 1727

23 . Musical Offering (BWV 1079), Ricercar a 6, measures 1-39, harpsichord, 1747

24 . Art of the Fugue (BWV 1080), Contrapunctus xix, measures 193-239, harpsichord, 1750

25 . Chorale (BWV 668), "Vor deinen Thron tret ich," first part, organ, 1750

26. Maureen Turim, " Ecriture Blanche : The Ordering of the Filmic Text in The Chronicle of Anna Magdalena Bach," Purdue Film Studies Annual (1976): 177.

27. Ibid.

28. I have adjusted Turim's shot numbers to correspond to the published screenplay.

29. Turim, " Ecriture Blanche ," 180.

30. Turim cites Eisenstein's essay "The Music of Landscape," published in installments in Cahiers du cinéma , 211 (April 1969) to 219 (April 1970), as the best theoretical source for analysis of the "counterpoint" of this film but also argues that the tension created by Straub/Huillet's editing exceeds Eisenstein's "montage of attractions"; Turim, " Ecriture Blanche ," 184-185. See Sergei Eisenstein, "The Music of Landscape and the Fate of Montage Counterpoint at a New Stage,'' in Nonindifferent Nature , trans. Herbert Marshall (Cambridge: Cambridge University Press, 1987), 216-396.

31. Turim, " Ecriture Blanche ," 189.

32. Joachim Kaiser, "Respekt, Spiel, Freiheit: Zu drei Filmen über Musik: Chronik der Anna Magdalena Bach, Eika Katappa, Ludwig van. . ." Fernsehen und Film 2, no. 2 (August 1970):28.

33. Friedrich Hommel, "Le Martyr de Saint-Jean-Sébastien: Anmerkungen eines Musikkritikers zu Straubs Chronik der Anna Magdalena Bach," Film (May 1968):31.

34. Kaiser, "Respekt, Spiel, Freiheit," 28.

35. Ibid.

36. Hommel, "Le Martyr de Saint-Jean-Sébastien," 31.

37. Kaiser, "Respekt, Spiel, Freiheit," 28.

38. Hommel, "Le Martyr de Saint-Jean-Sébastien," 31.

39. Texte zu den Kirchenkantaten von Johann Sebastian Bach/The Texts to Johann Sebastian Bach's Church Cantatas , trans. Z. Philip Ambrose (Neuhausen-Stuttgart: Hänssler-Verlag, 1984), 339.

40. Hommel, "Le Martyr de Saint-Jean-Sébastien," 31.

41. Kaiser, "Respekt, Spiel, Freiheit," 28.

42. Hommel, "Le Martyr de Saint-Jean-Sébastien," 31.

43. Turim, " Ecriture Blanche ," 183-184.

44. Frieda Grafe, "Ein deutsches Selbstporträt?" Filmkritik 2 (1966):144.

45. See shot 37, BWV 205, Straub, Chronik , 33.

46. "Gespräch mit Danièle Huillet und Jean-Marie Straub," Filmkritik 10 (1968): 688; Meynell, Little Chronicle , 59.

47. See Herbert Linder, "Kinder, aufgepaßt!" Filmkritik 10 (1968):710. On the Mitchell camera, see Film , 26.

48. This effect is reminiscent of Fritz Lang, for instance in the film Hangmen Also Die , with a script co-authored by Bertolt Brecht. A professor and Czech anti-Fascist, played by Walter Brennan, awaits execution in a prison cell. He is visited by his daughter, to whom he gives a moving speech on how he wants his death to be remembered, much in the tone of Brecht's poem "An die Nachgeborenen" (To Those Born After). The action into and out of the scene moves to and from a door seen to the left of the simple wooden chair in the center of the cell, where Brennan recites the speech. After his daughter leaves in this direction, the sound of soldiers approaching is heard, and one assumes they will soon arrive at this door (to the left) to take Brennan away. But at the end of the scene, the camera pans to the right to reveal a window, the presence of which was unknown before. The shock of this revelation gives the scene a powerful effect of the possibilities held by the unknown future--and even death.

49. Chronik der Anna Magdalena Bach, Kleine Filmkunstreihe 81, ed. Herbert Linder (Frankfurt am Main: Neue Filmkunst, 1969), n.p. Hereafter cited as Kleine Filmkunstreihe .

50. "Gespräch," 689.

51. Film , 25.

52. Helmut Färber, "Im anschluß an das Protokoll der Chronik der Anna Magdalena Bach," Filmkritik 10 (1968):695-703.

53. "Gespräch," 689-690.

54. Ibid., 690.

55. HKS , 210.

56. Meynell, Little Chronicle , 42.

57. Eder, "Der wiedergefundene Barock," 28.

58. Jörg Peter Feurich, "Tagebuch," Filmkritik 8 (1968):529.

59. Hommel, "Le Martyr de Saint-Jean-Sébastien," 31.

60. Feurich, "Tagebuch," 529.

61. Wolfram Schütte, Frankfurter Rundschau , 6 April 1968.

62. Ibid.

63. Feurich, "Tagebuch," 529.

64. Kleine Filmkunstreihe , n.p.

65. "Gespräch," 690.

66. Ibid.

67. Straub, Chronik , frontispiece.

68. Film , 26.

69. Kleine Filmkunstreihe , n.p.

1. Michel Delahaye, "Pornographie et cinéma à l'état nu" [Interview with Jean-Marie Straub], Cahiers du cinéma 180 (July 1966):56.

2. Ibid.

3. See "Straub and Huillet on Filmmakers They Like and Related Matters," Film at the Public program, ed. Jonathan Rosenbaum, November 1982, 5.

4. Michael Klier, Porträts der Filmemacher: Jean-Marie Straub , WDR, Cologne, 1970. Film.

5. "Andi Engel Talks to Jean-Marie Straub," Cinemantics 1 (1 January 1970): 17. Straub/Huillet eventually made the newsmagazine Der Spiegel for traveling all the way from Munich to Bonn to record the sound of the trolleys, insisting that they do not sound at all alike.

6. "Engel Talks to Straub," 18. Thomas Elsaesser relates the Karajan anecdote with Artur Brauner as the producer, but refers to Straub and not a published source. Brauner did, however, make a small donation to the Filmfonds for the Bach film; Straub does not mention him in the interviews as a possible producer. Elsaesser, New German Cinema: A History (New Brunswick: Rutgers University Press, 1989), 68; cited hereafter as NGC .

7. Rainer Rother, "Das mühsame Geschäft des Filmemachens: Zur Entstehungsgeschichte von Machorka-Muff und Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht ," in Machorka-Muff: Jean-Marie Straubs und Danièle Huillets Verfilmung einer Satire von Heinrich Böll , ed. Reinhold Rauh (Münster: MAKS, 1988), 66-67.

8. Machorka-Muff thus relates to Not Reconciled in the same way that a number of short Straub/Huillet films serve as "studies" for larger works. Other examples would be the Schoenberg short (made close to History Lessons and in preparation for the major project Moses and Aaron ), the Mallarmé film (the first film with William Lubtchansky as cinematographer), and En Râchâchant (made before Class Relations ). This often allowed Straub/Huillet and some new crew members to become acquainted with working together and to try out sets, locations, or lighting before going on to a larger project.

9. The leaflet read, "Since the all-wise Gentlemen from the selection committee had no eyes, no ears, no sense for the cinematographic newness of Machorka-Muff --or

no sense for democracy (?), Machorka-Muff will be shown elsewhere in Oberhausen this week, to which you are invited." See Rother, "Das mühsame Geschäft," 65.

10. Ibid., 68; "Engel Talks to Straub," 18.

11. "Engel Talks to Straub," 18.

12. The letter from Stockhausen, published in Film 1, no. 2 (June/July 1963):52, and reprinted in Rother, "Das mühsame Geschäft," 69-70, reads as follows:

[2 May 1963]

Dear Mr. Straub,

First I want to congratulate you on the film I recently saw in Cologne. You yourself will know that you are following the difficult path. Therefore I am writing you so you will know that in this film you have done good work. In the realm of the spirit [ Geist ] it is not quantity that counts, but the truthfulness and the creative accomplishment.

The subject is taken from our time. It is true, precise and of general validity. Whoever censures exaggeration knows nothing of the artistic necessity of pushing an idea to the limit so that it really comes across. Give such grumblers Greek dramas or Shakespeare to read. What interested me most in your film is the composition of time, which is—as it is to music—particular to film. You have achieved good proportions in the duration of scenes, between those which almost stand still—how astonishing is the courage to be still, to a slow tempo, in such a relatively short film!—and extremely fast events—brilliant, to choose for this the newspaper citations in all angles to the vertical of the screen. Furthermore, the relative density of the changes in the varied tempos is good. Where one would have to work further would be on giving equal rights to the characters and locations: "main characters," "climaxes" (the speech at the laying of the cornerstone) would gradually have to disappear: Let each element have is own irreplaceable and indispensable moment; no decoration. "Everything is the main thing," said Webern in such cases (but each in its own time, one would have to add). Also good is the openness, the continuation of thinking in the heads of the spectators, dispensing with any gesture of overture or finale. There is much I could still add: the total lack of pedantics, do-gooding [ das Weltverbessernde ], illusion, symbolism, the false as-if: you didn't need it and chose facts instead; but not as flat reporting, but in that exaggeration, the uncanny sheet-lightning of the camera work, in the streets, in the hotel (very good is the empty wall of the hotel room that stands for a long time; one can't get away from its staleness), out the window. And in addition, this "unrealistic" condensation in time, without being rushed. On this tightrope between truth, concentration and exaggeration (which burns itself into perception) one can go further. Nowhere else. For we know today that even the shredded illusion is an illusion. You don't want to "change'' the world, but rather engrave in it the trace of your presence and thereby say that you have seen a part of this world, have unfolded it as it gives itself to you. That has pleased me. All negative criticism must stand back behind these criteria. I look forward with anticipation to your work to come. Let in a little calmness, much stillness, much space and cheerfulness of heart—it broadens the scale.

13. "Engel Talks to Straub," 18.

14. Rother, "Das mühsame Geschäft," 72.

15. Delahaye, "Pornographie et cinéma," 53.

16. Reinhold Rauh, "Vorwort," in Machorka-Muff: Jean Marie Straubs und Danièle Huillets Verfilmung einer Satire von Heinrich Böll , ed. Reinhold Rauh (Münster: MAKS, 1988), 9.

17. Ibid., 7.

18. Heinrich Böll, "Bonn Diary," in Absent Without Leave and Other Stories , trans. Leila Vennewitz (London: Weidenfeld and Nicolson, 1967), 300-312. The story first

appeared in Aufwärts (Cologne) on 15 September 1957. Straub mistakenly cited publication in Welt der Arbeit , probably because its editor had been Gottfried Bold, who played the politician in Not Reconciled and the banker in History Lessons . For a leftist view of the political steps toward remilitarization of West Germany, cf. Martin Kampe, SPD und Bundeswehr: Studien zum militärisch-industriellen Komplex (Cologne: Pahl-Rugenstein, 1973), 42-43 and passim.

19. Böll, "Bonn Diary," 304.

20. Peter Nau, "Filme Lesen," Filmkritik 6 (1979):263-272.

21. Ibid., 266.

22. Ibid., 268-269.

23. Böll, "Bonn Diary," 310-311.

24. Ibid., 312.

25. Ibid., 308.

26. Ibid., 303.

27. Ibid.

28. Ibid., 300, 305, 306, 307.

29. Ibid., 304.

30. Ibid., 307.

31. Ibid., 303-304. Absurdly, this line was given as part of the justification for the official restriction of the film to adult viewers, thus damaging the film's access to both audiences and additional funding. See Rother, "Das mühsame Geschäft," 68.

32. Böll, "Bonn Diary," 308.

33. Ibid., 309.

34. Nau, "Filme Lesen," 270.

35. Eric Rentschler, "The Use and Abuse of Memory: New German Film and the Discourse of Bitburg," New German Critique 36 (Fall 1985):76.

36. Karsten Witte, cited in Rentschler, "Use and Abuse of Memory," 76.

37. Rentschler, "Use and Abuse of Memory," 76.

38. Böll, "Bonn Diary," 305.

39. See Nau, "Filme Lesen," 266.

40. Böll, "Bonn Diary," 305.

41. Cited in Reinhold Rauh, " Machorka-Muff --Thema and Form," in Machorka-Muff: Jean-Marie Straubs und Danièle Huillets Verfilmung einer Satire von Henirich Böll , ed. Reinhold Rauh (Münster: MAKS, 1988), 60.

42. Helmut Färber, "Machorka Muff" [ sic ], Filmkritik 1 (1964):36.

43. Jean-Marie Straub, Letter to Editor, Filmkritik 4 (1964):221.

44. Ibid.

45. See Karsten Witte's description of the film's broadcast without either the dedication or director's credits: Im Kino. Texte vom Sehen und Hören (Frankfurt am Main: Fischer, 1985), 120. The letter protesting the television censorship appeared in Filmkritik 5/6 (1975):253.

46. "Engel Talks to Straub," 20.

47. See, e.g., Franz Wille, "Griechische Puppenstube," Frankfurter Allgemeine Zeitung , 7 May 1991. Another specific political dedication was not reported in most reviews: to "Georg von Rauch, who was murdered by the police." Wille notes that von Rauch was a member of the June 2 Movement who died under uncertain circumstances in police custody in 1971. He was the brother of Andreas von Rauch, the actor of the

role of Empedocles in the Straub/Huillet films. See Wilhelm Schmid, "Auf der Bühne steht nur der Diskurs," die tageszeitung , 7 May 1991.

48. Straub uses the German term Filmkunstgetto in the Cahiers interview in 1966; see Delahaye, "Pornographie et cinéma," 52. See the discussion of the New German Cinema's relation to Hollywood in chap. 2.

49. Straub, Letter to Editor, 221.

50. On the "authors' cinema" in West Germany, see Elsaesser, NGC , esp. 74-116.

51. See Elsaesser, NGC , 111, 237.

52. Wilhelm Roth, "Tagebuch," Filmkritik 11 (1968):740.

53. The script of the film is published in Filmkritik 10 (10):681-687.

54. BWV 11, see Texte zu den Kirchenkantaten von Johann Sebastian Bach/The Texts to Johann Sebastian Bach's Church Cantatas , trans. Z. Philip Ambrose (Neuhausen-Stuttgart: Hänssler-Verlag, 1984), 48. The same work is excerpted in Chronik as well, shots 59-61.

55. Peter Handke, "Kinonacht, Kinotiernacht," Die Zeit , 20 November 1992.

56. Bruckner was strongly influenced by the expressionist playwright Carl Sternheim, then moved into a style of "radical naturalistic objectivity." See Ferdinand Bruckner, Pains of Youth , trans. Daphne Moore (Bath: Absolute Press, 1989).

57. "Post-scriptum de J.-M. Straub," Cahiers du cinéma 212 (May 1969):10.

58. Bernd Eckhardt, Rainer Werner Fassbinder: In 17 Jahren 42 Filme--Stationen eines Lebens für den deutschen Film (Munich: Heyne, 1982), 84. On Fassbinder's theater work, see also Fassbinder's Antiteater: Fünf Stücke nach Stücken , afterword by Michael Töteberg (Frankurt am Main: Verlag der Autoren, 1986); and "Die Sachen sind so, wie sie sind," Fernsehen und Film (December 1970):18ff.

59. Wilfried Wiegand, "The Doll in the Doll: Observations on Fassbinder's Films," in Fassbinder (New York: Tanam, 1981), 26. [Translation by Ruth McCormick of the 1974 Hanser Reihe Film volume.]

60. Wilfried Wiegand, "Interview with Rainer Werner Fassbinder," in Fassbinder (New York: Tanam, 1981), 63-64.

61. St. John of the Cross, "Romance on the Gospel," 11. 145-149, in Antonio T. de Nicolás, St. John of the Cross: Alchemist of the Soul (New York: Paragon House, 1989), 95. The texts spoken in the film are the following: "Romance on the Gospel," 11. 145-156; "Spiritual Canticle," stanza 22 (first version) or stanza 29 (second version).

62. Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hanser Verlag, 1976), 78.

63. Ibid., 78-79.

1. James E. Young, "The Counter-Monument: Memory Against Itself in Germany Today," Critical Inquiry 18 (Winter 1992):267-296.

2. Ibid., 273.

3. Thomas Elsaesser, New German Cinema: A History (New Brunswick: Rutgers University Press, 1989), 258. Elsaesser writes that this film shares this quality in German cinema only with the films of a few Jewish exiles and feminist filmmakers.

4. Peter Handke, "Kinonacht, Kinotiernacht," Die Zeit , 20 November 1992.

5. See Heinrich Böll, Querschnitte aus Interviews, Aufsätzen und Reden von Heinrich Böll , ed. Viktor Böll and Renate Matthaei (Cologne: Kiepenheuer and Witsch, 1977).

6. As Klaus Jeziorkowski has noted, the longest sequences dedicated to the past are given to the three characters, Robert, Heinrich, and Johanna, filling most of chapters 3, 4, and 5, respectively. All three characters recount the past as their own way of avoiding the present. To this extent, these accounts are more than exposition. See Klaus Jeziorkowski, Rhythmus und Figur: Zur Technik der epischen Konstruktion in Heinrich Bölls "Der Wegwerfer" und "Billard um halbzehn" (Bad Homburg: Gehlen, 1968), 110.

7. Heinrich Böll, Billiards at Half Past Nine (New York: McGraw-Hill, 1962), 9; Billard um halbzehn (Cologne: Kiepenheuer and Witsch, 1959), 5. Cited hereafter with the page numbers from the English edition first, followed by those of the German.

8. Ibid., 157/173.

9. Ibid., 32/41.

10. Ibid., 41/50.

11. Ibid., 63/73.

12. Ibid., 35/44.

13. Ibid., 50/60.

14. Manfred Durzak assumes that the characters have been reconciled by the narrative and considers this a flaw in the novel's execution. For my interpretation, especially in regard to the film, this apparent reconciliation becomes less significant than the breaking open of temporal structures, which Durzak also stresses. See Manfred Durzak, Der deutsche Roman der Gegenwart (Stuttgart: Kohlhammer, 1971), 69.

15. Böll, Billiards , 149/164.

16. Ibid., 151/166.

17. Ibid., 239/260.

18. Ibid., 241/262.

19. Ibid., 245/266.

20. Ibid., 275/299.

21. Ibid., 251/273.

22. Cited in Marcel Reich-Ranicki, ed., In Sachen Böll: Ansichten und Aussichten (Cologne: Kiepenheuer and Witsch, 1968), 331.

23. Straub/Huillet were here contrasting the attitude toward violence in Nicholas Ray with that of Buñuel and Hawks. See "Straub and Huillet on Filmmakers They Like and Related Matters," Film at the Public program, ed. Jonathan Rosenbaum, November 1982, 7.

24. Richard Roud, Jean-Marie Straub (London: Secker and Warburg/British Film Institute, 1971; New York: Viking, 1972). All screenplay notes given by shot number in the text refer to the translation published on pp. 124-170 of the London edition.

25. On the Holocaust Memorial Museum, see, e.g., Phillip Lopate, "Resistance to the Holocaust," Yehuda Bauer, "Don't Resist," and Deborah E. Lipstadt, "What Is the Meaning of This to You ?" [Critiques of Phillip Lopate], Tikkun 4, no. 3 (1990): 55-69. On the use of an enlarged casting of a Käthe Kollwitz pietà for the Central Memorial in Berlin, see "Mutter im Regen," Der Spiegel 46 (15 November 1993): 268-270.

26. Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hanser Verlag, 1976), 212.

27. Böll, Billiards , 44/53.

28. Ibid., 241/262.

29. See Stephen Heath, "Narrative Space," Screen 17, no. 3 (Autumn 1976):68-112.

30. "Er blickte auf . . ."--in the billiard room; "Er sah sich auf den Uferwiesen stehen . . ."--in habitual action in the unspecified past; and finally, "Sie zappelten vorn an der Linie herum . . ."--past action on the specific day, 14 July 1935. Böll, Billiards , 32-34/41-43.

31. Böll, Billiards , 228-229/248-249.

32. Ibid., 279/303.

33. Michel Delahaye, "Pornographie et cinéma a l'état nu" [Interview with Jean-Marie Straub], Cahiers du cinéma 180 (July 1966):56.

34. Ibid.

35. Ibid., 55.

36. Ibid., 57.

37. Suite no. 2 in B Minor (BWV 1067).

38. Roud, Jean-Marie Straub , 62.

39. Roud, in Jean-Marie Straub , speaks of "Baroque" diagonals.

40. Roud, Jean-Marie Straub , 11.

41. Delahaye, "Pornographie et cinéma," 55.

42. Ibid., 56.

43. Ibid., 54.

1. An earlier version of this chapter appeared in Essays on Brecht = Versuche über Brecht , Brecht Yearbook, vol. 15, ed. Marc Silberman et al. (Madison: International Brecht Society/University of Wisconsin Press, 1990), 125-149.

Bertolt Brecht, Die Geschäfte des Herrn Julius Caesar (Berlin: Gebrüder Weiss, 1957), 51. See Walter Busch, Caesarismuskritik und epische Historik: Zur Entwicklung der politischen Ästhetik Bertolt Brechts 1936-1940 (Frankfurt am Main: Peter Lang, 1982), 43; Herbert Claas, Die politische Ästhetik Bertolt Brechts vom Baal zum Caesar (Frankfurt am Main: Suhrkamp, 1977), 167; Wolfgang Dieter Lebek, "Brechts Caesar-Roman: Kritisches zu einem Idol," in Bertolt Brecht--Aspekte seines Werkes, Spuren seiner Wirkung , ed. Helmut Koopmann and Theo Stammen (Munich: Verlag Ernst Vogel, 1983), 173-174; Harro Müller, "Anmerkungen zu Brechts historischem Roman Die Geschäfte des Herrn Julius Caesar ," Zeitschrift für deutsche Philologie 104, no. 4 (1985):602.

2. The novel fragment is relatively obscure among Brecht's works, despite its being held in high regard by a number of critics. The segments included in Straub/Huillet's screenplay remain the only English translation: see " History Lessons ," Screen 17, no. 1 (Spring 1976):54-76.

3. Class, Die politische Ästhetik , 137.

4. Maureen Turim, "Textuality and Theatricality in Brecht and Straub/Huillet: History Lessons (1972)," in German Film and Literature: Adaptations and Transformations , ed. Eric Rentschler (New York: Methuen, 1986), 235. Turim concentrates on

the theatricality, which makes the film an excellent example of "political modernism," rather than examining the method of narration.

5. Sylvia Harvey, "Whose Brecht? Memories for the Eighties," Sreen 23, no. 1 (May/June 1982):57.

6. See Martin Walsh, "Brecht and Straub/Huillet: The Frontiers of Language, History Lessons," Afterimage 7 (Summer 1978):12-32. Reprinted (abridged) as " History Lessons : Brecht and Straub/Huillet," in Martin Walsh, The Brechtian Aspect of Radical Cinema , ed. Keith M. Griffiths (London: British Film Institute, 1981), 60-77.

7. See Peter Gidal, Materialist Film (London: Routledge, 1989), 36-41, 90. The reification of Brecht's ideas into a prescriptive theory is discussed at length in D.N. Rodowick, The Crisis of Political Modernism: Criticism and Ideology in Contemporary Film Theory (Urbana: University of Illinois Press, 1988), esp. chaps. 6 and 7.

8. See Christopher Roos, "The Adventures of the Signifier: The Driving Sequences in History Lessons," Purdue Film Studies Annual (1980):250-255; Gilberto Perez, "Modernist Cinema: The History Lessons of Straub and Huillet," Artforum 17, no. 2 (October 1978):46-55; Maureen Turim, "Jean-Marie Straub and Danièle Huillet: Oblique Angles on Film as Ideological Intervention," in New German Filmmakers , ed. Klaus Philips (New York: Ungar, 1984), 335-358.

9. Harvey, "Whose Brecht?" 56.

10. Martin Walsh, "Frontiers of Language," 21.

11. See Hans Jürgen Syberberg, Hitler--ein Film aus Deutschland , 1977.

12. H. Müller, "Anmerkungen zu Brechts historischem Roman," 602; and Claas, Die politische Ästhetik , 11.

13. Bertolt Brecht, Arbeitsjournal , 2 vols., ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1973), 1:72 (7 December 1939). All translations are my own.

14. Brecht, Arbeitsjournal , 1:42 (26 February 1939).

15. Ibid., 1:11 (23 July 1938).

16. Klaus-Detlef Müller, Die Funktion der Geschichte im Werk Bertolt Brechts: Studien zum Verhältnis von Marxismus und Aesthetik (Tübingen: Max Niemeyer Verlag, 1972), 31.

17. Ibid., 113.

18. Bertolt Brecht, Die Geschäfte des Herrn Julius Caesar (Berlin: Gebrüder Weiss, 1957), 51.

19. Ibid., 50.

20. Ibid., 217.

21. Ibid., 232.

22. K.-D. Müller, Die Funktion der Geschichte , 113.

23. Brecht, Geschäfte , 208.

24. Ibid., 211-212.

25. Walsh, "Frontiers of Language," 21.

26. Wolfram Schütte, "Gegenwartskunde oder Citizen C.," Frankfurter Rundschau , 12 October 1972.

27. Jan Kopf, Bertolt Brecht: Ein kritischer Forschungsbericht: Fragwürdiges in der Brecht-Forschung (Frankfurt am Main: Athenäum, 1974), 57.

28. Brecht, Arbeitsjournal , 1:76 (24 December 1939).

29. Werner Mittenzwei, Brechts Verhältnis zur Tradition (Berlin: Akademie-Verlag, 1973), 133.

30. Klaus Völker, Bertolt Brecht: Eine Biographie (Munich: Carl Hanser Verlag, 1976), 219.

31. Brecht, Arbeitsjournal , 1:16 (25 July 1938).

32. Völker, Bertolt Brecht , 304.

33. Franco Fortini, "The Writers' Mandate and the End of Anti-Fascism," Screen 15, no. 1 (Spring 1974):41. The poem referred to is "Die Literatur wird durchforscht werden."

34. Ibid.

35. Colin MacCabe, "The Politics of Separation," Screen 16, no. 4 (1975-1976):51.

36. Peter W. Jansen and Wolfram Schütte, eds., Herzog/Kluge/Straub (Munich: Carl Hanser Verlag, 1976), 209.

37. All screenplay notes are given by shot number in the text and refer to the following translation: " History Lessons," Screen 17, no. 1 (1976):54-76.

38. Walsh, " History Lessons : Brecht and Straub/Huillet," 65.

39. Walsh, "Frontiers of Language," 21.

40. Brecht, Arbeitsjournal , 1:18 (3 March 1938).

41. Walsh, "Frontiers of Language," 23.

42. Ibid.

43. Ibid., 24.

44. Ibid., 21.

45. Brecht, Arbeitsjournal , 1:72 (7 December 1939).

46. Walsh, "Frontiers of Language," 17.

47. Walter Benjamin, Illuminations , ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1978), 262.

48. Walsh, "Frontiers of Language," 23.

49. On Renoir and offscreen space, see Perez, "Modernist Cinema," 55.

50. MacCabe, "Politics of Separation," 52.

51. "Andi Engel Talks to Jean-Marie Straub and Danièle Huillet Is There Too," Enthusiasm 1 (December 1975):19.

52. Walsh, "Frontiers of Language," 17.

53. These two terms from 1970s film theory are cited in Rodowick, Crisis of Political Modernism , 281.

1. Theodor W. Adorno, Prisms , trans. Samuel and Shierry Weber (London: Neville Spearman, 1967), 34.

2. See Theodor W. Adorno, Philosophy of Modern Music , trans. Anne G. Mitchell and Wesley V. Blomster (New York: Continuum, 1985).

3. Hanns Eisler, Composing for the Films (New York: Oxford University Press, 1947), 36. Since Eisler was subject to McCarthyist attacks for his Communist affiliations when the book appeared, Adorno chose not to be credited as co-author until 1969.

4. Jacques Aumont, "Sur le Mont Sinaï," Cahiers du cinéma 430 (April 1990):52.

5. Eisler, Composing , 33.

6. Charles Rosen, Arnold Schoenberg (New York: Viking, 1975), 61.

7. See Carl Dahlhaus, Schoenberg and the New Music , trans. Derrick Puffett and Alfred Clayton (Cambridge: Cambridge University Press, 1988), 120.

8. Ibid., 102.

9. Eisler, Composing , 122.

10. Gertrud Koch, Die Einstellung ist die Einstellung: Visuelle Konstrukitionen des Judentums (Frankfurt am Main: Suhrkamp, 1992).

11. Ibid., 29.

12. Philippe Lacoue-Labarthe, "The Caesura of Religion," in Opera Through Other Eyes , ed. David J. Levin (Stanford: Stanford University Press, 1993), 55.

13. See Koch, Einstellung , 32-33; and Aumont, "Sur le Mont Sinaï," 52.

14. Cited in Koch, Einstellung , 42.

15. Wolfram Schütte, "Aus einem Gespräch mit Michael Gielen," Filmkritik 5/6 (May/June 1975):281.

16. Michael Gielen, "Bericht über die Wiener Tonaufnahmen in April/Mai 1974: Schönbergs Moses und Aron," Filmkritik 5/6 (May/June 1975):276-278.

17. Liz-Anne Bawden, ed., rororo Filmlexikon 2 (Reinbeck bei Hamburg: Rowohlt, 1978), 427; " Moïse et Aaron," Avant-scène cinéma [Special issue on cinema and opera] 360 (May 1987):75.

18. Koch, Einstellung , 43.

19. Gielen, "Wiener Tonaufnahmen," 276.

20. Theodor W. Adorno, "Sacred Fragment: Schoenberg's Moses and Aaron ," in Quasi una Fantasia: Essays on Modern Music , trans. Rodney Livingstone (London: Verso, 1992), 246.

21. Schütte, "Gespräch," 282.

22. Koch, Einstellung , 44.

23. Cited in Hans-Joachim Kraus, "Moses und der unvorstellbare Gott," in Moses und Aron: zur Oper Arnold Schonbergs , Bensberger Protokolle, no. 28 (Bensberg: Thomas-Morus-Akademie, 1979), 24.

24. Ibid., 15.

25. Ibid., 14.

26. Danièle Huillet, "Kleiner historischer Exkurs," Filmkritik 5/6 (May/June 1975):194-202. Compiled in preparation for the film, the sources for the information in the essay are not cited.

27. Ibid., 195.

28. Ibid., 202.

29. Joel Rogers, "Jean-Marie Straub and Danièle Huillet Interviewed: Moses and Aaron as an Object of Marxist Reflection," Jump Cut 12/13 (30 December 1976):62.

30. Huillet, "Kleiner historischer Exkurs," 201.

31. Kraus, "Moses," 16.

32. Both Koch and Walsh provide excellent interpretations of the camera movement and editing. Koch connects the motion of the camera to the musical annotations, and Walsh emphasizes the shifting image composition. See Koch, Einstellung , 44-45; and Martin Walsh, " Moses and Aaron : Straub and Huillet's Schoenberg," in Martin Walsh, The Brechtian Aspect of Radical Cinema , ed. Keith M. Griffiths (London: British Film Institute, 1981), 91-107, or Jump Cut 12/13 (30 December 1976):57-61.

33. " Moses und Aron : Beschreibung und Texte," Filmkritik 5/6 (May/June 1975):203-252. Translations are not those of the subtitles but are taken from the libretto

published with the Philips recording: Arnold Schoenberg, Moses und Aron. Oper in drei Akten , Philips phonograph recording 6700 084, libretto trans. Allen Forte (Mainz: B. Schott's Söhne, 1974), 19.

34. Walsh, " Moses und Aaron," Jump Cut , 58.

35. Ibid., 59.

36. Ibid.

37. Schütte, "Gespräch," 282.

38. Koch, Einstellung , 51.

39. See Aumont, "Sur le Mont Sinaï," 52.

40. See Lacoue-Labarthe, "Caesura of Religion," 62-63: "That Moses is an opera, this is particularly difficult to dispute. From the dramaturgical point of view, it has all the faults of the genre. Among other things, I am thinking of the episode of worshiping the Golden Calf . . . which, in the style of an 'obligatory ballet' (in the second act, of course), lacks nothing of the lascivious absurdity of the 'flower maidens' in Parsifal ."

41. Eugen Biser, "Der unvorstellbare Gott: Das Geheimnis ins Bild gebracht," in Moses und Aron: zur Oper Arnold Schönbergs . Bensberger Protokelle, no. 28 (Bensberg: Thomas-Morus-Akademie, 1979), 28. "Even the destruction of the graven image was only a sign, an image."

42. Lacoue-Labarthe, "Caesura of Religion," 65.

43. Ibid., 74.

44. Schoenberg, Moses und Aron , 20; shot 82.

45. Koch, Einstellung , 50.

46. See Arnold Schoenberg, Wassily Kandinsky: Letters, Pictures and Documents , ed. Jelena Hahl-Koch, trans. John C. Crawford (London: Faber and Faber, 1984).

47. Rosen, Arnold Schoenberg , 46.

48. Ibid., 57.

49. Ibid., 44-45.

50. Martin Walsh, " Introduction to Arnold Schoenberg's 'Accompaniment for a Cinematographic Scene' : Straub/Huillet: Brecht: Schoenberg," Camera Obscura 2 (Fall 1977):40.

51. Ibid., 37.

52. Ibid., 40.

53. Ibid., 42.

54. Ibid., 45.

55. Ibid., 37. Martin Jay also notes that the aftermath of the Paris Commune marks the beginning of the use of photos for police purposes. See Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley, Los Angeles, and London: University of California Press, 1993), 143.

56. Stephen Heath, Questions of Cinema (Bloomington: Indiana University Press, 1982), 13-15; see also Jacques-Alain Miller, "Suture," Screen 18, no. 4 (Winter 1977-1978):34.

57. Franco Fortini, "Brief an Jean-Marie Straub," Filmkritik [special issue] 1 (1977):2-3.

58. Straub/Huillet, " Introduction to Arnold Schoenberg's 'Accompaniment for a Cinematographic Scene' " [Screenplay], Screen 17, no. 1 (Spring 1976):77-83; shot 2.

59. Cited in Franco Fortini, "The Writers' Mandate and the End of Anti-Fascism," Screen 15, no. 1 (Spring 1974):56.

60. Peter Nau, "Drohende Gefahr, Angst, Katastrophe," Filmkritik 3 (1978):140.

61. A phrase used in the context of the creation of meaning in Hölderlin's poetry by Lacoue-Labarthe, in "Caesura of Religion," 73.

1. Gertrud Koch, "Ex-Changing the Gaze: Re-Visioning Feminist Film Theory," New German Critique 34 (Winter 1985):142.

2. Dan Walworth, "A Partial Report from the 34th International Berlin Film Festival," Millennium Film Journal 14/15 (Fall/Winter 1984-1985):169.

3. Ulrich Greiner, "Achtung Liebe! Vorsicht Kino!" Die Zeit , 2 March 1984.

4. Wolfram Schütte, ed., Klassenverhältnisse. Von Danièle Huillet und Jean-Marie Straub nach dem Amerika-Roman "Der Verschollene" von Franz Kafka (Frankfurt am Main: Fischer, 1984).

5. Walworth, "A Partial Report," 170.

6. "Wie will ich lustig lachen, wenn alles durcheinandergeht" [Interview with Danièle Huillet and Jean-Marie Straub on Class Relations ], Filmkritik 9/10 (1984):278.

7. "Wie will ich lustig lachen," 276.

8. Koch, "Ex-Changing the Gaze," 143-144.

9. Klaus Ramm, Reduktion als Erzählprinzip bei Kafka (Frankfurt: Athenäum, 1971).

10. See Teresa de Lauretis, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 103-157.

11. Franz Kafka, "The Judgment," in The Basic Kafka (New York: Washington Square Press, 1979), 54-66.

12. de Lauretis, Alice Doesn't , 60.

13. Ibid., 62.

14. Ibid., 63.

15. Franz Kafka, Tagebücher 1910-1923 (New York: Schocken, 1949), 535.

16. Franz Kafka, Amerika (Frankfurt: Fischer, 1973), 12.

17. Ibid., 16.

18. Wolfram Schütte, "Arbeit, Gerechtigkeit, Liebe," Frankfurter Rundschau , 24 February 1984.

19. "Narrative space" is a concept developed by Stephen Heath. It describes the way in which narrative cinema leads viewers to construct a unified sense of space out of the fragments offered by the shots of a film. Common devices employed are establishing shots, point-of-view shots, reverse angle shots, and eye-line matches. For a fuller explanation, see Heath, "Narrative Space," Screen 17, no. 3 (Autumn 1976):68-112.

20. Citations from the subtitles refer to Class Relations , distributed in the United States by New Yorker Films.

21. Kafka, Amerika , 30.

22. Helmuth Karesek, "Niemandsland Amerika," Der Spiegel 38 (27 February 1984):181-184; Kristie A. Foell, "The Lyrical as Opposition in Straub/Huillet's Film Version of Kafka's Amerika, " Journal of the Kafka Society of America 17, no. 2 (December 1993):8.

23. de Lauretis, Alice Doesn't , 68.

24. Koch, ''Ex-Changing the Gaze," 144-145, 148.

25. Helge Heberle and Monika Funke Stern, "Das Feuer im Innern des Berges" [Interview with Danièle Huillet], Frauen und Film 32 (June 1982):9.

26. Koch, "Ex-Changing the Gaze," 151.

27. de Lauretis, Alice Doesn't , 63.

1. Helen Fehervary, Hölderlin and the Left: The Search for a Dialectic of Art and Life (Heidelberg: Carl Winter Universitätsverlag, 1977), 249.

2. Hans Hurch and Stephan Settele, "Der Schatten der Beute: Gespräch mit Danièle Huillet und Jean-Marie Straub," Stadtkino Programm [Vienna] 121 (October 1987): n.p.

3. George Steiner, Antigones (New York: Oxford University Press, 1984), 299.

4. Ibid., 300.

5. Marc Chevrie, "Le retour d'Empédocle. J.-M. Straub et D. Huillet: Entre deux films," Cahiers du cinéma 418 (April 1989):61.

6. Straub/Huillet issue, filmwärts 9 (1987):11.

7. Rembert Hüser, "Stummfilm mit Sprache: Der Tod des Empedokles oder Wenn dann der Erde grün von Neuem euch erglänzt von Danièle Huillet und Jean-Marie Straub," filmwärts 9 (1987):20. Also cited, with conflicting figures, by N.M., Frankfurter Rundschau , 27 May 1988.

8. Hüser, "Stummfilm mit Sprache," 20.

9. Ibid., 21.

10. Hans Hurch, "'Habt ihr die Raben gehört?' Notizen zur Arbeit am Tod des Empedokles / Dreharbeiten von Straub-Huillet," Frankfurter Rundschau , 23 December 1986. Hereafter cited as "Dreharbeiten."

11. "Kunst gegen Verschwendung," comment during public discussion at Filmmuseum Potsdam, 21 February 1992.

12. Wilhelm Schmid, "Im Garten am Rande des Abgrunds: Hölderlins Empedokles und der Versuch seiner Verfilmung," die tageszeitung , 6 August 1990. Schmid's descriptions are, however, inconsistent with those of Straub in filmwärts 9 (1987):11.

13. Straub/Huillet issue, filmwärts 9 (1987):11.

14. "Entretien avec Jean-Marie Straub et Danièle Huillet," in Der Tod des Empedokles/La mort d'Empédocle , ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole regionale des beaux-arts, 1987), 47. This volume is cited hereafter as Dunkerque .

15. Hüser, "Stummfilm mit Sprache," 21.

16. "Erde, Raum und Menschen: Aus einem Gespräch mit Jean-Marie Straub über das Theater- und Filmprojekt der Antigone," Frankfurter Rundschau , 22 April 1991.

17. Public discussion, Filmmuseum Potsdam, 21 February 1992.

18. Carole Desbarats, "Jean-Marie Straub: Respecter le moment qui passe" [Interview], Cinéma [Paris] 423 (6 June 1988):8.

19. Ibid., 8.

20. Chevrie, "Le retour d'Empédocle," 61.

21. Desbarats, "Jean-Marie Straub," 8.

22. Chevrie, "Le retour d'Empédocle," 61.

23. Jean-Luc Godard, Le Mépris (Contempt), 1963.

24. See Gilles Deleuze and Felix Guattari, Kafka: Toward a Minor Literature , trans. Dana Polan (Minneapolis: University of Minnesota Press, 1986).

25. Fehervary, Hölderlin and the Left , 11.

26. Ibid., 27, 48. On the established leftist response to Hölderlin, see ibid., 44-48.

27. Ibid., 192.

28. There are striking parallels between the difficulties in the Hölderlin reception and the case of Kafka and much of the 1920s avant-garde. East and West Germany had different reasons for their cultural inhibitions, but they also failed to help each other break them down. In the East, the antidote to the aversion to avant-garde and modernist interpretations of Hölderlin, Kafka, and the arts of the 1920s was the ongoing theoretical investigation of Brecht, as a counterweight to Lukács. See, e.g., Gudrun Klatt, Vom Umgang mit der Moderne: Ästhetische Konzepte der dreißiger Jahre (Berlin: Akademie-Verlag, 1985); Karlheinz Barck, Dieter Schlenstedt, and Wolfgang Thierse, eds., Künstlerische Avantgarde. Annäherungen an ein unabgeschlossenes Kapitel (Berlin: Akademie-Verlag, 1979); and Dieter Schlenstedt, "Veto gegen die Trollwelt--Georg Lukács zur Kunstfeindlichkeit des Kapitalismus," Weimarer Beiträge 2 (1986): 275-286.

29. Fehervary, Hölderlin and the Left , 187.

30. Ibid., 187-191, 200-206.

31. Ibid., 202, 203.

32. Hurch and Settele, "Schatten der Beute."

33. Fehervary, Hölderlin and the Left , 203-204.

34. Peter Weiss, Hölderlin (Frankfurt am Main: Suhrkamp, 1971); see also Fehervary, Hölderlin and the Left , 206, 214.

35. On the Frankfurt vs. Stuttgart editions of Hölderlin, see Fehervary, Hölderlin and the Left , 233-239.

36. D. E. Sattler, Thesen zur Staatenlosigkeit (Bremen: Neue Bremer Presse, 1993).

37. "Dreharbeiten."

38. Eric Santer, Friedrich Hölderlin: Narrative Vigilance and the Poetic Imagination (New Brunswick: Rutgers University Press, 1986), 92-93.

39. Ibid., 127.

40. Ibid.

41. Hüser, "Stummfilm mit Sprache," 22.

42. Wolfram Schütte, "Priester, Philosoph, Volk: Straub-Huillet's Hölderlin-Film Tod des Empedokles," Frankfurter Rundschau , 7 May 1987.

43. Fehervary, Hölderlin and the Left , 193.

44. Ibid., 63.

45. Ibid., 110.

46. Helmut Krebs, "Der Tod des Empedokles," Filmfaust 60/61 (July/September 1987):51-52.

47. Michael Klier, Porträts der Filmemacher: Jean-Marie Straub , WDR, Cologne, 1970. Film.

48. Fehervary, Hölderlin and the Left , 1-10.

49. "Dreharbeiten."

50. Dominique Païni, "Straub et Cézanne ou l'insistence du regard," in Dunkerque , 19. That Hölderlin stands at a starting point for the modern sensibility is stressed by Foucault and Steiner as well: Foucault, cited in Hüser, "Stummfilm mit Sprache," 17. See also Steiner, Antigones , 67.

51. Schmid, "Im Garten."

52. Krebs, "Der Tod des Empedokles," 53.

53. Jean-Marie Straub, in Cicim 22/23 (June 1988):9.

54. Schmid, "Im Garten."

55. Santner, Friedrich Hölderlin , 45-46.

56. Ibid., 94.

57. Ibid., 25, 26.

58. Ibid., ix.

59. Ibid., x.

60. For a detailed description of how Straub/Huillet chose the camera position and lenses for the Act I confrontation of the same characters, see Jean-Marie Straub and Danièle Huillet, "Conception d'un film," Théâtre/Public 100 (July/August 1991):67-73.

61. The first of the two speeches is connected to a long shot of Etna taken with an 18 mm wide-angle lens; a lot of the foothills and little sky can be seen. The sides and foreground are reduced in the second shot of Etna that concludes the film, taken with a 25 mm lens. See Hüser, "Stummfilm mit Sprache," 22.

62. Straub/Huillet chose a very dense film stock, which produced a wide range of contrast in the harsh Sicilian light. See Hüser, "Stummfilm mit Sprache," 21.

63. Santner, Friedrich Hölderlin , 78.

64. Ibid., 76.

65. Both Empedocles and Antigone explore this public space, which Louis Seguin traces to the architecture of Jacobin spectacles. These gathered people "in the indivisible space of civic ardor and the transparency of hearts" but also designed the origins of the political distinction between Left and Right. See Louis Seguin, Aux Distraitement désespérés que nous sommes . . ." (Sur les films de Jean-Marie Straub et Danièle Huillet) (Toulouse: Editions Ombres, 1991), 47.

66. Santner, Friedrich Hölderlin , 102, 146 n. 74.

67. Ibid., 90.

68. Alain Philippon, "Le secret derrière les arbres: La mort d'Empédocle par J.-M. Straub et D. Huillet," Cahiers du cinéma 400 (October 1987):42.

69. Caroline Champetier, "Tournage: Trop Tôt, Trop Tard (Straub-Huillet)," Cahiers du cinéma 316 (October 1980):ix.

1. See also Adorno on this point: "On the Question 'What Is German?'" preceded by Thomas Y. Levin's essay "Nationalities of Language: Adorno's Fremdwörter ; An Introduction to 'On the Question: "What is German?"'" New German Critique 36 (Fall 1985):121-131, 111-119.

2. Louis Seguin, " Aux Distraitement désespérés que nous sommes . . ." (Sur les films de Jean-Marie Straub et Danièle Huillet) (Toulouse: Editions Ombres, 1991), 76.

3. Peter Buchka, "Der gute Mensch von Agrigent: Die Straubs verfilmen Hölderlin," Süddeutsche Zeitung , 5 December 1987.

4. Hans Hurch, "'Habt ihr die Raben gehört?' Notizen zur Arbeit am Tod des Empedokles /Dreharbeiten von Straub-Huillet," Frankfurter Rundschau , 23 December 1986. Hereafter cited as "Dreharbeiten."

5. Raphaël Bassan, " La mort d'Empédocle : Approche plastique du texte d'Hölderlin," Revue du cinéma 431 (October 1987):50.

6. Harun Farocki, "Den Text zu Gehör bringen: Gespräch mit Andreas von Rauch," Stadtkino Programm [Vienna] 121 (October 1987): n.p. Reprinted in die tageszeitung , 19 November 1987.

7. See Der Tod des Empedokles/La mort d'Empédocle , ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole regionale des beauxarts, 1987), hereafter cited as Dunkerque ; and Philippe Lacoue-Labarthe, "The Caesura of the Speculative," in Typography: Mimesis, Philosophy, Politics (Cambridge: Harvard University Press, 1989), 208-235.

8. Farocki, "Den Text zu Gehör bringen."

9. Cited in Rembert Hüser, "Stummfilm mit Sprache: Der Tod des Empedokles oder Wenn dann der Erde grün von neuem euch erglänzt von Danièle Huillet und Jean-Marie Straub," filmwärts 9 (1987):17. "Does the dog / bite?"

10. Ulli Müller-Schöll, "Heil' ge Natur," Film/Video Logbuch 12 (May 1987):7.

11. Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988).

12. Eric Santner, Friedrich Hölderlin: Narrative Vigilance and the Poetic Imagination (New Brunswick: Rutgers University Press, 1986), 58.

13. Cited in Santner, Friedrich Hölderlin , 59.

14. See Farocki, "Den Text zu Gehör bringen"; and Bassan, " La mort d'Empédocle ," 50. Hüser also writes of Straub/Huillet's avoidance of trained actors and its effects: "For the two [Straub/Huillet] it is a disadvantage, since they consider professional actors as an independent group sociologically uninteresting ('In the early Hollywood films one can still see that the actor is a farmer or something'). The choice of actors is correspondingly mixed. Next to each other appear a Dutch opera singer, an Italian philosophy professor (and Gramsci specialist) next to a German ballet dancer and Goethe Institute teacher; an almost 80-year-old Melville/Lang/Godard actor next to a pair of Italian siblings. A majority of the actors speak German as a second language. Melodically that is very interesting. The Empedocles actor is Andreas von Rauch, a former teacher from Hamburg-Altona. The Bach violin sonata in the opening credits is played by him." Hüser, ''Stummfilm mit Sprache," 20-21.

15. Hans Hurch and Stephan Settele, "Der Schatten der Beute: Gespräch mit Danièle Huillet und Jean-Marie Straub," Stadtkino Programm [Vienna] 121 (October 1987): n.p.

16. On the Frankfurt edition by D. E. Sattler, see Helen Fehervary, Hölderlin and the Left: The Search for a Dialectic of Art and Life (Heidelberg: Carl Winter Universitätsverlag, 1977), 235.

17. Hüser, "Stummfilm mit Sprache," 18.

18. I am grateful to Catherine Russell for calling my attention to this term from Benjamin.

19. Paul de Man, "Conclusions: Walter Benjamin's 'The Task of the Translator,'" in The Resistance to Theory (Minneapolis: University of Minnesota Press, 1986), 80. The troubling revelations, after de Man's death, of his wartime journalism in Belgium have produced much published discussion of questions of guilt, collaboration, anti-Semitism, and the relation of de Man's silence about his past to his practice as a critic. Although it is poignant that de Man's last essay treats Walter Benjamin, who committed suicide in 1940 while fleeing Nazi persecution as a Jew and a Marxist, I believe one can find de Man's interpretation of Benjamin useful without either demonizing its author or stylizing him as a tragic brother figure of Benjamin. For a discussion of these issues, see Shoshana Felman, "Paul de Man's Silence," Critical Inquiry 15, no. 4 (Summer 1989):704-744 (followed by a group of related essays in the same journal); and Responses: On Paul de Man's Wartime Journalism , ed. Werner Hamacher, Neil Hertz, and Thomas Keenan (Lincoln: University of Nebraska Press, 1989).

20. Walter Benjamin, Illuminations , ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), 79 (translation altered); Illuminationen (Frankfurt am Main: Suhrkamp, 1955), 66. Cited hereafter with page numbers from the English edition first, followed by those of the German.

21. See Joël Magny, "Lecture d'Empédocle," Cahiers du cinéma 402 (December 1987):xiv.

22. de Man, Resistance to Theory , 83.

23. Laurence Giavarini, "Antigone, sauvage!" Cahiers du cinéma 459:38-40.

24. Benjamin, Illuminations , 78/65.

25. Ibid., 81-82/69.

26. de Man, Resistance to Theory , 90.

27. Ibid., 84.

28. Ibid., 85.

29. Ibid., 82-83.

30. See ibid., 87: "Benjamin says, from the beginning, that it is not at all certain that language is in any sense human."

31. Ibid., 83-84.

32. Ibid., 76, citing Gadamer.

33. Benjamin, Illuminations , 70/57.

34. Ibid., 71/58. Vincent Nordon similarly stressed the "impersonality" of semiotic relations in his analysis of Bridegroom : see Nordon, "Notes sur un travelling," Ça cinéma 2 (October 1973):66-70, esp. 69.

35. de Man, Resistance to Theory , 92.

36. Ibid., 103.

37. Ibid., 104.

38. Ibid., 96.

39. Ibid., 92.

40. Ibid., 75.

41. Santner, Friedrich Hölderlin , 119.

42. Cited in ibid., 121.

43. Benjamin, Illuminations , 75/62.

44. Santner, Friedrich Hölderlin , xi.

45. "Dreharbeiten."

46. Krebs, "Der Tod des Empedokles," Filmfaust 60/61 (July/September 1987):52.

47. Ibid., 51.

48. Dunkerque , 53.

49. Michael Klier, Porträts der Filmemacher: Jean-Marie Straub , WDR, Cologne, 1970. Film.

50. Dunkerque , 60, 61.

51. Public discussion, Filmmuseum Potsdam, 21 February 1992.

52. Philippe Arnaud, "Strauboscopie: La mort d'Empédocle : Le Tournage," Cahiers du cinéma 394 (April 1987):51.

53. Straub, quoted by Magny, "Lecture d'Empédocle," xiv.

54. "Erde, Raum und Menschen: Aus einem Gespräch mit Jean-Marie Straub über das Theater- und Filmprojekt der Antigone," Frankfurter Rundschau , 22 April 1991.

55. Giorgio Baratta and Dagmar Kamlan, "Zärtliche Nähe von Herz und Vernunft," Deutsches Allgemeines Sonntagsblatt [ Kulturmagazin ], 3 April 1987.

56. Santner, Friedrich Hölderlin , 147.

57. Cited in Fehervary, Hölderlin and the Left , 189.

58. Santner, Friedrich Hölderlin , 84. Harte Fügung , which could be translated as "syntactical disjointedness," refers to the harshness or abruptness of syntactical relationships in the poetry.

59. de Man, Resistance to Theory , 79.

60. Charles Tesson, "L'heure de vérité," Cahiers du cinéma 394 (April 1987):50.

61. Hüser, "Stummfilm mit Sprache," 22.

62. Alain Philippon, "Le secret derrière les arbres: La mort d'Empédocle par J.-M. Straub et D. Huillet," Cahiers du cinéma 400 (October 1987):42.

63. Benjamin, Illuminations , 82/59.

64. Ibid.

65. Ibid.

1. "Erde, Raum und Menschen: Aus einem Gespräch mit Jean-Marie Straub über das Theater- und Filmprojekt der Antigone," Frankfurter Rundschau , 22 April 1991.

2. Peter Handke, "Kinonacht, Kinotiernacht," Die Zeit , 20 November 1992. A renowned "post-Brechtian" playwright, Handke is also a screenwriter and filmmaker in his own right. He adapted his novel The Goalie's Fear of the Penalty Kick for the film directed by Wim Wenders (1971) and directed The Left-handed Woman (1978).

3. Handke, "Kinonacht."

4. Hiroshi Yagi, " Antigone von Brecht und das Theater im Osten," in Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988), 278. See also Jochanaan Christoph Trilse, "Brechts Verständnis der Antike," 238, and, on the Pindar insertions, Rainer Pohl, "Strukturelemente und Pathosformen in der Sprache," 249, in the same volume.

5. Handke, "Kinonacht."

6. Winfried Günther, "Antigone," epd Film 11 (1992):29.

7. Handke, "Kinonacht."

8. See "Erde."

9. The New Grove Dictionary of Music and Musicians , vol. 16, ed. Stanley Sadie (London: Macmillan, 1980), 687.

10. Ibid., 687, 688.

11. Rüdiger Schaper, "In Styropor gemeißelt: Straub/Huillet inszenieren Antigone an der Schaubühne," Süddeutsche Zeitung , 7 May 1991.

12. Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988), 127.

13. Thanks to Jonathan Rosenbaum for calling my attention to this unity.

14. John Fuegi, "The Metamorphosis of an Aristotelian Classic: Antigone ," in The Essential Brecht (Los Angeles: Hennessey and Ingalls, 1972), 65.

15. Brechts Antigone , 185.

16. See also Helen Fehervary, Hölderlin and the Left: The Search for a Dialectic of Art and Life (Heidelberg: Carl Winter Universitätsverlag, 1977), 30, 41-42.

17. Brechts Antigone , 49.

18. Cited in Ulrich Weisstein, "Imitation, Stylization and Adaptation: The Language of Brecht's Antigone and Its Relation to Hölderlin's Version of Sophocles," German Quarterly 46 (1973):597.

19. Ruth Berlau, "Erinnerungen," in Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988), 184.

20. "Erde."

21. Brechts Antigone , 12-13.

22. Hans Curjel, "Die Bühnenbearbeitung Bertolt Brechts," in Brechts Antigone des Sophokles , ed. Werner Hecht (Frankfurt am Main: Suhrkamp, 1988), 177.

23. Brechts Antigone , 13. "And the matter be / Not as for nothing"; "For disloyal will one not catch me "; and "High-citied comes he, uncitied / To nothing, where the beautiful / With him is and with impudence." See Weisstein, ''Imitation," 587.

24. Weisstein, "Imitation" [citing Pohl], 588; also Brechts Antigone [Pohl], 248.

25. Brechts Antigone , 116.

Elders: Yet it eats much force, to think of cruel punishment.

Creon: To push the plow to earth so it plows takes force.

Elders: Yet mild order, playing, achieves much.

Creon: Orders are manifold. Yet: Who orders?

Haemon: Were I even not your son, I would say, you.

Creon: Yet were it lain to me, I must do it in my way.

Haemon: In your way, yet be it the right way.

Creon: Not knowing what I know, you could not know it. Are you my friend, however I may act?

Haemon: I would that you acted so that I were your friend.

26. See Brechts Antigone , 23: "und Argos wird ein Stalingrad von heute--die Parallele ist deutlich"; "and Argos becomes a Stalingrad of today--the parallel is clear."

27. Brechts Antigone , 100. "It's false. Earth is a burden. Home is not only / Earth, not house only. Not where one has poured out sweat / Not the house that helplessly sees the approaching fire / Not where he bowed his neck, not that calls he home."

28. See Weisstein, "Imitation," 593.

29. Brechts Antigone , 132. "Do not, I bid you, speak of fate. / That I know. Speak of him / Who does me in, guiltless: him / Knots a fate!"

30. Bertolt Brecht, "Die Jüdische Frau," in Furcht und Elend des Dritten Reiches , in Die Stücke von Bertolt Brecht in einem Band (Frankfurt am Main: Suhrkamp, 1978), 452.

31. See Brechts Antigone , 23.

32. Ibid., 154.

[ Messenger ]
And, Lord, the Argos folk fought with villainous cunning.
The women fought and the children fought.
Kettles, long without edible contents
From burned-out rooftops were they hurled
Upon us with boiling water; even houses left whole
Were set afire in our backs as if no one
Thought of ever more living anywhere. For entrenchments
And weapons were made of household goods and dwelling.

33. George Steiner, Antigones (New York: Oxford University Press, 1984), 247. Steiner translates tödlichfaktisch as "factually-deadly."

34. Programmheft, Schaubühne [Berlin], 3 May 1991, n.p. Cited also in Steiner, Antigones , 95.

35. See Steiner, Antigones , 93-94; Weisstein, "Imitation," 588-590.

36. Günther, " Antigone ," 29.

37. Wilhelm Schmid, "Auf der Bühne steht nur der Diskurs," die tageszeitung , 7 May 1991.

38. Handke, "Kinonacht,"

39. Laurence Giavarini, "Antigone, sauvage!" Cahiers du cinéma 459 (1992):41.

40. Handke, "Kinonacht."

41. "Are you giving me riddles, you transparent one?" Winfried Günther sees this pan as expressing an unspoken threat from Creon. See Günther, " Antigone ," 29.

42. "Much is monstrous. But nothing / More monstrous than humanity." Brechts Antigone , 86.

43. Handke, "Kinonacht."

44. Steiner, Antigones , 304.

45. Ibid., 14.

46. Ibid., 95.

47. Handke, "Kinonacht."

48. Schmid, "Auf der Bühne."

49. "Erde."

50. Ibid.

51. Fuegi, "Metamorphosis of an Aristotelian Classic," 65.

52. Steiner, Antigones , 93-94.

53. Paul de Man, "Conclusions: Walter Benjamin's 'The Task of the Translator,'" in The Resistance to Theory (Minneapolis: University of Minnesota Press, 1986), 102.

54. Giavarini, "Antigone, sauvage!" 41. Giavarini compares this violence to the "almost unbearable" vertical cutting of the frame by the snake in Moses und Aron .

55. Handke, "Kinonacht."

56. Ibid.

57. Steiner, Antigones , 81.

58. Laurence Giavarini, "Puissance des fantômes," Cahiers du cinéma 460 (1992):72.

59. Ibid., 73.

60. "Mismanagement cries for greatness, finds none. / War comes out of war and breaks its leg. / Robbery comes from robbery, and hardness needs hardness / And more needs more and comes in the end to nothing."

61. Steiner, Antigones , 132. Steiner presents a number of interpretations of Antigone that point toward a reconciliation or an idealist synthesis; see pp. 5, 14, 31, 74.

62. Steiner, Antigones , 303.

63. Alain Philippon, "Le secret derrière les arbres: La mort d'Empédocle par J.-M. Straub et D. Hillet," Cahiers du cinéma 400 (October 1987):41.

64. Peter Kammerer, "Worte gegen Wind und Steine: Straub/Huillet haben die Antigone Hölderlins und Brechts auf Sizilien gedreht," Frankfurter Rundschau , 20 January 1992.

65. Hans Hurch, "Von Steinen und Menschen," Falter 16 (1992):24.

66. "Erde."

67. Kammerer, "Worte gegen Wind."

68. Dietmar Schings, "Eine Frau im Licht," Deutsches Allegemeines Sonntagsblatt , 14 February 1992.

69. Günther, " Antigone ," 29.

70. Schings, "Eine Frau im Licht."

71. Ibid.

72. Handke, "Kinonacht."

73. "Entretien Dominique Païni-Jean Narboni," in Der Tod des Empedokles/La mort d'Empédocle , ed. Jacques Déniel and Dominique Païni (Dunkerque: Studio 43/Paris: DOPA Films/Ecole regionale des beaux-arts, 1987), 64.

74. I have written elsewhere about the "fantasm" represented by Nazism, the Holocaust, and Hiroshima in the context of Divided Heaven and Hiroshima mon amour ; see "Geschichte, Trauer und weibliche Identität im Film," in Zwischen gestern und morgen: Schriftstellerinnen der DDR aus amerikanischer Sicht , ed. Ute Brandes (Berlin: Europäischer Verlag der Wissenschaften/Peter Lang, 1992), 95-112.

On the "common crime" as a founding break of the symbolic order, see Julia Kristeva, "Revolution in Poetic Language," in The Kristeva Reader , ed. Toril Moi (New York: Columbia University Press, 1986), 119. On the "fantasm'' in the context of the atomic bomb and the Nazi Holocaust, see Sharon Willis, Marguerite Duras: Writing on the Body (Urbana: University of Illinois Press, 1987), 95; and Madeleine Borgomano, L'Ecriture filmique de Marguerite Duras (Paris: Albatros, 1985), 47-48.

75. See Franco Fortini, "The Writers' Mandate and the End of Anti-Fascism," Screen 15, no. 1 (Spring 1974):41.

76. Steiner, Antigones , 31.

77. "Antigone nue," Libération , 1 September 1992.

78. Ibid.

79. Steiner, Antigones , 281-282.

80. Ibid., 3.

81. "Antigone nue."

82. Brechts Antigone , 126. "Do not / Lay waste the earthly realm with the violence of hands."

83. Cited in Holger Teschke, unpublished ms., 1993, 15.

84. Brechts Antigone , 144. "And have I thus looked back, and around myself / You look ahead and shudder."

85. Hurch, "Steinen."

1. Peter Zach, "Vom Unglück in einer Maschine zu sein, die viele Freiheiten beinahe hat, aber in sich das Glück nur ab und zu zeigt" [Interview with Straub/Huillet], Blimp (March 1985):16.

2. Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986), 157.

3. Miriam B. Hansen, "Introduction to Adorno, 'Transparencies on Film' (1966)," and Theodor W. Adorno, "Transparencies on Film," trans. Thomas Y. Levin, New German Critique 24/25 (Fall/Winter 1981-1982):187-198, 199-205. See also Hansen's essay, "Mass Culture and Hieroglyphic Writing: Adorno, Derrida, Kracauer,'' New German Critique [Adorno issue] 56 (Spring/Summer 1992):43-73.

4. Andreas Huyssen, "Adorno in Reverse: From Hollywood to Richard Wagner," in After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press), 16-43. See Theodor W. Adorno, In Search of Wagner , trans. Rodney Livingstone (London: NLB, 1981).

5. Peter U. Hohendahl, "Introduction: Adorno Criticism Today," New German Critique [Adorno issue] 56 (Spring/Summer 1992):6.

6. Michael P. Steinberg, "The Musical Absolute," New German Critique [Adorno issue] 56 (Spring/Summer 1992):19.

7. Martin Walsh, " Moses and Aaron : Straub and Huillet's Schoenberg," Jump Cut 12/13 (30 December 1976):60.

8. Joel Rogers, "Jean-Marie Straub and Danièle Huillet Interviewed: Moses and Aaron as an Object of Marxist Reflection," Jump Cut 12/13 (30 December 1976):63.

9. Ibid., 61.

10. Bertolt Brecht, Schriften zur Politik und Gesellschaft , Vol. 20, Gesammelte Werke (Frankfurt am Main: Suhrkamp, 1967), 305.

11. Klaus-Detlef Müller, "Der Philosoph auf dem Theater: Ideologie-kritik und 'Linksabweichung' in Bertolt Brechts 'Messinkauf,'" in Bertolt Brecht , ed. Heinz Ludwig Arnold (Sonderband aus der Reihe Text + Kritik; Munich: Boorberg, 1972), 55.

12. This similarity between the two theorists' perceptions of the medium was first called to my attention by Marcus Bullock.

13. See Ben Brewster, "The Fundamental Reproach (Brecht)," Ciné-Tracts 1 (1977):44-53. The translation of the word Grundeinwand as "fundamental reproach" could be an exaggeration of Brecht's rejection of the medium, since it could be rendered as something much milder, such as "main objection."

14. Cited in Burkhardt Lindner, "Brecht/Benjamin/Adorno: Über Veränderungen der Kunstproduktion im wissenschaftlich-technischen Zeitalter," in Bertolt Brecht , ed. Heinz Ludwig Arnold (Sonderband aus der Reihe Text + Kritik; Munich: Boorberg, 1972), 20.

15. Ibid.

16. Ibid.

17. Bertolt Brecht, "Der Dreigroschenprozess," in Versuche 1-12 (Berlin: Suhrkamp, 1959), 298.

18. Stephen Heath, Questions of Cinema (Bloomington: Indiana University Press, 1981), 5.

19. Lindner, "Brecht/Benjamin/Adorno," 9.

20. Hanns Eisler, Composing for the Films (New York: Oxford University Press, 1947), 54, 59.

21. Stephen Heath, "Narrative Space," Screen 17, no. 3 (Autumn 1976):76.

22. Heath, Questions of Cinema , 52.

23. Ibid., 51.

24. Ibid., 124-125.

25. See Herbert Marcuse, Eros and Civilization (New York: Vintage, 1962), 213 and passim.

26. Hans Meyer, Brecht in der Geschichte: Drei Versuche (Frankfurt am Main: Suhrkamp, 1971), 236.

27. Theodor W. Adorno, Ästhetische Theorie (Frankfurt am Main: Suhrkamp, 1973), 360.

28. Ibid., 250. The same has been said of music, a quality Straub/Huillet exploit even as they deny it in narrative.

29. Adorno, Ästhetische Theorie , 358-359.

30. Ibid., 353.

31. Ibid., 199-200.

32. Ibid., 359.

33. Ibid., 264.

34. Ibid., 356.

35. Lindner, "Brecht/Benjamin/Adorno," 25.

36. Bertolt Brecht, "Anmerkungen zur Dreigroschenoper," in Versuche 1-12 (Berlin: Suhrkamp, 1959), 226-227.

37. Heath, Questions of Cinema , 125.

38. Klaus-Detlef Müller, Die Funktion der Geschichte im Werk Bertolt Brechts: Studien zum Verhältnis von Marxismus und Ästhetik (Tübingen: Max Niemeyer Verlag, 1972), 173.

39. Adorno, Ästhetische Theorie , 366.

40. Ibid., 387.

41. Müller, "Philosoph," 60.

42. Franco Fortini, "The Writers' Mandate and the End of Anti-Fascism," Screen 15, no. 1 (Spring 1974):60.

43. Walter Benjamin, Illuminations , ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1978), 261.

44. Colin MacCabe, "Theory and Film: Principles of Realism and Pleasure," Screen 17, no. 3 (Autumn 1976):21.

45. Martin Walsh, in discussion following Colin MacCabe's "The Politics of Separation," Screen 16, no. 4 (Winter 1975/1976): 60.

46. Peter Gidal, "Straub/Huillet Talking, and Short Notes on Some Contentious Issues," Ark/Journal from the Royal College of Art (January 1976):90.

47. Ibid.

48. Peter Gidal, "Identifying Non-Narrative," Film Form 1, no. 2 (Autumn 1977):70.

49. Julia Kristeva, "Signifying Practice and Mode of Production" ["Hegel, the East and Us"], Edinburgh '76 Magazine 1:74.

50. Jacques Henric and Dominique Païni, "Serge Daney: Cinephilia" [Interview], trans. J. O'Toole, art press [Paris] 182:E29-30.

51. Brecht, "Dreigroschenprozess," 280-281.

52. Eisler, Composing , 132.