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).