Page 272 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945

M.
Ward,
of Nekromantik [sic], http://www.aboutcultfilm.com/reviews/Nekromantik.html.
Ibid.
http://web.uvic.ca/geru/439/oberhausen.htlm.
Punk
The
5 2 3 4 1 See Trend: Review Rockers Speak About Their Lives (1981-82) and That Was S.0.36 (1984-85).
Jörg Buttgereit quoted in Kerekes, D. (1994) Sex, Murder, Art: The Films of Jörg Buttgereit. Manchester: Headpress,
52.
6 Elsaesser, T. (1989) New German Cinema: A History. London: BFI/Macmillan, 239.
7 Santner, E. (1993) Stranded Objects: Mourning, Memory and Film in Postwar Germany. Ithaca, NY fič London: Cornell
University Press, 39.
8 Kaes, A. (1992) From Heimat to Hitler: The Return of History as Film. Cambridge, MA & London: Harvard
University Press, 68.
9 For example, films such as Black Forest Girl (1950) or Green is the Heather (1951).
10 Elsaesser 1989: 242.
11 Comar, E (1999) The Human Body: Image and Emotion. London: Thames & Hudson, 87.
12 Franz Rodenkirchen quoted in Kerekes 1994: 40.
13 Barthes, R. (1993) Camera Lucida: Reflections on Photography (trans. Richard Howard). London: Vintage, 79.
14 Werner Herzog, interviewed in the Guardian, 24 November 1975.
15 Fassbinder, R. W. (1972) 'Six Films by Douglas Sirk', in Douglas Sirk, Mulvey, L. and Halliday, J. (eds) Edinburgh:
Edinburgh Film Festival, 104.
16 Hake, S. (2002) German National Cinema. London: Routledge, 124.
17 Kerekes 1994: 39.
CHAPTER 18
1 Translation of the French phrases: 'Kill again!' 'Never again!!' 'Piiiigs In Spaaace!' 'Shut up'...
2 Corrigian, T. (1991) A Cinema Without Walls: Movies and Culture After Vietnam. London: Routledge, 77.
3 Bourdieu, P. (1986) Distinction: A Social Critique of the Judgement of Taste. London: Routledge, 56.
4 Watson, P. (1997) 'There's No Accounting for Taste: Exploitation Cinema and the Limits of Film Theory', in
Cartmell, D., Hunter, I. Q., Kaye, H. and Whelehan, I. (eds) Trash Aesthetics: Popular Culture and its Audience.
London: Pluto Press, 75—8.
5 Corrigan 1991: 139.
6 Ibid., 142.
7 Chibnall, S. (1997) 'Double Exposures: Observations on The Flesh and Blood Show', in Cartmell, D., Hunter,
I. Q., Kaye, H. and Whelehan, I. (eds) Trash Aesthetics: Popular Culture and its Audience. London: Pluto Press, 89.
8 Hunter, I. & Kaye H. in the introduction to Cartmell, D., Hunter, I. Q., Kaye, H. and Whelehan, I. (eds) Trash
Aesthetics: Popular Culture and its Audience. London: Pluto Press, 1-6.
9 Harbord, J. (2002) Film Cultures. London: Sage, 70.
10 Ibid., 68-9.
11 Ibid., 64.

CHAPTER 20

1 The description of the Fantastisk Film Festival philosophy is adapted from the organisation's mission statement and
is used by permission.

CHAPTER 21

1 Sterritt, D. (1998) Jean-Luc Godard Interviews. Jackson: University Press of Mississippi, 11.
2 Brown, R. (1972) Focus on Godard. New Jersey: Prentice-Hall, 180.
3 Chomsky, N. (2003) Power and Terror: Post-9/11 Talks and Interviews. New York: Seven Stories Press, 111; Ali, T.
(2002) The Clash of Fundamentalisms: Crusades, Jihads and Modernity. London: Verso, 324.

258