Abstract
The Berlin School has been identified as a new cinema movement of realist-style observation, deliberate pacing, and reductive aesthetics. This essay proposes a new direction of inquiry. A comprehensive exploration of the dance scenes in a host of films opens up the Berlin School as a cinema of spectacle and theatricality that harks back to the aesthetics of the early “cinema of attractions.” Careful examinations of the complex dance scenes in Valeska Grisebach's Mein Stern (Be My Star) (2001) and Sehnsucht (Longing) (2006), Angela Schanelec's Plätze in Städten (Places in Cities) (1998) and Mein langsames Leben (Passing Summer) (2001), Maren Ade's Alle Anderen (Everybody Else) (2009), and Jan Krüger's Unterwegs (On the Road) (2004) introduce a new layer of engagement with the cinema of the Berlin School that stresses its important relationship to the theatrical and musical traditions of filmmaking and spectatorship.
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