Cognitive Studies in Literature and Performance

Transcription

1 Cognitive Studies in Literature and Performance Series Editors Bruce McConachie Department of Theatre Arts University of Pittsburgh Pittsburgh, PA, USA Blakey Vermeule Department of English Stanford University Stanford, CA, USA

2 Aim of the Series This series offers cognitive approaches to understanding perception, emotions, imagination, meaning-making, and the many other activities that constitute both the production and reception of literary texts and embodied performances. More information about this series at

3 Jennifer Marston William Cognitive Approaches to German Historical Film Seeing is Not Believing

4 Jennifer Marston William West Lafayette, Indiana, USA Cognitive Studies in Literature and Performance ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: Cover image Robert Churchill / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG Switzerland

5 Acknowledgments I am grateful for the various opportunities and resources that enabled me to complete the initial legwork for this project: a start-up grant from the Purdue Alumni Association; a DAAD (German Academic Exchange Service) Faculty Research Visit Grant under the sponsorship of Professor Hermann Kappelhoff and the Freie Universität Berlin; a Purdue Research Foundation Summer Faculty Grant; and a semester of research leave from the College of Liberal Arts at Purdue University. In addition, I benefited greatly from the assistance of three bright and talented research assistants with the Clarence E. Dammon Dean s Scholars Program at Purdue: Sally Frazer, Jill Owen, and Mike Ruchti. My heartfelt thanks also go to Michelle Carreon, who offered her time generously as my first conversation partner for this book, helping to lay its groundwork with her thoughtful insights on popular Holocaust film in particular. I am indebted to Roger Cook, Maren Linett, Bruce McConachie, and Mark Turner for reading drafts of my work carefully and commenting on it so helpfully, and also to Katja Raetzke and Colin William for their assistance with survey design and methodology. At Palgrave, my sincere thanks are extended to Erica Buchman, Michelle Smith, and especially Shaun Vigil for guiding me and my manuscript along the path to publication. My colleagues in the Center for Cognitive Literary Studies at Purdue University provided much inspiration and information along the way; from this group I am particularly grateful to Jason Baumer, Felipe Fiuza, Sarah Gretter, Tato Gyulamiryan, Paula Leverage, Howard Mancing, Lynne Miles-Morillo, Claudia Mueller-Greene, Patricia Pacheco, Aditi Rayarikar, Joe Rockelmann, Rich Schweickert, and Christina Weiler. I appreciate the v

6 vi Acknowledgments constant support of my friends and colleagues in my writing and reading groups: Elena Coda, Elaine Francis, Tara Star Johnson, Ann Kirchmaier, Elizabeth Kiss, Maren Linett, and Melanie Shoffner. My colleagues and friends in the School of Languages Cultures (SLC) at Purdue are too many to name here, but they are always close to my heart. SLC Head Madeleine Henry has been a trusted friend, mentor, and unwavering supporter when I needed it most. Finally, to Colin, Aidan, and Kai: You are my nearest and dearest supporting cast members, as well as the stars of my show.

7 Contents 1 Introduction: What This Book Is, and Is Not 1 2 Conceptual Blending and Imagining Historical Time and Space 25 3 Theory of Mind and the Cinematic Retelling of History 59 4 Perspective-Taking and Empathic Responses to Historical Film 111 Epilogue 171 References 179 Index 197 vii

8 List of Figures Fig. 2.1 Detlev Buck, Katja Danowski, and Christian Ulmen perform the Star Wars blend in Herr Lehmann 45 Fig. 3.1 Alex (Daniel Brühl) and his mother Christiane (Katrin Saß) employ Theory of Mind in Goodbye, Lenin! 83 Fig. 3.2 Captain Wiesler (Ulrich Mühe) displays an embodied transparency in The Lives of Others 99 Fig. 4.1 Hitler (Bruno Ganz) expresses empathy for interviewee Traudl Junge (Alexandra Maria Lara) in Downfall 125 Fig. 4.2 The decisive moment for Ulrike Meinhof (Martina Gedeck) in The Baader Meinhof Complex encourages viewers perspective-taking 154 ix