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audience and conveys a sense of chaos within
Germany in the 1960’s. Due to its lack of structure, the film almost seems spontaneous in its execution. Ironically, however, the dialogue spoken by the characters in the film does not share this spontaneity. In fact, the characters in Yesterday Girl often deliver very rigid and hackneyed dialogue. For example, in one scene, Anita seeks advice from her professor about the consequences of theft. The professor, however, circles around Anita’s actual question and, instead, offers unrelated and nonsensical comments about reading more books, and the difference between love and fear. Effectively, many of the characters within Yesterday Girl have trained responses, failing to address any real or substantive issues. Even Anita is subjected to this form of training when her probation officer attempts to coach her into delivering canned responses to complex questions, such as “what is good?”
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authenticity, with characters willfully ignoring and avoiding any complex topics. Additionally, Kluge is also commenting on the state of cinema. Before the new wave, German cinema had been largely regulated and censored by authoritative powers, such as the Nazi Party and GDR. Consequently, films produced during this era largely focused on escapism, rejecting any political or social commentary. Much like the dialogue in
Yesterday Girl, these films served as mouthpieces propagating conformity and conventionality. As such, Kluge is attempting to free cinema from its “intellectual isolation”, presenting a film with real artistic and political importance by commenting on the meaninglessness of Germany’s past cinematic efforts.
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The dialogue in
Yesterday Girl is intentionally rigid in order to convey Germany’s refusal to reconcile with its past. Since the end of the war, the common ideology among Germans was to move forward and ignore their past misdoings. Kluge is ridiculing this behaviour by presenting dialogue that lacks
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marks a shift in German cinema. Determined to create a new cinematic language, Kluge helped pioneer the new wave of German Cinema by rejecting certain film conventions. Utilizing a jarring editing style, discontinuous sound and a non-sequential narrative, Yesterday Girl effectively destabilizes its
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In Danger and Deep
Distress, the Middleway Spells Certain Death
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This article related to a German film of the 1960s is a
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164:. The film is based on the short story "
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501:Venice Film Festival Grand Jury Prize
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19:For the song by the Smithereens, see
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383:Artists Under the Big Top: Perplexed
190:Artists Under the Big Top: Perplexed
791:Death of a Neapolitan Mathematician
606:The Gospel According to St. Matthew
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1199:Films based on short fiction
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1102:. You can help Knowledge by
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1209:1960s German-language films
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934:The Secret of the Grain
576:Peace to Him Who Enters
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568:Rocco and His Brothers
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721:Favorites of the Moon
668:Our Lady of the Turks
21:Yesterday Girl (song)
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775:An Angel at My Table
598:Introduction to Life
419:The Power of Emotion
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632:Simon of the Desert
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70:by Alexander Kluge
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126:West Germany
114:Running time
86:Release date
743:Wild Pigeon
660:La Chinoise
620:I Am Twenty
422: [
266: [
263:Alfred Edel
251:GĂĽnter Mack
229:as Anita G.
195:Golden Lion
181:Silver Lion
43:Directed by
1149:1966 films
1143:Categories
1054:Saint Omer
982:Stray Dogs
966:Terraferma
713:Biquefarre
705:Imperative
673:Le Socrate
546:The Lovers
458:The Battle
443:Literature
277:References
233:Hans Korte
118:88 minutes
97:1966-09-05
53:Written by
1070:Vermiglio
1038:New Order
998:Anomalisa
683:1981–2000
640:Chappaqua
508:1951–1968
148:‹See Tfd›
16:1966 film
896:The Kite
880:Dog Days
829:Brigands
552:La sfida
451:Anita G.
166:Anita G.
131:Language
75:Starring
66:Anita G.
61:Based on
1014:Foxtrot
837:Ovosodo
306:. 1966.
293:. 1962.
183:at the
123:Country
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1073:(2024)
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920:Daratt
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612:Hamlet
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152:German
134:German
101: (
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912:Mary
322:IMDb
221:Cast
320:at
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