Anna White (2009-2015):
Exploring the Trope ‘the good German’ / ‘der gute Deutsche’ in Anglo-American and German film, 1990 – 2011
From 1990 to the present, there has been the reunification of Germany; the move of the German capital to Berlin; terrorist attacks on the World Trade Centre; conflicts in both Iraq and Afghanistan; genocide and ethnic cleansing. All of which have influenced the portrayal of German characters in films of this period. Since the 1960s with the anti-American sentiment of the New German Cinema, peaking with Edgar Reitz’s Heimat series during the 1980s and the Historikerstreit, the tense relationship between the German film industry and Hollywood has rested on the issue of the ownership of history. This has continued into the 1990s with a spate of historical heritage films intended for a mainstream audience in both America and Germany which portray the impact of National Socialism on members of the German population. In each of these films a character emerges who can be identified as ‘the good German’ or ‘der gute Deutsche’. This character is a gentile German who is often considered to be the moral compass of the film. However, this assumption can also be inverted or used cynically to make a comment about German or American society. My thesis explores the use of this controversial characterisation in contemporary film and the responses that it provokes.
Seiriol Dafydd (October 2009-2013)
Intercultural and Intertextual Encounters in Michael Roes’ Travel Fiction
My doctoral dissertation focuses on Michael Roes’ fictional travel literature. It examines four of the author’s key works in this regard, analysing how he conceives of travel and encounters with cultures other than his own. Having established his place within the wider context of both factual and fictional travel writing, my study seeks to explain Roes’ cosmopolitan vision of intercultural encounters. Each of these four novels is highly intertextual in its own way. My thesis analyses how they refer to, borrow from, and adapt their intertexts and seeks to establish the author’s intention in making them do so, and to determine what principles or concepts lie behind their intertextual practice. Furthermore, I aim to draw links between intertextuality in these works and Roes’ vision of cosmopolitan interculturality, and to establish how the texts with which Roes engages illuminate our understanding of the intercultural encounter.
Seriol Dafydd was supported by the AHRC. His PhD is now available as Intercultural and Intertextual encounters in Michael Roes's Travel Fiction (Institute for Modern Languages Research, 2015), Bithell Series of Dissertations, no.42.