Abstract
This study is underpinned by qualitative data in audience reception to contribute to the debate around the notion of transnational German cinema. Considering the global popularity, the German filmmaking and the ways in which films are produced merit scrutiny for its transnational qualities. The study first discusses the issue of national cinema, in terms of how German films are and are not perceived as “German” through the comments of Austrian audiences. The results indicate that current German cinema has both national and transnational features in line with the literature of relational account (Choi, J., Philosophy of film and motion pictures: An anthology. John Wiley & Sons, 2006) and Thomas Elsaesser’s critics to essentialist perspective in film studies.
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Notes
- 1.
Tatort means crime scene.It is a franchise collection of police procedural TV series, which are very popular. They are consumed by viewwers of allages and genders in German-speaking countries, from the early 1970s until today.
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Kaba, S., Özpalman, D. (2021). Transnational Qualities of German Cinema: An Austro/European Audience Analysis. In: Herrschner, I., Stevens, K., Nickl, B. (eds) Transnational German Cinema. Global Germany in Transnational Dialogues. Springer, Cham. https://doi.org/10.1007/978-3-030-72917-2_3
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