German Ways of War explores the production of novel spaces and evocation of new affects in the war-film genre between the 1910s and 2000s. Beyond the conventional pairing of visuality and violence, war films combine mobility, landscape, territory, scales, and topological networks into “affective geographies” that interweave narratively-generated affect, space, and political processes.
 

JAIMEY FISHER is a professor of German and cinema and digital media at the University of California, Davis. He is the author of Treme, Christian Petzold and Disciplining Germany: Youth, Reeducation, and Reconstruction after the Second World War.

Acknowledgements
1. Introduction: The Affective Geographies and Generic Transformations of German War Films, 1910s-2000s
2. Land into Landscape, Landscape into Territory: Transformations of Space in German War Cinema, 1914-1918 (The Diary of Dr. Hart, Sword and Hearth, Inexpiable)
3. "Landscapes of Death" and Memories of the Human:  Distance, Scale, and the Double Map in the First "War-Sound-Film" (Westfront 1918, Kameradschaft)
4. Combat Films and their Aerial Spaces under the Nazi Regime (Medal of Honor, Squadron Lützow, Above Everything in the World)
5. Out of the War Mode: Demobilizing the War Genre in the Postwar Rubble-Film (Request Concert [1940], The Great Love, Ways into Twilight, The Sons of Mr. Gaspary, Birds of Migration)
6. War in the Reconstructive 1950s: Genre, Espionage, and Cold-War Subjectivities in the 1950s War Film (Canaris, Fox of Paris, Rommel Calls Cairo)
7. Conclusion: Affective Geographies of the Fading Genre (Das Boot, Downfall)
Notes
Bibliography  
Index