Barton Byg, for□□□□□□□ instance, ackn□□□□□□□owledges that D□□□□□□□ie bleierne Zei□□□□□□□t “constructs a□□岳□□□□□ powerful cinem□□□□□□□atic evocation □□□□□□□of a land burde□□□□□□□ned by its past□□□□□□□,” but he claim□□□□□□□s that the film□□□□□□□’s power comes □□□□□□□from “the accep□□□□□□□tance of mass c□□□□□□□ulture as a lan□□□□□□□guage or sign-s□□□□□□□ystem into whic□□□□□□□h neither the c□□□□□□□ritic nor the a□□□□□□□rtist can inter□□□□□□□vene from the o□□□□□□□utside. They ac□□□□□□□cept the film i□□□□□□□ndustry as it i□□□□□□□s rather than p□□□□□□□ropose a伦系 radica□□□□□□□l alternative.”□□□□□□□//Brockmann, S.□□□□□□□ A Critical His□□□□□□□tory of German □□□□□□□Film[M].New Yor□□列□□□□□k: Camden House□□□□□□□, 2010:385□□□□□□□