Beate Mainka-Jellinghaus

Beate Mainka-Jellinghaus (born July 27, 1936) is a German film editor who was a member of the New German Cinema movement and is noted particularly for her many films with director Werner Herzog. Between 1966 and 1986, she was credited on more than twenty-five feature films and feature-length documentaries.

Beate Mainka-Jellinghaus is the daughter of Hildegard (née Farbowski) and George Mainka, a bank official. She was born in the village of Vogt, near Oppeln, which was then a part of Germany. At the end of the Second World War she and her parents left Oppeln, which became part of Poland; they relocated to Ansbach. She was musically inclined, and her secondary school education from 1946 to 1951 included ballet instruction and acting; following her graduation in 1951, she attended a private film school in Wiesbaden to train as a film editor.

After schooling, Mainka worked for five months in a copy center, and became involved as an editorial assistant in the production of short documentary films by Harry Piel. In 1955, Mainka moved to Munich, where she worked at Bavaria Film as an assistant film editor, working with editor Anna Höllering on several feature films directed by Rolf Hansen. Her first credit as an editor was for the television production Ein gewisser Judas (A Certain Judas) (1958), which was the only film directed by Oskar Werner (under the pseudonym "Erasmus Nothnagel").

In 1959 she became acquainted with director Edgar Reitz, with whom she worked on short documentaries through about 1966. Reitz introduced her to the director Alexander Kluge; Reitz, Kluge, and Mainka became early exponents of the New German Cinema. Mainka's long collaboration with Kluge began with Die Patriotin (The Patriotic Woman) (1964), and extended through 1986 including the films Yesterday Girl (1966) and Artists Under the Big Top: Perplexed (1968).

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