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Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust
German Life and Letters 59:2 April 2006 0016–8777 (print); 1468–0483 (online) POST-1990 SCREEN MEMORIES: HOW EAST AND WEST GERMAN CINEMA REMEMBERS THE THIRD REICH AND THE HOLOCAUST DANIELA BERGHAHN ABSTRACT The following article examines the contribution of German feature films about the Third Reich and the Holocaust to memory discourse in the wake of German unifi- cation. A comparison between East and West German films made since the 1990s reveals some startling asymmetries and polarities. While East German film-makers, if they continued to work in Germany’s reunified film industry at all, made very few films about the Third Reich, West German directors took advantage of the recent memory boom. Whereas films made by East German directors, such as Erster Verlust and Der Fall Ö, suggest, in liberating contradiction to the anti-fascist interpretation of history, that East Germany shared the burden of guilt, West German productions subscribe to the normalisation discourse that has gained ideological hegemony in the East-West-German memory contest since unification. Films such as Aimée & Jaguar and Rosenstraße construct a memory of the past that is no longer encumbered by guilt, principally because the relationship between Germans and Jews is re-imag- ined as one of solidarity. As post-memory films, they take liberties with the trau- matic memory of the past and, by following the generic conventions of melodrama, family saga and European heritage cinema, even lend it popular appeal. I. FROM DIVIDED MEMORY TO COMMON MEMORY Many people anticipated that German reunification would result in a new era of forgetfulness and that a line would be drawn once and for all under the darkest chapter of German history – the Third Reich and the Holocaust. -
{TEXTBOOK} the Portable Hannah Arendt Ebook
THE PORTABLE HANNAH ARENDT PDF, EPUB, EBOOK Hannah Arendt | 640 pages | 25 Sep 2003 | Penguin Books Ltd | 9780142437568 | English | London, United Kingdom The Portable Hannah Arendt: Arendt, Hannah: : Books Professor Hannah. On Revolution. Usually dispatched within 3 to 4 days. Next page. About the Author Hannah Arendt was born in Hanover, Germany, in , and received her doctorate in philosophy from the University of Heidelberg. In , she was briefly imprisoned by the Gestapo, after which she fled Germany for Paris, where she worked on behalf of Jewish refugee children. In , she was stripped of her German citizenship, and in she left France for the United States. Her many books include The Origins of Totalitarianism , The Human Condition and Eichmann in Jerusalem , in which she coined the famous phrase 'the banality of evil'. She died in What other items do customers buy after viewing this item? Only 2 left in stock. No customer reviews. How are ratings calculated? To calculate the overall star rating and percentage breakdown by star, we do not use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Review this product Share your thoughts with other customers. Learn how to enable JavaScript on your browser. Overview: What Remains? What Remains? Jewess and Shlemihl Writing Rahel Varnhagen. What Is Authority? Home 1 Books 2. Add to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. After the rise of the Nazis, she emigrated to America where she proceeded to write some of the most searching, hard-hitting reflections on the agonizing issues of the time: totalitarianism in both Nazi and Stalinist garb; Zionism and the legacy of the Holocaust; federally mandated school desegregation and civil rights in the United States; and the nature of evil. -
Introducing Margarethe Von Trotta
Introducing Margarethe von Trotta The Personal is Political Biography Born 1942 in Berlin; moved to Dusseldorf at war’s end Raised by mother, Elisabeth von Trotta, with only occasional visits from father, painter Alfred Roloff, who died when she was ten Childhood included stint at Protestant boarding school, where von Trotta rebelled against repressiveness of rules, and experiences of being cared for by authoritarian elderly people at boarding houses where mother rented room Education Attended commercial school and worked in office before deciding to study art history Semester at Sorbonneinterest in filmmaking, discovery of French New Wave and other European art cinema (Bergman, Antonioni) Political awareness also began to develop in Paris Return to Germanyfew job prospects for women filmmakers or art historians; turned to German studies, Romance languages and literature and drama Career as Actor Began getting stage roles in 1963 Actor with goal of becoming film director Cast in first movie role in 1968(SchrägeVögel) Career as actor and director concomitant with rise of social and political protest movements, women’s movement and New German Still from Gods of the Plague (Fassbinder, 1970). Cinema Image source: Home Cinema @ The Digital Fix Worked in films by Fassbinder, Hauff, Achternbusch and Schlöndorff Career as Director Began working as writer and assistant director for Volker Schlöndorff in 1970 (married him in 1971) Co-directed The Lost Honor of Katharina Blum (1975) First solo feature: The Second Awakening of Christa -
The Stoics and the Practical: a Roman Reply to Aristotle
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2013 The Stoics and the practical: a Roman reply to Aristotle Robin Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Robin, "The Stoics and the practical: a Roman reply to Aristotle" (2013). College of Liberal Arts & Social Sciences Theses and Dissertations. 143. https://via.library.depaul.edu/etd/143 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. THE STOICS AND THE PRACTICAL: A ROMAN REPLY TO ARISTOTLE A Thesis Presented in Partial Fulfillment of the Degree of Doctor of Philosophy August, 2013 BY Robin Weiss Department of Philosophy College of Liberal Arts and Social Sciences DePaul University Chicago, IL - TABLE OF CONTENTS - Introduction……………………..............................................................................................................p.i Chapter One: Practical Knowledge and its Others Technê and Natural Philosophy…………………………….....……..……………………………….....p. 1 Virtue and technical expertise conflated – subsequently distinguished in Plato – ethical knowledge contrasted with that of nature in -
Arendt's Critical Dialogue with Heidegger KOISHIKAWA Kazue
Thinking and Transcendence: Arendt’s Critical Dialogue with Heidegger KOISHIKAWA Kazue Adjunct Faculty, University of Tsukuba Abstract : In the introduction to The Life of the Mind: Thinking (1977), Hannah Arendt explains that it was her observation of Adolf Eichmann’s “thoughtlessness” — his inability to think — at his trial in Jerusalem that led her to reexamine the human faculty of thinking, particularly in respect to its relation to moral judgment. Yet, it is not an easy task for her readers to follow how Arendt actually constructs her arguments on this topic in this text. The purpose of this paper is to delineate Arendt’s criticisms of Heidegger in order to articulate the characteristics of her own account of thinking in relation to morality. The paper first suggests the parallelism between Heidegger’s “wonder” and Arendt’s “love” as the beginning of philosophizing, i.e., thinking, and point out a peculiar circularity in Heidegger’s account of thinking. Secondly, the paper traces Arendt’s criticism of Heidegger’s account of thinking in §18 of the LM 1. Thirdly, the paper discusses why Arendt thinks Heidegger’s account of thinking is problematic by examining Kant and the Problem of Metaphysics (1929). Finally, based on the above analyses and discussions, the paper explores the nature of Arendt’s account of thinking to show how her conception of thinking provides a basis for moral judgment. In the introduction to The Life of the Mind: Thinking (1977), Hannah Arendt explains that it was her observation of Adolf Eichmann’s “thoughtlessness” — his inability to think — at his trial in Jerusalem that led her to reexamine the human faculty of thinking, particularly in respect to its relation to moral judgment. -
INEMA INTERNATIONAL Students, Faculty, Staff and the Community Are Invited • ADMISSION IS FREE • Donations Welcome 7:30 P.M
MURRAY STATE UNIVERSITY • Spring 2017 INEMA INTERNATIONAL Students, faculty, staff and the community are invited • ADMISSION IS FREE • Donations Welcome 7:30 p.m. Thursday, Friday and Saturday evenings • Curris Center Theater JAN. 26-27-28 • USA, 1992 MARCH 2-3-4 • USA, 2013 • SHAKESPEARE FESTIVAL THUNDERHEART WARM BODIES Dir. Michael Apted With Val Kilmer, Sam Shephard, Graham Greene. Dir. Jonathan Levine, In English and Sioux with English subtitles. Rated R, 119 mins. With Nicholas Hoult, Dave Franco, Teresa Palmer, Analeigh Tipton, John Malkovich Thunderheart is a thriller loosely based on the South Dakota Sioux Indian In English, Rated PG-13, 98 mins. uprising at Wounded Knee in 1973. An FBI man has to come to terms with his mixed blood heritage when sent to investigate a murder involving FBI A romantic horror-comedy film based on Isaac Marion's novel of the same agents and the American Indian Movement. Thunderheart dispenses with name. It is a retelling of the Romeo and Juliet love story set in an apocalyptic clichés of Indian culture while respectfully showing the traditions kept alive era. The film focuses on the development of the relationship between Julie, a on the reservation and exposing conditions on the reservation, all within the still-living woman, and "R", a zombie…A funny new twist on a classic love story, conventions of an entertaining and involving Hollywood murder mystery with WARM BODIES is a poignant tale about the power of human connection. R a message. (Axmaker, Sean. Turner Classic Movies 1992). The story is a timely exploration of civil rights issues and Julie must find a way to bridge the differences of each side to fight for a that serves as a forceful indictment of on-going injustice. -
Francisca Content Synopsis Credits Eva López-Sánchez
Francisca (...which side are you on?) Content Synopsis Credits Eva López-Sánchez - Cast Ulrich Noethen - Fabiola Campomanes - Arcelia Ramírez – Julio Bracho - Rafael Martín - directors note www.francisca-movie.com SUR Films 2002 • eMail: [email protected] Francisca (...which side are you on?) Synopsis (The story is set in Mexico between 1971 and 1974) Escaping from his country, Helmut Busch, a former informant for the secret police in East Germany, the Stasi, lands in Mexico under a false identity. His wish is to start a new life far from Europe and where he is less likely to be found. Nevertheless, he is immediately identified by the Mexican secret services lead by Díaz, who with the threat of sending him back to Germany as a deserter coerces him to work for him. Díaz, asks him to infiltrate a group of politically militant students. To achieve this objective, Helmut Busch adopts his new identity as Bruno Müller, a historian and visiting professor in the University of Mexico. He will deliver a series of conferences regarding Paris´May 68 student riots. Bruno´s mission is made difficult when a love affair with Adela, one of the members of the group, starts getting serious. Obliged by the situation and under severe pressure, Bruno does his job trying to maintain as far away from any compromising situation as possible in order to inform nothing important. However, things get complicated and Bruno´s conflict grows when he finds out that the young woman with whom he has fallen in love with is part of one of the politically militant groups that Díaz is interested in. -
Stefan Zweig Farewell to Europe
Austria’s Official Entry for the Best Foreign Language Film - 89th Academy Awards® A DOR FILM, X FILME CREATIVE POOL, IDÉALE AUDIENCE, MAHA PRODUCTION STEFAN ZWEIG FAREWELL TO EUROPE A film by: Maria Schrader Starring: Josef Hader, Barbara Sukowa, Aenne Schwarz, Matthias Brandt, Charly Huebner, Stephen SInger Screenplay: Maria Schrader and Jan Schomburg press contact in US: SashaBerman at Shotwell Media 310-450-5571 [email protected] Table of Contents Short synopsis & press note …………………………………………………………………… 3 Cast ……............................................................................................................................ 4 Crew ……………………………………………………………………………………………… 6 Long Synopsis …………………………………………………………………………………… 7 Persons Index…………………………………………………………………………………….. 14 Interview with Maria Schrader ……………………………………………………………….... 17 Backround ………………………………………………………………………………………. 19 In front of the camera Josef Hader (Stefan Zweig)……………………………………...……………………………… 21 Barbara Sukowa (Friderike Zweig) ……………………………………………………………. 22 Aenne Schwarz (Lotte Zweig) …………………………….…………………………………… 23 Behind the camera Maria Schrader………………………………………….…………………………………………… 24 Jan Schomburg…………………………….………...……………………………………………….. 25 Danny Krausz ……………………………………………………………………………………… 26 Stefan Arndt …………..…………………………………………………………………….……… 27 Contacts……………..……………………………..………………………………………………… 28 ! ! ! ! ! ! ! Technical details Austria/Germany/France, 2016 Running time 106 Minutes Aspect ratio 2,39:1 Audio format 5.1 ! 2! “Each one of us, even the smallest and the most insignificant, -
Open Letter to Hannah Arendt on Thinking
Open Letter to Hannah Arendt on Thinking Ágnes Heller RESUMEN Agnes Heller se ocupa en este artículo de la primera parte de la última obra de Hannah Arendt, “Pensar”, de La vida del espíritu, con el ánimo de establecer una discusión sobre el valor de este actividad en la vida humana. Heller subraya su acuerdo general con la gran filósofa alemana-americana. Pero también critica su retórica y las debilidades teóricas de su argumento. Para Arendt, si queremos actuar políticamente tenemos que pararnos a pensar; para Heller, la vida humana es pensar. Palabras clave: Arendt/La vida del espíritu/Heidegger/pensar/mal/Kant/Wittgenstein ABSTRACT In this article, Agnes Heller deals with Arendt’s “On thinking”, the first part of her work The Life of the Spirit in order to open a discussion on its value to life. Heller stresses her agreement with the great German American philosopher. But also points to her rhetoric’s and pose some critical remarks on its theoretical flaws. To Arendt, in order to act politically, one has to stop and think; to Heller, human life is thinking. Key Words: Arendt/ The Life of the Mind/ Heidegger/ Thinking/ Evil/Kant/Wittgenstein Dear Hannah Arendt, Two decades ago I have already written an essay about your work on The Life of the Mind. Having been invited once again to a conference discussing also your work, I re-read the books in order to refresh my memory. After the second reading have I decided to speak this time only about the first volume, “On Thinking”, since this is the book you were still able to put in a proper shape, although no more to correct. -
BERLIN ALEXANDERPLATZ: REMASTERED Berlinale Special BERLIN ALEXANDERPLATZ: REMASTERED BERLIN ALEXANDERPLATZ: REMASTERED Regie: Rainer Werner Fassbinder
Berlinale 2007 BERLIN ALEXANDERPLATZ: REMASTERED Berlinale Special BERLIN ALEXANDERPLATZ: REMASTERED BERLIN ALEXANDERPLATZ: REMASTERED Regie: Rainer Werner Fassbinder Deutschland 1979/1980 Darsteller Franz Biberkopf Günter Lamprecht Länge Film in 13 Teilen Reinhold Gottfried John und mit einem Mieze Barbara Sukowa Epilog: 939 Min. Eva Hanna Schygulla Format 35 mm, 1:1.37 Meck Franz Buchrieser Farbe Cilly Annemarie Düringer Stabliste Pums Ivan Desny Buch Rainer Werner Lüders Hark Bohm Fassbinder, nach Herbert Roger Fritz dem gleichnamigen Frau Bast Brigitte Mira Roman von Alfred Minna Karin Baal Döblin Lina Elisabeth Trissenaar Kamera Xaver Ida Barbara Valentin Schwarzenberger Trude Irm Hermann Kameraassistenz Josef Vavra Terah Margit Carstensen Schnitt Juliane Lorenz Sarug Helmut Griem Franz Walsch Fränze Helen Vita (= R.W. Fassbinder) Baumann Gerhard Zwerenz Ton Carsten Ullrich Barbara Sukowa, Günter Lamprecht Konrad Raul Gimenez Mischung Milan Bor Paula Mechthild Musik Peer Raben Großmann Ausstattung Helmut Grassner BERLIN ALEXANDERPLATZ: REMASTERED Witwe Angela Schmidt Werner Achmann „Vor zwanzig Jahren etwa, ich war gerade vierzehn, vielleicht auch schon Wirt Claus Holm Spezialeffekte Theo Nischwitz fünfzehn, befallen von einer fast mörderischen Pubertät, begegnete ich auf Willy Fritz Schediwy Kostüm Barbara Baum meiner ganz und gar unakademischen, extrem persönlichen, nur meiner Dreske Axel Bauer Maske Peter Knöpfle ureigenen Assoziation verpflichteten Reise durch die Weltliteratur Alfred Bruno Volker Spengler Anni Nöbauer Regieassistenz -
Images of Ambivalence: Photography in Margarethe Von Trotta's Die
Graduate Journal of Visual and Material Culture Issue 6 | 2013 Images of Ambivalence: Photography in Margarethe von Trotta’s Die bleierne Zeit Daniel Norford Abstract Taking John Tagg’s intervention in “Evidence, Truth and Order: Photographic Records and the Growth of the State” as its principle point of departure, this paper will investigate the hybrid meanings of photographic imagery in New German Women’s Cinema. Of particular interest will be the marked instances of photographic portraiture in Helma Sanders-Brahm’s Under the Pavement Lies the Strand (1974) and Margarethe von Trotta’s Marianne and Juliane (1981). Drawing from the student movements of ’68 and their aftermath, the crisis of terrorism, the specter of state surveillance and the complex struggles of the feminist movement, my argument will also move in the direction of seeing these phenomena in the context of much broader historical developments in institutional practices across the spectrum of social life. More specifically, I will attempt to articulate and explore the complex inter-textuality that informs the appearance of photographic images in these films, arriving at a perspective that reckons with the over- determined role of photography in modern society. In this way, the photographic image enfolds and disseminates an ambivalent and contradictory set of discourses that resist both state practices of social control, and leftist attempts (in the realms of cinema and art photography) to dramatize a counter-photographic practice. In Derridean terms, then, photography—and in particular portrait photography—is always somewhere “in-between” the discourses which attempt to pinpoint and define it. As such, it (and cinema) is always haunted by a trace-structure which leaves it open to both progressive and regressive lines of flight. -
To Download SEARCHING for INGMAR BERGMAN
SYNOPSIS Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and takes us to the places that were central to Bergman’s creative achievements. DIRECTOR’S BIOGRAPHY The daughter of Elisabeth von Trotta and the painter Alfred Roloff, Margarethe von Trotta was born in Berlin in 1942 and spent her childhood in Düsseldorf. After fine art studies, she moved to Munich to study Germanic and Latin language. She then joined a school for dramatic arts and began an acting career, in the theatres of Düsseldorf and afterwards in the Kleines Theater of Frankfurt in 1969 and 1970. At the end of the 1960 she moved in Paris for her studies and immersed herself in the film-lover circles of the time. She took part in script redacting and directing of short films and discovered via the Nouvelle Vague directors and critics the films of Ingmar Bergman and Alfred Hitchcock. In Germany, Margarethe von Trotta has worked with a new generation of young filmmakers: Herbert Achternbusch, Volker Schlöndorff who she married in 1971 and with whom she directed and wrote The Sudden Wealth of the Poor People of Kombach (1971) and The Lost Honour of Katharina Blum (1975), as well as Rainer Werner Fassbinder who made her act in four of his films. She directed in 1978 her first long feature, The Second Awakening of Christa Klages.