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Preserve Then Show 2.Korr. 9/16/02 3:20 PM Side 126
Preserve then show 2.korr. 9/16/02 3:20 PM Side 126 SIDE 126 / DANISH FILM INSTITUTE / PRESERVE THEN SHOW RESTORATION Notes on the Proliferation of Metropolis (1927) MARTIN KOERBER “Metropolis” (Fritz Lang, DE, 1927). Photo: Ufa/DFI Metropolis is popular. It is impossible to imagine a retrospective of classic German silent films, science fiction films, or cinematic architecture (the series of possible topics could go on and on) without this film. Many have, at some point, seen something on the screen called Metropolis. But what could they have seen? Certainly not the film written in 1924 by Thea von Harbou and directed by Fritz Lang in 1925/26, because that film ceased to exist in April 1927. What is being offered under the title Metropolis by various distributors and archives, what is for sale on videocassettes, or occasionally seen on TV are versions, sometimes more and sometimes less removed from Lang’s film. On February 15, 2001, at the Berlin International Film Festival, a new restoration of the film was shown. It has been touring the world ever since. This new version, commissioned by the Friedrich-Wilhelm-Murnau-Stiftung (a public foundation holding the copyright to this film, as well as to almost all other German films produced prior to 1945) is the result of a joint effort of a working group, comprising of archivists from the Bundesarchiv-Filmarchiv (Federal German Film Archives, Berlin), Filmmuseum München, and the Deutsches Filminstitut in Wiesbaden. The author of this text was Preserve then show 2.korr. 9/16/02 3:20 PM Side 127 MARTIN KOERBER PRESERVE THEN SHOW / DANISH FILM INSTITUTE / SIDE 127 initially charged with researching the existing film material, and then hired by the Murnau-Stiftung to coordinate and oversee the actual restoration process. -
36 Biel the Place of Polish Films.Pdf
http://dx.doi.org/10.18778/8088-266-9.03 Urszula Biel The Place of Polish Films on German market between 1920s and 1930s, with special emphasis on Borderlands In the last few years there were few publications on Polish-German film collaboration during the interwar period, especially regarding years 1934–1939 when these mutual relations served political agenda.1 Special emphasis has been put on coproduction and distribution of Ger- man films in Poland. This paper considers reverse side of these relations, which is the presence of Polish films in Germany during the interwar period. The main source for this study will be the diplomatic and governmental cor- respondence of both countries during the mentioned period. In order to situate the place of Polish cinema in Weimar Republic and the Third Reich one must keep in mind huge disproportions between the two cinematographies, in both qualitative and quantitative terms. In 1918 Ger- many was second film industry in the world market, with the production of 340 films,2 whereas slowly developing Polish branch reached only seven mov- ies.3 During the next few years these numbers changed, but the proportions still reflected great differences in the potential of both cinematographies. Af- ter the World War I many countries boycotted German films. As a response the government of Weimar Republic blocked import of these states national production. German cinematography not only survived almost three years of isolation, but ended up more powerful than before. In order to fulfill the pro- grammes of cinema theatres the production of national cinema increased from 470 films in 1919 to 510 in 1920.4 In 1921 Berlin opened up to other countries movies, but finding way to Reich’s screens was still very difficult. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
The Emergence of Film Culture
INTRODUCTION : The Emergence of Film Culture Malte Hagener When film became a technological reality in the late nineteenth century, its future shape and role was far from obvious. Discussions regarding the theoretical nature, the aesthetic function and the social role of cinema began as soon as commentators took note of the medium, but conceptualizations remained fluid for the first decades. It was not until the 1920s that knowledge about film and cinema was systematically, consistently and reflexively articulated, gathered and disseminated on a broader basis. Over the course of two decades, the 1920s and 1930s, institutions, practices and arguments arose which have been crucial for any serious engagement with cinema ever since. There are many aspects that can be said to have aided this ‘emergence of film culture’ in the interwar period: the beginnings of film festivals; the formation of canons; the point at which film became recognized as a subject of study at institutions of higher education; the consolidation of film criticism and archiving as serious occupations; and the recogni- tion accorded to the relevance of film history and film theory. Cinema as a discursive field of its own began to emerge slowly but steadily over the course of the 1920s. In the following decade across Europe, many film-related institutions and organizations were founded and achieved stability, such as archives, festivals and film institutes. The ‘emergence of film culture’ implies that the medium was starting to be taken seriously as an aesthetic object and social force, and this has to be taken into account when trying to understand the political, 2 Malte Hagener social and aesthetic modernity that came to dominate industrialized countries before the Second World War. -
First Tango in Paris
Article announcing the imminent formation of FIAF in the British trade journal Today’s Cinema, 16 June 1938 JFP First Tango in Paris: ¯°.20 The Birth of FIAF, 1936-1938 88 Christophe Dupin Christophe Dupin: Senior Administrator of the International Federation of Film Archives and ¢lm historian (Brussels). “Only when lm archives of di±erent countries establish regular exchanges will one nally be able to know the true history of cinema.” Henri Langlois, 19361 Henri Langlois, 1936 1 Author’s note: The origins of this article can chives, and helped me complete the pre-war be found in my research on the history of picture. The fact that relatively little has been the British Film Institute, and in particular written about the origins and formation of my analysis of the tempestuous relationship FIAF, added to the upcoming celebration of between Ernest Lindgren and Henri Langlois, the 75th anniversary of the Federation in June two of the pioneers of the lm archive move- 2013, convinced me to interpret these fasci- ment. 2 During that research I became famil - nating pre-war archival records in an article iar with FIAF-related paper archives held by for the Journal of Film Preservation. the British Film Institute (which I also cata- logued) and the Cinémathèque francaise FIAF’s o¦cial date of birth is generally rec- (where I could rely on the generous support ognized as 17 June 1938, as con¢rmed by the of Laurent Mannoni). My subsequent appoint- date of the “Agreement for the International ment as FIAF Administrator gave me direct Federation of Film Archives” signed in Paris by access to the Federation’s own archival re- its four founder-members – the Cinémathèque cords in Brussels, documenting three-quar- française, Germany’s Reichsfilmarchiv, the ters of a century of the lm archive move- British Film Institute, and the Museum of Modern ment. -
Der Dokumentarische Propagandafilm Im Nationalsozialismus
Der dokumentarische Propagandafilm im Nationalsozialismus am Beispiel von Leni Riefenstahls Triumph des Willens und Olympia zur didaktischen Umsetzung in Geschichte, Sozialkunde und Politische Bildung Diplomarbeit zur Erlangung des akademischen Grades einer <Mag.a phil.> eingereicht von Sandra Köhle bei Univ.-Doz. Mag. Dr. Horst Schreiber Fakultät für Geisteswissenschaften der Leopold-Franzens-Universität Innsbruck Innsbruck 2015 Inhaltsverzeichnis 1. Einleitung 1.1 Vorwort 8 1.2 Forschungsstand 10 1.3 Forschungsfragen 12 1.4 Aufbau 13 TEIL A Historischer Kontext 2. Grundzüge nationalsozialistischer Filmpolitik 2.1 Die Verstaatlichung des Filmwesens 14 2.2 Film als Leitmedium im NS-Staat 20 2.2.1 Ziel der Massenerziehung zur „Volksgemeinschaft“ 24 2.2.2 Stellenwert und Merkmale dokumentarischer 26 Propagandafilme Leni Riefenstahls 2.2.3 Propaganda in „unpolitischen“ Spielfilmen 28 u.a. am Beispiel von Hart Veilans Jud Süß 3. Leni Riefenstahl und ihr Aufstieg zur NS-Regisseurin 3.1 Riefenstahls Kurzbiographie bis 1932 32 3.1.1 Riefenstahls Zugang zur NS-Elite 43 3.1.1.1 Hitler als Förderer der „Reichsfilmregisseurin“ 46 ab 1932 am Beispiel von Sieg des Glaubens Teil B Filmbeispiele für dokumentarische Propagandafilme Filmbeispiel I: Triumph des Willens (Parteitagsfilm) 1. Allgemeine Informationen zum Film 1.1 Auftraggeber und beabsichtigte Wirkung des Films 50 1.2 Zur Entstehung des Films 53 2. Realitätsbezug – Dokumentar- oder Propagandafilm? 64 2.1 Wirkliche Realität vs. faschistische Pseudorealität 66 nach Siegfried Kracauer 3. Riefenstahls Deutung von Triumph des Willens 68 Filmbeispiel II: Olympia. Fest der Völker / Fest der Schönheit (Dokumentarfilme) 1. Allgemeine Informationen zu den Filmen 1.1 Auftraggeber und beabsichtigte Wirkung der Filme 71 1.2 Zur Entstehung der Filme 75 2. -
200 Da-Oz Medal
200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp. -
Personenbezogene Unterlagen Aus Der Zeit Des Nationalsozialismus
Personenbezogene Unterlagen aus der Zeit des Nationalsozialismus. Das Bundesarchiv in Berlin und seine Bestände, insbesondere des ehemaligen amerikanischen Berlin Document Centers (BDC) Täglich erreichen das Bundesarchiv in Berlin zahlreiche familiengeschichtlich orientierte Anfragen nach personenbezogenen Unterlagen aus der Zeit des Nationalsozialismus. Die Motive, welche hinter einer solchen Anfrage stecken können, sind keineswegs homogen und unterscheiden sich doch in vielen Fällen von denen des Genealogen. Diese Tatsache ist zum einen den hier verwahrten relevanten Dokumenten selbst geschuldet, die mit denen eines Personenstandsarchivs nicht vergleichbar sind. Andererseits ist das besondere Interesse an diesen Unterlagen dem besonderen Stellenwert dieser historischen Epoche und der bis heute aktuellen öffentlichen Diskussion um die Aufarbeitung jenes kurzen, aber signifikanten Zeitabschnittes in der deutschen Geschichte geschuldet. “Der Genealoge” erinnert sich daran, daß doch wohl jeder “deutsche Volksgenosse” bzw. jedes NSDAP- Mitglied seine “arische” Abstammung zu erbringen hatte und begibt sich auf die Suche nach einem Archiv, welches diese “Ariernachweise” wünschenswerterweise zentral überliefert hätte. Eine nicht geringe Anzahl von Anfragen resultiert jedoch aus persönlicher Betroffenheit und ist getrieben von der Frage, an welcher Position und in welchem Grade die eigenen Vorfahren in das System des Nationalsozialismus verstrickt waren oder gar durch ihr individuelles Verhalten gegen die Grundsätze der Menschlichkeit und Rechtsstaatlichkeit verstoßen haben. Inwiefern das Bundesarchiv in der Lage ist, die genannten Hoffnungen und Erwartungen im Einzelfalle zu erfüllen, soll hier exemplarisch in einer inhaltlichen Abgrenzung des Themas auf die Zeit des “Dritten Reiches” von 1933 - 1945 und bezogen auf das Bundesarchiv in Berlin dargestellt werden. Dabei ist klarzustellen, daß es die oft angefragte “Zentrale Archivierung von Ariernachweisen” nie gegeben hat. -
S.O.S. – the Titanic Centenary at BFI Southbank in April 2012
PRESS RELEASE February 2012 12/14 S.O.S. – The Titanic Centenary At BFI Southbank in April 2012 April 2012 marks the centenary of the tragic sinking of the Titanic along with the loss of 1,517 passengers. The intervening years and countless tales of heroism to emerge from the disaster have caused the event to gain near mythical status in film and television; the distinct lack of footage from either the disaster and of the ship prior to its departure only fuelling the intrigue. BFI Southbank gathers together many of the filmed dramatisations of the disaster for a commemorative season that spans interpretations of the event from Britain, (Atlantic 1929, A Night to Remember 1958) and the US (Titanic 1953) via a unique take on the disaster from the propaganda machine of Nazi era Germany (Titanic 1943). Other highlights of the centenary are set to include an exclusive preview of ITV’s upcoming series, Titanic (2012), written by Julian Fellowes followed by a Q&A with the writer, director and cast members that will kick of BFI’s celebrations on 20 March, the newly re mastered version of James Cameron’s Blockbuster Titanic 3D (2012) opening at BFI IMAX on April 5, an illustrated lecture from author Join Charles Barr on Alfred Hitchcock’s abandoned Titanic Project, a specially curated Mediateque collection and a Mezzanine display marking the event. Shortly before midnight on 14 April 1912, the maiden voyage of the White Star Line’s beacon of luxury and progress, RMS Titanic, ended in tragedy when she struck an iceberg and sank in the early hours of 15 April. -
The Boxers on the Silver Screen: the Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)*
Thoralf Klein Thoralf Klein The Boxers on the Silver Screen ˙176˙ The Boxers on the Silver Screen: The Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)* The first ‘Western’ narratives of the Boxer War appeared well before the fight- ing was actually over.1 Although this should caution us against assuming a clear-cut transition from event to memory, it was firstly the relief of Beijing on 14 August 1900 and, more importantly, the formal conclusion of the war through the Boxer Protocol of 7 September 1901 that allowed the retelling of the calamitous and harrowing occurrences. Novels, popular histories and short films repackaged an event that had been experienced as open and ongoing into coherent plots, complete from beginning to end. In so doing, they created a mainstream that increasingly (and narrowly) identified the Boxer War with * I wish to thank Stef Franck (Vlaamse Dienst voor Filmcultuur, Brussels, Belgium) for drawing my attention to The Red Lantern and generously providing me with a copy of the film and the accompanying volume; the Friedrich Wilhelm Murnau Stiftung (Wiesbaden, Germany) for lending me VHS and DVD copies of Alarm in Peking at various stages of my research; and the Margaret Herrick Library (Beverly Hills, CA) for its support. Thanks also to Christina Till for her critical reading of an earlier draft. 1 Arguably the first book-length fictional treatment that takes the diplomatic and -mil itary conflict into account (though not the first on the Boxers) is Julian Croskey, The S. G.: A Romance of Peking (Brooklyn, NY: Mason, 1900), published even before the siege of the Legations Quarter ended. -
Cinema and the Swastika
Cinema and the Swastika October-2010 MAC/CIN Page-i 9780230_238572_01_prexxiv Also by Roel Vande Winkel NAZI NEWSREEL PROPAGANDA IN THE SECOND WORLD WAR Also by David Welch NAZI PROPAGANDA: The Powers and the Limitations PROPAGANDA AND THE GERMAN CINEMA 1933–45 THE THIRD REICH: Politics and Propaganda HITLER: Profile of a Dictator October-2010 MAC/CIN Page-ii 9780230_238572_01_prexxiv Cinema and the Swastika The International Expansion of Third Reich Cinema Edited by Roel Vande Winkel and David Welch October-2010 MAC/CIN Page-iii 9780230_238572_01_prexxiv © Editorial matter, selection, introduction and chapter 1 © Roel Vande Winkel and David Welch, 2007, 2011 All remaining chapters © their respective authors 2007, 2011 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published in hardback 2007 and this paperback edition 2011 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) Permalink https://escholarship.org/uc/item/0hq1924k Author Zelechowski, Jamie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses.