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Xx:2 Dr. Mabuse 1933
January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Weimar International
Weimar International Stummfilm ohne Grenzen aus Berlin und Brandenburg, 1918-1929 Eine Filmreihe von Philipp Stiasny und Frederik Lang in Zusammenarbeit mit dem Zeughaus- kino (Berlin). Gefördert durch den Hauptstadtkulturfonds. Unterstützt von der Friedrich- Wilhelm-Murnau-Stiftung (Wiesbaden) und CineGraph Babelsberg e.V. 4.11.2018 Am Flügel: Stephan Graf von Bothmer Zigano, der Brigant von Monte Diavolo (Deutschland / Frankreich 1925, Regie: Harry Piel) Foto: Deutsche Kinemathek, Berlin Zigano, der Brigant von Monte Diavolo Deutschland/Frankreich 1925 / Regie: Harry Piel, Gérard Bourgeois (?) / Buch: Henrik Galeen, Harry Piel / Kamera: Georg Muschner, Gotthardt Wolf / Bauten: Gustav A. Knauer / Darsteller: Harry Piel (Benito), Dary Holm (Beatrice), Raimondo van Riel (Herzog Ludowico), Fritz Greiner (Statthalter Ga- nossa), José Davert (Matteo), Olga Limburg (Teresa), Karl Etlinger (Prälat), Denise Legeay, Albert Paulig (alter Polizeipräfekt), Apoloni Campella (Zigano) / Produktion: Hape-Film Co. GmbH, Berlin; Gaumont, Paris/ Produzenten: Harry Piel, Heinrich Nebenzahl / Aufnahmeleitung: Edmund Heuberger / Drehzeit: April-Juni 1925 / Atelier: Trianon-Atelier, Berlin / Außenaufnahmen: Italien, u.a. bei Rom / Zensur: B.10835 v. 6.7.1925, 8 Akte, 3259 m, Jugendverbot / Uraufführung: 27.7.1925, Mozartsaal, Berlin Kopie: Bundesarchiv, Berlin, 35mm, 2814 m Vorfilme Marionetten Deutschland 1922 / Produktion: Werbefilm GmbH Julius Pinschewer, Berlin, im Auftrag von Christian Adalbert Kupferberg & Co., Mainz / Werbung für Kupferberg „Gold-Sekt“ / Kamera: Heinrich Ba- lasch / Zensur: B.5187 v. 21.1.1922, 65 m, Jugendfrei Kopie: Bundesarchiv, Berlin, 35mm, viragiert, 60 m Der Gardasee Deutschland 1926 / Produktion: Filmfabrik Linke, Dresden / Zensur: B.14029 v. 1.11.1926, 1 Akt, 206 m, Jugendfrei Kopie: Bundesarchiv, Berlin, 35mm, 180 m Zigano, der Brigant von Monte Diavolo In den Zwanziger Jahren ist Harry Piel bekannt wie ein bunter Hund. -
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. -
GV-Vorlage Präsident
Eine Initiative von Wissenschaft, Politik und Wirtschaft Die Eröffnung des Harnack-Hauses am 7. Mai 1929 war für Berliner Wissenschaftler, Politiker und Spitzenvertreter der Wirtschaft ein großer Tag, hatten sie doch mit vereinten Kräften erreicht, dass Berlin endlich ein Vortrags- und Begegnungszentrum für die Mitglieder der berühmten Dahlemer Institute und gleichzeitig ein Gästehaus für Wissenschaftler aus aller Welt bekam. Initiatoren des Hauses waren vor allem Adolf von Harnack und Friedrich Glum, die energisch für die Realisierung des Projektes gekämpft hatten. Der Theologe Adolf von Harnack, erster Präsident der Kaiser-Wilhelm-Gesellschaft, Robert Andrews Millikan im Harnack-Haus © Bundesarchiv Bild 102-12631 / CC-BA-SA,/Fotograf: hatte vor allem ein Ziel: Die Isolation der deutschen Georg Pahl Wissenschaft nach dem Ersten Weltkrieg zu über- winden und durch internationale Zusammenarbeit Spitzenleistungen zu ermöglichen. Harnacks Bestrebungen, ein internationales Forscher- zentrum in Dahlem aufzubauen, wurden tatkräftig unterstützt von Generaldirektor Glum, der innerhalb der KWG, bei Firmen und Privatleuten für die Idee einer internationalen Begeg- nungsstätte Werbung gemacht hatte. Im Juni 1926 beschloss der Senat der Kaiser- Wilhelm-Gesellschaft die Gründung des Harnack- Hauses - auch mit dem Ziel, Dank abzustatten für die Gastfreundschaft, die deutsche Forscher im Ausland erfahren hatten. Als wichtigste politische Paten des Harnack-Hauses stellten sich Reichsau- ßenminister Gustav Stresemann, Reichskanzler Wilhelm Marx und der einflussreiche Zentrums- Abgeordnete Georg Schreiber heraus, die der Idee Harnacks die nötige politische Lobby verschafften und öffentliche Mittel für den Bau des Hauses durchsetzten. Konkret bedeutete das: Das Reich Einweihung des Kaiser-Wilhelm-Instituts in Berlin Dahlem, 28. Oktober 1913 zahlte 1,5 Millionen Reichsmark, während Preußen © Bundesarchiv, Bild 183-R15350 / CC-BY-SA das Grundstück zur Verfügung stellte. -
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 Historic Dahlem District and the Fritz-Haber-Institut
Sketch of the south-west border of Berlin today Berlin 1885 1908 Starting with a comparison of sciences in Prussia with that in France, England, and USA, Adolf von Harnack (a protestant theologian) suggested to the Kaiser to found research institutes named "Kaiser Wilhelm Institutes for Scientific Research". The Kaiser liked the idea and was fully supportive: 1910 "... We need institutions that exceed the boundaries of the universities and are unimpaired by the objectives of education, but in close association with academia and universities, serving only the purpose of research ... it is my desire to establish under my protectorate and under my name a society whose task it is to establish and maintain such institutes .... 1911 Foundation of the "KWI for Chemistry" and the "KWI for Physical Chemistry and Electrochemistry" (first director: Fritz Haber) -- about 10 more institutes were founded during the coming 10 years. 1 1912 Kaiser-Wilhelm Institute for Chemistry and for Physical- Chemistry and Electrochemistry -- Most right: Villa of Fritz Haber. Kaiser Wilhelm II, Adolf von Harnack, followed by Emil Fischer and Fritz Haber walking to the opening cere- mony of the first two KWG institutes October 1912 Arial view of the Kaiser Wilhelm Institutes for "Chemistry" and for "Physical-Chemistry and Electrochemistry" -- around 1918 2 A glimpse at the history of the Fritz-Haber- Institute of the Max-Planck-Gesellschaft 1911 Foundation of the Kaiser- Wilhelm Institute for Physical Chemistry and Electro- chemistry (first director: Fritz Haber) 1914 Research and production -1918 of chemical weapons (mustard gas, etc.) 1918 Haber received the Nobelprize for the development of the ammonia synthesis Fritz Haber and 1933 Haber leaves Germany Albert Einstein at (see also FHI- webpages: history and the "FHI" -- 1915 2 brief PBS reports.) A glimpse at the history of the Fritz-Haber- Institute of the Max-Planck-Gesellschaft 1911 Foundation of the Kaiser-Wilhelm Institute for Physical Chemistry and Electrochemistry (1. -
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. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3 -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Der Topos „Musikstadt Wien“ in den Filmen von Willi Forst Analyse der Filme „Wiener Blut“ und „Wiener Mädeln“ Verfasserin: Daniela Burgstaller angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin / Betreuer: ao.Univ.Prof. Dr. Margareta Saary Inhaltsverzeichnis Vorwort ............................................................................................................................ 3 1. Musikstadt Wien ......................................................................................................... 5 2. Wiener Film ................................................................................................................. 9 2.1 Definition ................................................................................................................ 9 2.2 Entwicklung .......................................................................................................... 10 2.3 Themen und wichtige Persönlichkeiten ................................................................ 11 3. Willi Forst .................................................................................................................. 13 3.1 Von der Theaterbühne zum Film – Leben und Werk ........................................... 13 3.2 Im Aufsichtsrat der Wien-Film GmbH ................................................................. 16 3.3 Die Filme über Wien ............................................................................................ -
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. -
Mitteilungen Der Verleiher
Mitteilungen der Verleiher Objekttyp: Group Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): 7 (1941-1942) Heft 111 PDF erstellt am: 27.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch nicazioni agli azionisti mediante il Foglio in Lugano. La società è vincolata di fronte Theo Lingen ist in diesem Film Spielleiter officiale cantonale. Attuale présidente del ai terzi dalla firma individuale del und anderseits Hauptdarsteller des Bava- riafilmes «Johann», den R. A. Stemmle consiglio di amministrazione è Goffredo présidente del consiglio di amministrazione o mit Lucie Englisch, Georg Alexander, Fita Rezzonico, di Benedetto, da ed in Lugano, coîlettiva degli altri due membri.