Weimar Cinema On

Total Page:16

File Type:pdf, Size:1020Kb

Weimar Cinema On WEIMAR CINEMA ON DVD The following list contains films made in Germany between 1919 and 1933 that are currently available on DVD. Film titles which are listed in both German and English indicate that the film is available with subtitles or intertitles in English. While the large majority of the DVDs are NTSC format, some are PAL (region 0 or 2). German DVD's in PAL are shown as "G,", British as "UK." German editions are listed only when no U.S. or UK edition exists or if the German version differs significantly. This list is taken from Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War (Princeton, N.J.: Princeton University Press, 2011) and will be periodically updated. Die Abenteuer des Prinzen Achmed / The Adventures of Prince Achmed Lotte Reiniger, 1926 DVD: Image Entertainment (2002), 67 min. Reconstructed version. German intertitles with English subtitles, optional English voice-over. Extras: 1921 animated advertising trailer for The Secret of the Marquise; documentary on Reiniger by Katja Raganelli (1999, 64 min.); stills gallery. DVD (UK): BFI Video (2001), 66 min. PAL, region 2. Anders als die Andern / Different from the Others Richard Oswald, 1919 DVD: Kino on Video (2004), 50 min. English intertitles only. DVD (G): Edition Filmmuseum (2007), 51 min. PAL, region 0. German intertitles with English subtitles. Includes short documentary on the history of the film, documents by Magnus Hirschfeld, and a letter exchange between directors Richard Oswald and Veit Harlan. Includes Gesetze der Liebe: Schuldlos geächtet! / Laws of Love: Innocently Outlawed! (see below). Anna Boleyn/Anna Boleyn Ernst Lubitsch, 1920 DVD: Kino on Video (2006), 100 min. Restored version. English intertitles only. Features image gallery; Lubitsch filmography. Asphalt/ Asphalt Joe May, 1929 DVD: Kino on Video (2006), 93 min. Restored version. English intertitles only. DVD (UK): Eureka Video (2005), 90 min. PAL, region 2. German intertitles with optional English subtitles. Essay by R. Dixon Smith. 2 Die Austernprinzessin / The Oyster Princess Ernst Lubitsch, 1919 DVD: Kino on Video (2006), 60 min. Restored version. English intertitles only. Package includes Lubitsch filmography and Lubitsch’s Ich möchte kein Mann sein / I Don’t Want to Be a Man (see below). Avant-Garde: Experimental Cinema of the 1920s and 1930s DVD: Kino on Video (2005). Two-disc collection of early European and American experimental cinema. Includes Hans Richter’s Rhythmus 21 (1921, 3 min.), Vormittagsspuk / Ghosts before Breakfast (1928, 9 min.), and Ernö Metzner’s Überfall (1928, 22 min.). Berge in Flammen Luis Trenker, 1931 DVD (G): VZ Handels GmbH (2004), 94 min. PAL, region 0. In German. Features: photo gallery; background information. Second disc contains the documentary Sperrfort Rocca Alta (28 min.) about Luis Trenker. Die Bergkatze / The Wildcat Ernst Lubitsch, 1921 DVD: Kino on Video (2006), 82 min. Restored version. English intertitles only. With Lubitsch filmography. Berlin Alexanderplatz/ Berlin Alexanderplatz Phil Jutzi, 1931 DVD: Criterion Collection (2007), 83 min. In German with English subtitles. Included on the supplements disc for Criterion’s edition of Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980, 940 min.). Berlin: Die Sinfonie der Großstadt / Berlin: Symphony of a Great City Walther Ruttmann, 1927 DVD: Image Entertainment (1999), 62 min. Includes Ruttmann’s short Opus I (1922, 10 min.). DVD (G): Edition Filmmuseum (2008), 65 min. PAL, region 0. Restored version with newly recorded original score by Edmund Meisel. This edition includes all of Ruttmann’s surviving works from 1920 - 31: Opus 1 - 4 (1920 - 25), Der Sieger (1922), Das Wunder (1922), Das wiedergefundene Paradies (1925), Der Aufstieg (1926), Spiel der Wellen (1926), Dort wo der Rhein (1926), and In der Nacht (1931); lobby cards, posters, programs, and text documents; paintings and drawings by Ruttmann; booklet with essays. Includes Melodie der Welt / Melody of the World (see below). 3 Der blaue Engel / The Blue Angel Josef von Sternberg, 1930 DVD: Kino on Video (2001), 106 min. Restored version. In German with English subtitles. Audio commentary. Includes English-language version (94 min.); Marlene Dietrich’s screen test; Dietrich interview footage; trailer; Dietrich concert footage; photo gallery; filmmaker and cast biographies; production history. DVD (UK): Eureka Video (2002), 105 min. PAL, region 2. Das blaue Licht / The Blue Light Leni Riefenstahl, 1932 DVD (G): Archiv-DVD (2006), 70 min. In German with English subtitles. Bomben auf Monte Carlo Hanns Schwarz, 1931 DVD (G): Black Hill Pictures (2005), 101 min. PAL, region 2. In German. Features background information; photo gallery. Die Büchse der Pandora / Pandora’s Box G. W. Pabst, 1929 DVD: Criterion Collection (2006), 133 min. German intertitles with optional English subtitles. Audio commentary by Thomas Elsaesser and Mary Ann Doane. Includes Looking for Lulu, documentary on Louise Brooks (1998, 60 min.); 1971 interview with Louise Brooks (48 min.) by Richard Leacock; interviews with Leacock and Michael Pabst, son of G. W. Pabst; stills gallery; book with essays. DVD (UK): Second Sight Films (2002), 131 min. PAL, region 0. Das Cabinet des Dr. Caligari / The Cabinet of Dr. Caligari Robert Wiene, 1920 DVD: Image Entertainment (1996), 72 min. English intertitles only. Audio commentary by Mike Budd. DVD: Kino on Video (2002), 75 min. English intertitles only. Tinted. Includes an excerpt of Wiene’s subsequent film, Genuine: Tale of a Vampire (1920, 43 min.); footage of Wiene on the set of his film I.N.R.I.; gallery of photos, posters, and production sketches. DVD (UK): Eureka Video (2000), 72 min. PAL, region 2. Die vom Rummelplatz Carl Lamac, 1930 DVD (G): absolut Medien (2008). PAL, region 0. In German. This film is included in the collection “Film im Herzen Europas.” Doktor Dolittle & andere Archivschätze Lotte Reiniger, 1927 DVD (G): absolut Medien (2008), 153 min. PAL, region 0. Includes booklet. German intertitles. 4 Douaumont - Die Hölle von Verdun / Douaumont - Hell of Verdun Heinz Paul, 1931 DVD: International Historic Films, 84 min. In German. Die Dreigroschenoper / The Threepenny Opera G. W. Pabst, 1931 DVD: Criterion Collection (2007), 105 min. In German with English subtitles. Audio commentary by David Bathrick and Eric Rentschler. Includes archival introduction by stars Fritz Rasp and Ernst Busch; documentary on the play’s history; Pabst’s French- language version; presentation on different versions by Charles O’Brien; archival interview with Fritz Rasp; galleries of production photos and sketches; essay by Tony Rayns. DVD (UK): BFI Video (2004), 203 min. PAL, region 2. Die Drei von der Tankstelle Wilhelm Thiele, 1930 DVD (G): Universum Film (2004), 95 min. PAL, region 2. In German. Dr. Mabuse, der Spieler / Dr. Mabuse, the Gambler Fritz Lang, 1922 DVD: Kino on Video (2006), 270 min. Restored version. English intertitles only. Supplements: “The Story behind Dr. Mabuse” (52 min., German with English subtitles); Lang biography and filmography; stills gallery; film notes. DVD: Image Entertainment (2001), 230 min. English intertitles only. Audio commentary by David Kalat. DVD (UK): Eureka Video (2004), 270 min. PAL, region 2. German intertitles with English subtitles. Extras: photo gallery; features on “Mabuse’s Motives,” “Mabuse’s Music,” and Norbert Jacques; biographies; facts and dates. Einbrecher Hanns Schwarz, 1930 DVD (G): Black Hill Pictures (2005), 103 min. In German. Includes background information; biographies. Die elf Teufel / The Eleven Devils Zoltan Korda, 1927 DVD (G): Edition Filmmuseum (2006), 98 min. PAL, region 0. German intertitles with English subtitles. Includes short documentary Der Länderkampf Deutschland-Italien im Duisburger Stadion / International Competition Germany vs. Italy in the Duisburg Stadium (9 min.) and König der Mittelstürmer / King of the Centre Forwards (see below). 5 Ella Bergmann-Michel: Dokumentarische Filme 1931-1933/Documentary Films 1931- 1933 Ella Bergmann-Michel, 1933 DVD (G): Edition Filmmuseum (2008), 143 min. PAL, region 0. German intertitles with English subtitles. Films on the DVD include: Wo wohnen alte Leute / Where Old People Live (1931), Erwerbslose kochen für Erwerbslose / Unemployed are Cooking for the Unemployed (1932), Fliegende Händler in Frankfurt am Main / Travelling Hawkers in Frankfurt am Main (1932), Fischfang in der Rhön (an der Sinn) / Fishing in the Rhön (at the Sinn) (1932), Wahlkampf 1932 (Letzte Wahl) / Election Campaign 1932 (Last Election) (1932/33), Fragmente / Fragments, Mein Herz schlägt Blau - Ella Bergmann- Michel / Blue is the Beat of my Heart - Ella Bergmann-Michel Jutta Hercher & Maria Hemmleb, (1989) Emil und die Detektive Gerhard Lamprecht, 1931 DVD (G): Universum Film (2003). PAL, region 2. In German. Includes the 1954 version directed by Robert A. Stemmle. Faust/ Faust Friedrich Wilhelm Murnau, 1926 DVD: Kino on Video (2001), 116 min. Restored version. English intertitles only. Includes gallery of production stills; essay by Jan Christopher Horak. DVD (UK): Eureka Video (2006), 100 min. PAL, region 2. German intertitles with optional English subtitles. Audio commentary by David Ehrenstein and Bill Krohn. Includes video feature with Tony Rayns; comparison of the different versions of Faust by R. Dixon Smith; production stills and promotional art gallery; booklet with essay by Peter Spooner and archive reprints. Die Finanzen des Großherzogs / The Finances of the Grand Duke F.W. Murnau, 1924 DVD: Kino on Video (2009), 77
Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • 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.
    [Show full text]
  • GLOBUS-FILM Hanns-Braun-Str
    DerDer RRebellebell Ein Film von Luis Trenker Darsteller Stab Luise Ullrich - Fritz Kampers - Victor Varconi - Regie ...............................................................Luis Trenker Erika Dannhoff - Ludwig Stoessel - Reinhold Bernt Kamera ................................... Sepp Allgeier, Albert Benitz, - Albert Schultes und vielen Südtiroler und Tiroler ...................................Willy Goldberg und Reimar Kuntze Bergführern und Bergbauern Musik .........................................................Giuseppe Becce Schlagzeilen Technische Daten Der junge Luis Trenker in der Titelrolle, ein listiger, drauf- Länge ...............................................................2530 Meter gängerischer Rebell, ein Patriot für Tirol! Laufzeit........................................................... 91 Minuten Aktuell wie nie zuvor! Format..................................................................... 35 mm Ein junger Student führt seine Landsleute in den Kampf ge- Bild.............................................................................. S/W gen Besatzungssoldaten für Freiheit und Gerechtigkeit! Produktionsjahr .......................................................... 1932 Männern wie „Der Rebell“ ist die Freiheit mehr wert als das Herstellungsland............................................. Deutschland Leben! FSK .............................................................. ab 12 Jahren Inhalt Werbematerial Luis Trenker, der Südtiroler Naturbursche, der Dank der Weitsicht Aushangfotos der von ihm so geliebten
    [Show full text]
  • Abstract Why We Turn the Page: a Literary Theory Of
    ABSTRACT WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM Justin J. J. Ness, Ph.D. Department of English Northern Illinois University, 2019 David J. Gorman, Director This study claims that every narrative text intrinsically possesses a structure of fixed relationships among its interest components. The progress of literary structuralism gave more attention to the static nature of what a narrative is than it did to the dynamic nature of how it operates. This study seeks to build on the work of those few theorists who have addressed this general oversight and to contribute a more comprehensive framework through which literary critics may better chart the distinct tensions that a narrative text cultivates as it proactively produces interest to motivate a reader’s continued investment therein. This study asserts that the interest in narrative is premised on three affects— avidity, anxiety, and curiosity—and that tensions within the text are developed through five components of discourse: event, description, dialog, sequence, and presentation. NORTHERN ILLINOIS UNIVERSITY DEKALB, ILLINOIS MAY 2019 WHY WE TURN THE PAGE: A LITERARY THEORY OF DYNAMIC STRUCTURALISM BY JUSTIN J. J. NESS ©2019 Justin J. J. Ness A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Dissertation Director: David J. Gorman ACKNOWLEDGMENTS David Gorman, the director of my project, introduced me to literary structuralism six years ago and has ever since challenged me to ask the simple questions that most people take for granted, to “dare to be stupid.” This honesty about my own ignorance was—in one sense, perhaps the most important sense—the beginning of my life as a scholar.
    [Show full text]
  • Page 1 of 3 Moma | Press | Releases | 1998 | Gallery Exhibition of Rare
    MoMA | press | Releases | 1998 | Gallery Exhibition of Rare and Original Film Posters at ... Page 1 of 3 GALLERY EXHIBITION OF RARE AND ORIGINAL FILM POSTERS AT THE MUSEUM OF MODERN ART SPOTLIGHTS LEGENDARY GERMAN MOVIE STUDIO Ufa Film Posters, 1918-1943 September 17, 1998-January 5, 1999 The Roy and Niuta Titus Theater 1 Lobby Exhibition Accompanied by Series of Eight Films from Golden Age of German Cinema From the Archives: Some Ufa Weimar Classics September 17-29, 1998 The Roy and Niuta Titus Theater 1 Fifty posters for films produced or distributed by Ufa, Germany's legendary movie studio, will be on display in The Museum of Modern Art's Roy and Niuta Titus Theater 1 Lobby starting September 17, 1998. Running through January 5, 1999, Ufa Film Posters, 1918-1943 will feature rare and original works, many exhibited for the first time in the United States, created to promote films from Germany's golden age of moviemaking. In conjunction with the opening of the gallery exhibition, the Museum will also present From the Archives: Some Ufa Weimar Classics, an eight-film series that includes some of the studio's more celebrated productions, September 17-29, 1998. Ufa (Universumfilm Aktien Gesellschaft), a consortium of film companies, was established in the waning days of World War I by order of the German High Command, but was privatized with the postwar establishment of the Weimar republic in 1918. Pursuing a program of aggressive expansion in Germany and throughout Europe, Ufa quickly became one of the greatest film companies in the world, with a large and spectacularly equipped studio in Babelsberg, just outside Berlin, and with foreign sales that globalized the market for German film.
    [Show full text]
  • Der Weg Nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research
    Wolfgang Fuhrmann Der Weg nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research Abstract The article discusses the relevance of the histoire croisée approach that has been only marginally applied to film and cinema historical research. Histoire croisée is an approach to write history from a transnational perspective. It tries to overcome the conceptual shortcomings of comparative and transfer studies and integrates them into its theoretical framework. The case study of a cultural-diplomatic conflict etweenb Brazil and Germany illustrates some of the methodological advantages of the histoire croisée approach. The paper argues that writing historiography from a transnational perspective opens not only new areas of film historicalresearch, it also offers a better understanding of film historical events that otherwise might be overlooked by comparative or transfer studies. Keywords Brazil; diplomacy; histoire croisée; historiography; transnational On 17 March 1931, the Brazilian newspaper Diário de Noticias, based in Rio de Janeiro, published a front-page article with the lurid headline ‘A Film Insulting For Brazil and Its Civilization.’12 The article reported the screening of the German film Der Weg nach Rio/Road to Rio (Manfred Noa, DE 1931), a white slavery genre film, hich,w according to the journalist, depicted Brazil in a derogatory manner and the countries’ then capital as the international centre of white slavery.3 Der Weg nach Rio was never screened in Brazil but only viewed by a small number of Brazilians living in Berlin at the time of its release. However, the article made the film the talk of the day in Brazil.
    [Show full text]
  • Karl Valentin's Illogical Subversion: Issues Arising from Das Aquarium and Liesl Karlstadt's Verein Der Katzenfreunde
    Oliver Double & Michael Wilson Karl Valentin's illogical subversion: issues arising from Das Aquarium and Liesl Karlstadt's Verein der Katzenfreunde Valentin Ludwig Fey was born on 4 June 1882 in the Munich suburb of Au, effectively the only child of an artisan-class family – his sister and two brothers all died in early childhood before Valentin Ludwig was even six months old. Valentin himself only narrowly survived a childhood encounter with diptheria (all of which, perhaps unsurprisingly, contributed to his ever-increasing hypochondria1), but he went on to become Karl Valentin, arguably the most famous German comedian and cabaret performer of his generation. Popular Entertainment in Munich The popular entertainment scene in Munich in the early years of the twentieth century was a vibrant mix of the traditional Volkssänger culture, Salonhumoristen and the more overtly political cabaret established by figures like Frank Wedekind and frequented by the Bohemian intellectual community. Volkssänger is a notoriously difficult word to translate in this context. Literally meaning „folksinger‟ (the term preferred by Robert Eben Sackett in his book Popular Entertainment, Class, and Politics in Munich, 1900- 19232 it is important not to equate these performers with the agrarian working-class amateur singers who acted as the informants of the great folksong collectors such as Cecil Sharpe or Sabine Baring-Gould in England, nor with the professional musicians who emerged from the „folk revival‟ of the 1950s and 1960s. The Volkssänger was a popular entertainer who „came from the common people (…) lived among them and knew what troubled their hearts‟3 and a more useful comparison would be with the artists of the British Music Hall.
    [Show full text]
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • Research Opportunities in Munich Yvonne Shafer
    FALL 1991 235 Research Opportunities in Munich Yvonne Shafer Munich is both a theatrical city and a city with a great deal of theatre. Throughout the city are interesting theatre buildings, important theatre collections, museums with theatrical material, and statues relating to theatre. The theatres, their archives, and theatre collections are accessible and public transportation in Munich is excellent. Theatre ranges from puppet shows to the classics-indeed, one can see Faust performed as a puppet show as Goethe first intended it. In the handsome theatre lobbies, there is an air of excitement and sophistication as the theatre-goers drink champagne and discuss the performances. The audiences are very responsive: they laugh a great deal in plays received very earnestly in America, applaud thunderously when a play is good, and boo long and loud when they do not care for a production. In order to give a picture of theatre research opportunities various types of productions will be described, followed by a discussion of the theatre museums and several of the famous theatres in the city. In May 1991 there were several dozen plays, ballets, operas and other theatrical performances from which to choose. There are major subsidized theatres and opera houses, small commercial theatres, theatres for children, and experimental groups. A range of plays available on a given night included Entertaining Mr. Sloane, The Threepenny Opera, Cooney and Chapman's Not Now, Darling, Durrenmatt's The Accident, and Jesus Christ Superstar. There were performances of a British science-fiction comedy presented by the Action Theatre London (in English) called Black Magic-Blue Love, a Psychothriller Murder Voices, and an evening of song and acting in the OFF-OFF-Theater Club.
    [Show full text]
  • The Film Music of Edmund Meisel (1894–1930)
    The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven.
    [Show full text]
  • Mickey Mayhew Phd Final2018.Pdf
    ‘Skewed intimacies and subcultural identities: Anne Boleyn and the expression of fealty in a social media forum’ Mickey Mayhew A Thesis submitted in fulfilment of the requirements for the degree of Doctor of Sociology at London South Bank University Supervisors: Doctor Shaminder Takhar (Director of Studies) and Doctor Jenny Owen Faculty of Arts and Human Sciences, Department of Social Sciences & Department of Media and Cultural Studies, London South Bank University 1 Abstract The aim of this research project was the investigation of a subculture surrounding the famous Tudor queen Anne Boleyn; what that possible subculture means for those involved, and if it constituted part of a new phenomenon of female orientated online subcultures; cybersubcultures. Through the analysis of film, TV, historical literature and fiction, the research illustrates how subcultures are perpetuated through generations cyclically. The research then documents the transition from the traditional or ‘classic’ subcultural model of the 60s to the 21st century cybersubculture and fandom, suggesting a new way of thinking about subcultures in a post-subcultural age. The research suggests that the positioning of Anne Boleyn as a feminist icon/role model, based mainly on a media-mediated image, has formed a subculture which thrives on disjointed imagery and discourse in order to form a subculture of peculiarly subtle resistance. This new cybersubculture reflects the ways in which women are now able to use social media to form communities and to communicate, sharing concerns over men and marriage, all whilst percolating around the media-mediated image of Anne Boleyn as their starting point. These interactions – and the similarities they shared with the ‘classic’ subcultural style - form the data for this research project.
    [Show full text]
  • Georg Wilhelm Pabst : Blessure De La Guerre, Cicatrices De La Pellicule
    SYMPOSIUM CULTURE @ KULTUR Research paper • DOI: 10.2478/sck-2021-0001 • Symposium • 3(1) • 2021 • 1–6 Georg Wilhelm Pabst : blessure de la guerre, cicatrices de la pellicule Louise Dumas Abstract Von allen Filmemachern, die Deutschlands filmischen Ruhm in der Zwischenkriegszeit ausmachten, ist G. W. Pabst derjenige, der am wenig- sten Anerkennung erhielt – oder am längsten dafür gebraucht hat. Er ist aber auch derjenige, der schon Ende der 1920er Jahre den Ersten Weltkrieg zu einem filmischen Ereignis machte, das in vier seiner Filme mehr oder weniger direkt thematisiert wird:Die Liebe der Jeanne Ney, Westfront 1918, Kameradschaft und Mademoiselle Docteur. Der Krieg wird als eine traumatische Erfahrung dargestellt, die Einzelpersonen, Seelen und Völker verwundet hat. Dabei bilden auch diese vier Filme ein Manifest der Filmkunst, die grundsätzlich eine Dialektik vom Trennen und Verbinden ist. In diesem Sinne hat das Kino durch seine medienästhetischen Mittel die Kraft, die Wunden des Krieges zu verarbeiten und zu heilen. De tous les réalisateurs qui ont fait la gloire cinématographique de l’Allemagne dans l’entre-deux-guerres, G. W. Pabst est celui qui a été le moins reconnu, ou qui a mis le plus de temps à l’être, mais il est aussi celui qui, dès la fin des années 1920, a fait de la Première Guerre mondiale un événement cinématographique que reflètent, plus ou moins directement, quatre de ses films L’Amour: de Jeanne Ney, Quatre de l’infanterie, La Tragédie de la mine et Mademoiselle Docteur. La guerre y apparaît comme une expérience traumatique qui blesse les individus, les âmes et les peuples.
    [Show full text]