DOCSLIB.ORG

The Aesthetics of Violence and Power in Uli Edel's Der Baader Meinhof Komplex

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Aesthetics of Violence and Power in Uli Edel's Der Baader Meinhof Komplex REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS_CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca Issue URL http://imaginations.csj.ualberta.ca/?p=5751 October 3, 2014 To link to this issue: http://dx.doi.org/10.17742/IMAGE.TGVC.5-2 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. IMAGINATIONS REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES TERRORISM AND ITS LEGACY IN GERMAN VISUAL CULTURE 5-2 2014 MARIA STEHLE NOAH SOLTAU ANJA KATHARINA SEILER THOMAS NACHREINER R. ERIC JOHNSON THOMAS RIEGLER CHRISTOPH DRAEGER SEBASTIAN BADEN TERRORISM AND ITS LEGACY IN GERMAN VISUAL CULTURE MANAGING EDITOR - CARRIE SMITH-PREI Editor in Chief | Rédacteur en chef • Sheena Wilson Editorial Team | Comité de rédaction: Daniel Laforest, Dalbir Sehmby, Carrie Smith-Prei, Andriko Lozowy French Content Editor | Contenu français: Daniel Laforest Design and technical editor | Design et technologie: Andriko Lozowy Web Editor | Mise en forme web: Carrie Smith-Prei Reviews Editor – Elicitations | Comptes rendus critiques Élicitations: Tara Milbrandt French Translations | Traductions françaises: Alexandra Popescu Editorial Advisory Board | Comité scientifique: Hester Baer, University of Oklahoma, United States Mieke Bal, University of Amsterdam & Royal Netherlands Academy of Arts and Sciences, Netherlands Andrew Burke, University of Winnipeg, Canada Ollivier Dyens, Concordia University, Canada Michèle Garneau, Université de Montréal Wlad Godzich, University of California Santa Cruz, United States Kosta Gouliamos, European University, Cyprus Faye Hammill, University of Strathclyde, United Kingdom Anton Kaes, University of California Berkeley, United States Dominic McIver Lopes, University of British Columbia, Canada Sarah McGaughey, Dickinson College, United States Peter McIsaac, University of Michigan, United States Marie-Dominique Popelard, Université de la Sorbonne Nouvelle - Paris 3, France Christine Ramsay, University of Regina, Canada Laurence A. Rickels, Academy of Fine Arts, Karlsruhe, Germany Will Straw, McGill Univeristy, Canada Imre Szeman, University of Alberta, Canada SPONSOR: IMAGINATIONS • ISSUE 3-2, 2012 • 2 IMAGINATIONS 5-2 FALL 2014 TERRORISM AND ITS LEGACY IN GERMAN VISUAL CULTURE GUEST EDITOR: MARIA STEHLE 4 Introduction by Noah Soltau and Maria Stehle 7 Aussteigen (getting out) Impossible—Montage and Life Scenarios in Andres Veiel’s Film Black Box BRD by Anja Katharina Seiler 29 The Aesthetics of Violence and Power in Uli Edel’s Der Baader Meinhof Komplex by Noah Soltau 46 Askew Positions—Schieflagen: Depictions of Children in German Terrorism Films by Maria Stehle 67 “Inspired by real events”—Media (and) Memory in Steven Spielberg’s MUNICH (2005) by Thomas Nachreiner 88 “Jedes Herz... ”: The Role of Terror in Hans Weingartner’s Die Fetten Jahre Sind Vorbei (The Edukators) by R. Eric Johnson: 103 “Mirroring terror”: The impact of 9/11 on Hollywood Cinema by Thomas Riegler: 120 Shooting History: An interview with Swiss artist Christoph Draeger about the re-enactment of terrorism in his video installation Black September (2002) by Sebastian Baden 3 • ISSUE 5 - 2, 2014 • IMAGINATIONS TERRORISM AND ITS LEGACY IN GERMAN VISUAL CULTURE NOAH SOLTAU AND MARIA STEHLE How else to get attention for one’s product inform or influence audiences’ concepts of and or one’s art? How else to make a dent responses to terrorism and political violence. when there is incessant exposure to images, Our edited volume is positioned at the tail end overexposure to a handful of images seen of a surge of engagement with West German again and again? The image as shock and left-wing terrorism, the student movement the image as cliché are two aspects of the and so-called “sixty-eighters,” and the social same presence. (Sontag 23) and political legacies of the 1960s and 70s in general.1 By also looking beyond Germany, we The idea for a special issue on visual depictions position this volume at the beginning of a more of terrorism in German culture came out of comprehensive scholarly engagement with a graduate seminar on Representations of visual depictions of violence and terrorism Radicals and Terrorists in German Literature in a post-9/11 world. In Philip Hammond’s and Film in the 20th and 21st Century that Maria introduction to the edited volume Screens of Stehle taught at the University of Tennessee in Terror: representations of war and terrorism 2011. Based on our discussions in the seminar, in film and television since 9/11 (2011), a we decided to put together a special issue that collection of essays that seeks to “brings examines, based on the German case, how together European and North American historically traumatic events inform visual scholars working in politics and international cultures in the twentieth and twenty-first relations as well as in literature, film, media century. The specter of international terrorism and cultural studies to take stock and assess has influenced the aesthetics of a wide range the shape and significance of the post 9/11,” of artworks produced in and about Germany, (17) he writes: from film to photography to visual art. A closer examination of these visual art forms aims After a decade of turmoil and instability in to further develop the understanding of and world affairs, after two wars that have left vocabulary for dealing with the effects of both hundreds of thousands dead and injured, it domestic and international social trauma. The may seem frivolous to focus on fictional film articles in this special issue examine artists’ and television drama. The impulse to do so, representations of acts of terrorism and of however, is in part given by the nature of the their social and political effects. We analyze the war on terror itself, designed by its architects aesthetic and social discourses in which these to be a media-friendly event. Staging the cultural products engage and how artworks spectacle of ‘war on terror,’ complete with IMAGINATIONS • ISSUE 5 - 2, 2014 • 4 INTRODUCTION sound-bites and photo-opportunities inspired products both effective and marketable, a fact by Hollywood, was an attempt to offset the that Noah Soltau illustrates in his discussion Western elite’s loss of purpose and vision, to of the rather successful German film Der fill the ‘void of meaning’ in Halland’s phrase. Baader Meinhof Complex. Most of the films It could never accomplish that. But what it and certainly the artwork, however, also make did do—not so much through the meetings attempts to critically engage with the problem with entertainment industry executives as of violence and media sensationalism and the through its very failure and incoherence— politics of fear. These two seemingly opposing was to prompt others to try to make sense aspects of “terrorism films” might suggest that of the contemporary experience of war and they fail to send a clear political message and, terror in ways that aimed to connect with consequently, remain politically incoherent. popular audiences. (17)2 Anja Seiler’s essay on the documentary film Black Box BRD and Eric Johnson’s discussion In our special issue, only the article by Thomas of genre conventions in the film Die fetten Riegler discusses mainstream Hollywood Jahre sind vorbei (The Edukators) and the films in more detail; the other contributions vacillation between terror and terrorism film relate their discussions specifically to the illustrate the complexity of this struggle for German example and discuss pop cultural, political coherence and complexity. Maria political, and commercial aspects of artistic Stehle’s essay on representation of children representations of political violence. Most of in films about terrorism shows that an honest the films we discuss and certainly the artist we engagement with questions of violence and introduce would probably understand their representation confirms that there is no work as intending to “prompt others to try to complete, easily digestible answer, but there make sense of the contemporary experience of are important political questions that need to war and terror in ways that aimed to connect be addressed. The continued struggle against with popular audiences,” (Hammond 17) and with global terrorism and the images this rather than as trying to re-establish the power terror produces certainly confirms this point. and control of Western nations, here mainly Germany. We would argue that in most cases, Our essays hope to spark further discussions the films are engaged in a project that tries to about the complex questions surrounding simultaneously do both: at the very least gain images and digital images in a global media control of the representation, but also incite a landscape. The increasing reliance on images critical discourse. The fact that terrorism and over text, of breadth rather than
Load more

Recommended publications
  • 1996 Human Rights Report: Germany Page 1 of 5
    1996 Human Rights Report: Germany Page 1 of 5 The State Department web site below is a permanent electro information released prior to January 20, 2001. Please see w material released since President George W. Bush took offic This site is not updated so external links may no longer func us with any questions about finding information. NOTE: External links to other Internet sites should not be co endorsement of the views contained therein. U.S. Department of State Germany Country Report on Human Rights Practices for 1996 Released by the Bureau of Democracy, Human Rights, and Labor, January 30, 1997. GERMANY The Federal Republic of Germany is a constitutional parliamentary democracy with an independent judiciary; citizens periodically choose their representatives in free and fair multiparty elections. The head of the Federal Government, the Chancellor, is elected by the lower house of Parliament. The powers of the Chancellor and of the Parliament are set forth in the Basic Law (Constitution). The 16 states enjoy significant autonomy, especially as concerns law enforcement and the courts, education, the environment, and social assistance. Law enforcement is primarily a responsibility of state governments, and the police are organized at the state level. The jurisdiction of the Federal Criminal Office is limited to international organized crime, especially narcotics trafficking, weapons smuggling, and currency counterfeiting. Police forces in general are well trained, disciplined, and mindful of citizens' rights, although there were occasional instances of police abuse. Germany's highly advanced economy affords its residents a high standard of living. The economy has had difficulty pulling out of its 1993-94 recession, which followed a reunification boom in the early 1990's.
    [Show full text]
  • Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
    Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans
    [Show full text]
  • Cornell International Affairs Review Editor-In-Chief Stephany Kim ’19
    1 Cornell International Affairs Review Editor-in-Chief Stephany Kim ’19 Managing Editor Ronni Mok ’20 Graduate Editors Amanda Cheney Caitlin Mastroe Martijn Mos Katharina Obermeier Whitney Taylor Youyi Zhang Undergraduate Editors Victoria Alandy ’20 Carmen Chan ’19 Christopher Cho ’17 Nidhi Dontula ’20 Gage DuBose ’18 Michelle Fung ’19 Matthew Gallanty ’18 Yuichiro Kakutani ’19 Beth Kelley ’19 Veronika Koziel ’19 Ethan Mandell ’18 Tola Mcyzkowska ’17 Ryan Norton ’17 Juliette Ovadia ’20 Srinand Paruthiyil ’19 Chasen Richards ’18 Xavier Salvador ’19 Julia Wang ’19 Yuijing Wang ’20 Design Editors Yuichiro Kakutani ’19 Yujing Wang ’20 Executive Board President Sohrab Nafisi ’18 Treasurer Ronni Mok ’20 VP of Programming Xavier Salvador ’19 Volume X Spring 2017 2 The Cornell International Affairs Review Board of Advisors Dr. Heike Michelsen, Primary Advisor Associate Director of Academic Programming, Einaudi Center for International Studies Professor Robert Andolina Johnson School of Management Professor Ross Brann Department of Near Eastern Studies Professor Matthew Evangelista Department of Government Professor Peter Katzenstein Department of Government Professor Isaac Kramnick Department of Government Professor David Lee Department of Applied Economics and Management Professor Elizabeth Sanders Department of Government Professor Nina Tannenwald Brown University Professor Nicolas van de Walle Department of Government Cornell International Affairs Review, an independent student organization located at Cornell University, produced and is responsible
    [Show full text]
  • Le Débat Sur La Fraction Armée Rouge Perception Et Mémoire Du Terrorisme D'extrême Gauche En Allemagne
    NoteNote dudu CerfaCerfa 5252 Le débat sur la Fraction armée rouge Perception et mémoire du terrorisme d'extrême gauche en Allemagne Annette Vowinckel Février 2008 Comité d’études des relations franco-allemandes (Cerfa) L'Ifri est, en France, le principal centre indépendant de recherche, d'infor-mation et de débat sur les grandes questions internationales. Créé en 1979 par Thierry de Montbrial, l'Ifri est une association reconnue d'utilité publique (loi de 1901). Il n'est soumis à aucune tutelle administrative, définit librement ses activités et publie régulièrement ses travaux. L'Ifri associe, au travers de ses études et de ses débats, dans une démarche interdisciplinaire, décideurs politiques et économiques, chercheurs et experts à l'échelle internationale. Avec son antenne à Bruxelles (Ifri-Bruxelles), l'Ifri s'impose comme l’un des rares think tanks français à se positionner au coeur même du débat européen. Les opinions exprimées dans ce texte n’engagent que la responsabilité des auteurs. Les “Notes du Cerfa” font l’objet d’un soutien de la Fondation Robert Bosch. Comité d’études des relations franco-allemandes (Cerfa) © Tous droits réservés, Ifri, 2008 ISBN : 978-2-86592-253-6 IFRI IFRI-BRUXELLES 27 rue de la Procession Rue Marie-Thérèse, 21 75740 paris cedex 15 - France B -1000 Bruxelles - Belgique TEL.: 33 (0)1 40 61 60 00 TEL.: 32(2) 238 51 10 FAX: 33 (0)1 40 61 60 60 FAX: 32(2) 238 51 15 E-Mail: [email protected] E-Mail: [email protected] SITE INTERNET: www.ifri.org SOMMAIRE Introduction………………………………………………………...2 La perception
    [Show full text]
  • Download Detailseite
    W-3348:W_ 30.01.2011 13:31 Uhr Seite 62 Berlinale 2011 Andres Veiel Wettbewerb WER WENN NICHT WIR IF NOT US, WHO QUI, A PART NOUS Deutschland 2011 Darsteller Bernward Vesper August Diehl Länge 125 Min. Gudrun Ensslin Lena Lauzemis Format 35 mm, Andreas Baader Alexander Fehling Cinemascope Will Vesper Thomas Thieme Farbe Rose Vesper Imogen Kogge Helmut Ensslin Michael Stabliste Wittenborn Regie Andres Veiel Ilse Ensslin Susanne Lothar Buch Andres Veiel, Ruth Ensslin Maria-Victoria nach dem Buch Dragus „Vesper, Ensslin, Verteidiger Rainer Bock Baader“ von Gerd Anstaltsleiterin Susanne-Marie Koenen Wrage Kamera Judith Kaufmann Walter Jens Benjamin Sadler Schnitt Hansjörg Ulrike Stefanie Stremler Weißbrich Verleger Peter Benedict Ton Paul Oberle Ello Kathrin Wehlisch Musik Annette Focks Schriftsteller Hasko Weber Szenenbild Christian M. Stokely Carmichael Eddie Jordan Junge Verleger Johannes Allmayer Goldbeck August Diehl, Lena Lauzemis Ausstattung David Hoffmann Andreas Döhler Felicity Good Vermieterin Bettina Redlich Kostüm Bettina Marx WER WENN NICHT WIR Uli Ensslin Hanno Koffler Maske Monika Münnich Westdeutschland, frühe 60er Jahre. Noch ist das Land ruhig. Bernward Johanna Ensslin Henriette Nagel Doris Junker Vesper beginnt sein Studium in Tübingen. Dort besucht er die Rhetorik - Casting Simone Bär seminare von Walter Jens. Bernward will schreiben und hackt nachts auf Herstellungsltg. Anne Leppin seine Schreibmaschine ein. Gleichzeitig verteidigt er seinen Vater, den von Produktionsltg. Mark Nolting Aufnahmeleitung Jens Enderling den Nazis gefeierten Blut-und-Boden-Dichter Will Vesper. Das Land, in dem Produzent Thomas Kufus Bernward lebt, erstickt an der Vergangenheit. Der Krieg ist gerade 15 Jahre Co-Produzenten Anatol Nitschke vorbei, alte Nazis machen wieder Karriere, über Kriegsverbrechen wird nicht (Deutschfilm ) geredet, die Republik steht stramm.
    [Show full text]
  • MARCELO EDUARDO MARCHI META-TERROR: O Uso Da Metalinguagem Como Recurso Narrativo No Slasher Movie
    UNIVERSIDADE FEDERAL DE SÃO CARLOS CENTRO DE EDUCAÇÃO E CIÊNCIAS HUMANAS DEPARTAMENTO DE ARTES E COMUNICAÇÃO MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie SÃO CARLOS - SP 2020 MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie Dissertação apresentada ao Programa de Pós-Graduação em Imagem e Som, da Universidade Federal de São Carlos, para obtenção do título de Mestre em Imagem e Som. Orientador: Prof. Dr. Alessandro Constantino Gamo São Carlos-SP 2020 Dedicado aos arquitetos desse fascinante universo que é o gênero terror. Que sua inesgotável imaginação e ousadia estejam sempre grudadas em mim, como o sangue de porco na doce Carrie. AGRADECIMENTOS Nem mesmo as cento e tantas páginas desta dissertação seriam suficientes para expressar minha gratidão às mulheres que, todos os dias, fazem de mim o que eu sou. Elas permanecem zelando para que eu alcance os meus sonhos, e, mais importante ainda, para que eu nunca deixe de sonhar. Minha mãe, Dirce, minhas irmãs, Márcia e Marta, e minha sobrinha, Júlia, amo vocês com todas as minhas forças! Ao meu falecido pai, Benedito: sei que sua energia ainda está conosco. Agradeço também aos meus colegas de mestrado. Tão precioso quanto o conhecimento adquirido nessa jornada é o fato de tê-la compartilhado com vocês. Desejo-lhes um futuro sempre mais e mais brilhante. Aos amigos de tantos anos, obrigado por me incentivarem a abraçar mais essa etapa e por estarem presentes também nos momentos de esfriar a cabeça e jogar conversa fora: Jefferson Galetti e Vanessa Bretas, Dú Marques, Vitão Godoy, Led Bacciotti e Giovana Bueno, Nico Stolzel e Paulinha Gomes, Miller Guglielmo, e a galera da república Alcatraz em São Carlos.
    [Show full text]
  • Bulletin of the GHI Washington
    Bulletin of the GHI Washington Issue 43 Fall 2008 Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Stiftung Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. TERRORISM IN GERMANY: THE BAADER-MEINHOF PHENOMENON Lecture delivered at the GHI, June 5, 2008 Stefan Aust Editor-in-Chief, Der Spiegel, 1994–2008 Recently on Route 73 in Germany, between Stade und Cuxhaven, my phone rang. On the other end of the line was Thilo Thielke, SPIEGEL correspondent in Africa. He was calling on his satellite phone from Dar- fur. For two weeks he had been traveling with rebels in the back of a pick-up truck, between machine guns and Kalashnikovs. He took some- thing to read along for the long evenings: Moby Dick. He asked me: “How was that again with the code names? Who was Captain Ahab?” “Andreas Baader, of course,” I said and quoted Gudrun Ensslin from a letter to Ulrike Meinhof: “Ahab makes a great impression on his first appearance in Moby Dick . And if either by birth or by circumstance something pathological was at work deep in his nature, this did not detract from his dramatic character. For tragic greatness always derives from a morbid break with health, you can be sure of that.” “And the others?” the man from Africa asked, “Who was Starbuck?” At that time, that was not a coffee company—also named after Moby Dick—but the code name of Holger Meins.
    [Show full text]
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]
  • Indv&Taxact03prelm, ANONIMO, Pope, Michael Anderson, Jr., ADDISON WESLEY Publishing Company Incorporated, 20
    Fed04: Indv&taxact03prelm, ANONIMO, Pope, Michael Anderson, Jr., ADDISON WESLEY Publishing Company Incorporated, 2003, 0131603973, 9780131603974, . DOWNLOAD HERE , , , , . Set during the height of the Cold War, The Shoes of the Fisherman opens as protagonist Kiril Pavlovich Lakota (Anthony Quinn), the Metropolitan Archbishop of Lviv (or Lvov as it is spelled in the movie adaptation), is unexpectedly set free after twenty years in a Siberian labour camp by his former jailer, Piotr Ilyich Kamenev (Laurence Olivier), now the premier of the Soviet Union. He is sent to Rome, where the elderly fictional Pope Pius XIII (John Gielgud) raises him to the cardinalate in the title of St. Athanasius. Lakota is reluctant, begging to be given "a simple mission with simple people," but the Pope insists that he kneel and receive the scarlet zucchetto that designates the rank of cardinal. When the Pontiff suddenly collapses and dies, the process of a papal conclave begins, and Cardinal Lakota participates as one of the electors. During the sede vacante, two cardinals in particular, Cardinal Leone (Leo McKern) and Cardinal Rinaldi (Vittorio De Sica) are shown to be papabili. After seven ballots of deadlock, Lakota finds himself elected Pope as a compromise candidate (suggested by Cardinal Rinaldi) by acclamation after the Cardinals, unable to decide between the leading candidates, interview him and are impressed by his ideas and his humility. Lakota takes the name of Pope Kiril (using his baptismal name). Meanwhile, the world is on the brink of nuclear war due to a Chinese-Soviet feud made worse by a famine caused by trade restrictions brought against China by the United States.
    [Show full text]
  • Labyrinth of Lies
    Presents Labyrinth of Lies Directed by Giulio Ricciarelli 123 Mins | Germany | Language: German Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com 1 LABYRINTH OF LIES Starring Johann Radmann ALEXANDER FEHLING Thomas Gnielka ANDRE SZYMANSKI Marlene Wondrak FRIEDERIKE BECHT Simon Kirsch JOHANNES KRISCH Erika Schmitt HANSI JOCHMANN Otto Haller JOHANN VON BULOW Walter Friedberg ROBERT HUNGER-BUHLER Hermann Langbein LUKAS MIKO Fritz Bauer GERT VOSS Filmmakers Director GIULIO RICCIARELLI Screenplay ELIZABETH BARTEL GIULIO RICCIARELLI Producers ULI PUTZ SABINE LAMBY JAKOB CLAUSSEN Cinematography MARTIN LANGER ROMAN OSIN Editing ANDREA MERTENS Set Design MANFRED DORING Costume Design AENNE PLAUMANN Original Sound GUNTHER GRIES Sound Mix FRIEDRICH M. DOSCH Casting AN DORTHE BRAKER LOGLINE Frankfurt 1958: nobody wants to look back to the time of the National Socialist regime. Young public prosecutor Johann Radmann comes across some documents that help initiate the trial against some members of the SS who served in Auschwitz. But both the horrors of the past and the hostility shown towards his work bring Johann close to a meltdown. It is nearly impossible for him to find his way through this maze; everybody seems to have been involved or guilty. SHORT SYNOPSIS Germany 1958. Reconstruction, economic miracle. Johann Radmann (Alexander Fehling) has just recently been appointed Public Prosecutor and, like all beginners, he has to content himself with boring traffic offenses. When the journalist Thomas Gnielka (André Szymanski) causes a ruckus in the courthouse, Radmann pricks up his ears: a friend of Gnielka's identified a teacher as a former Auschwitz guard, but no one is interested in prosecuting him.
    [Show full text]
  • Pre-Visions of Terror/After-Images of Love. Gudrun Ensslin, Bernward Vesper and the Roots of West German Terrorism
    Pre-Visions of Terror/After-Images of Love. Gudrun Ensslin, Bernward Vesper and the Roots of West German Terrorism. Thomas Krüger Synopsis This paper examines the pre-life of West German terrorism through the recently published correspondence between Bernward Vesper and Gudrun Ensslin, Notstandsgesetze von Deiner Hand (2009). I claim that as historical and literary documents, these texts offer a unique insight into the relationship between art and the historiography of West German terrorism before its climax in the 1970s. This historiography is heading backwards into the future, while surveying the destruction and barbarism of the past, while the personal and public spheres collide. Using the concept of the after-image, the essay analyzes the narrative residue of that collision. Biography Thomas Krüger is part-time professor of German at the University of Ottawa. His research focuses on the West German student movement after 1968. He is author of: “„... macht die blaue Blume rot!‟ Bernward Vesper‟s Die Reise and the Roots of the „New Subjectivity‟” in the July 2011 issue of Seminar. Essay The most conspicuous lacuna in the recently published correspondence of Bernward Vesper and Gudrun Ensslin is the missing discussion of the significance of the Frankfurt department store fire-bombing.1 This incident is the foundational act of what would later become the Red Army Faction (RAF) in which Gudrun Ensslin played a crucial and active role, and clearly marks a fragmentation of the 1960s protest movement, as a small group shifted its means of protest toward terrorism. In a 1968 response to this shift, Ulrike Meinhof, not yet in the underground or even associated with terrorism writes in her column in the widely read left-wing journal konkret: “[t]he progressive aspects of setting fire to a department store do not lie in the destruction of goods, but in the criminal act, in breaking the law” (Meinhof 246).
    [Show full text]
  • Cinema Canada - January 1987
    R E v I E w 5 • • Michael Anderson's Sword of Gideon side . from a few strange lapses, Sword of Gideon is a highly in­ Ateresting and complex two-part made-for-TV movie jointly produced by Alliance Entertainment Corporation and CTV. A tight plot-line, fascinating characterizations, and depth of themes make this production quite distin­ guished, and perhaps especially because of a certain level of political risk-taking central to its project. A key problem in mainstream treat­ ments of 'terrorism' is that we usually learn nothing about the root causes be­ hind the so-called 'terrrorist' acts, In­ steaq, 'terrorists' tend to be depicted by the media as insane anomalies whose actions have no origins in politicaVhis­ torical conditions. This severing of 'ter­ rorism' from its root causes allows for virtually no understanding of the real • Leslie Hope and Steven Bauer fight acts of wanton savagery • Colleen Dewhurst as Golda Meir conditions that give rise to extreme acts, which then (quite usefully) appear moments of extreme tension, especially doning the rigid senst: of 'duty' and pat­ pect of his difficult choice is entirely av­ to be wanton, unprovoked eruptions of involving that weapon-of-choice in '80s riotism that Samuels thinks will keep oided by the film - perhaps because, madness. Arguably, the crucial ques­ TV: the bomb. At least four times in the him under his thumb: a subservience living in New York, he is apparently safe tions about 'terrorism' center around course of the movie a bomb erupts on­ dependent on financial rewards.
    [Show full text]