Press Kit (PDF, 2,2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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/. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Close-Up on the Robot of Metropolis, Fritz Lang, 1926
Close-up on the robot of Metropolis, Fritz Lang, 1926 The robot of Metropolis The Cinémathèque's robot - Description This sculpture, exhibited in the museum of the Cinémathèque française, is a copy of the famous robot from Fritz Lang's film Metropolis, which has since disappeared. It was commissioned from Walter Schulze-Mittendorff, the sculptor of the original robot, in 1970. Presented in walking position on a wooden pedestal, the robot measures 181 x 58 x 50 cm. The artist used a mannequin as the basic support 1, sculpting the shape by sawing and reworking certain parts with wood putty. He next covered it with 'plates of a relatively flexible material (certainly cardboard) attached by nails or glue. Then, small wooden cubes, balls and strips were applied, as well as metal elements: a plate cut out for the ribcage and small springs.’2 To finish, he covered the whole with silver paint. - The automaton: costume or sculpture? The robot in the film was not an automaton but actress Brigitte Helm, wearing a costume made up of rigid pieces that she put on like parts of a suit of armour. For the reproduction, Walter Schulze-Mittendorff preferred making a rigid sculpture that would be more resistant to the risks of damage. He worked solely from memory and with photos from the film as he had made no sketches or drawings of the robot during its creation in 1926. 3 Not having to take into account the morphology or space necessary for the actress's movements, the sculptor gave the new robot a more slender figure: the head, pelvis, hips and arms are thinner than those of the original. -
Filmarchiv Austria Beleuchtet Diesen Kaum Bekannten Teil Der Österreichischen Filmgeschichte Und Präsentiert Zahlreiche Objekte Und Dokumente Aus Der Eigenen Sammlung
10—11/2019 KINO KULTUR HAUS UNERWÜNSCHTES KINO AUSSTELLUNG UND RETROSPEKTIVE V’19: DER WEIBLICHE BLICK – LOUISE KOLM-FLECK | BRDDR INHALT 04 24 58 34 INHALT AUSSTELLUNG UNERWÜNSCHTES KINO | 17.10.2019–31.1.2020 04 RETROSPEKTIVEN UNERWÜNSCHTES KINO – TEIL 1: FILME VOR DER VERTREIBUNG | 17.10.–2.12. 10 V’19: DER WEIBLICHE BLICK – LOUISE KOLM-FLECK | 27.10.–1.11. 24 BRDDR | 9.11.–3.12. 34 KINOSTARTS BEWEGUNGEN EINES NAHEN BERGS PERSONALE SEBASTIAN BRAMESHUBER 18.10.–23.10. 54 HEIMAT IST EIN RAUM AUS ZEIT | 8.11.–28.11. 58 FILM | UNIVERSITÄT TAKING THE RED PILL | 21.10. 60 DIE BIBEL IM FILM | 11.11.–2.12. 62 JEWISH FILM NOIR | 12.11.–3.12. 64 REIHEN SECOND LIFE | 22.10.–3.12. 66 WILD FRIDAY NIGHT | 8.11. 68 KINDER KINO KLASSIKER | 10.11.–1.12. 70 LIVING COLLECTION | 11.11. 72 JÜDISCHER FILMCLUB WIEN | 13.11. 74 SPECIALS TRANSIT | 23.10. 76 BUCH WIEN: NORBERT GSTREIN | 9.11. 78 DVD-PRÄSENTATION: TIERE IM FILM | 28.11. 80 FESTIVALS MITTELAMERIKANISCHES FILMFESTIVAL | 15.11.–22.11. 82 VIENNATHENS | 25.11.–27.11. 84 ART VISUALS & POETRY FILM FESTIVAL | 29.11.–1.12. 86 SATYR FILMWELT 88 CLUB 94 SPIELPLAN 96 PROGRAMM 17.10.–3.12.2019 Franziska Gaal, Hans Jaray und Karl Paryla in FRÄULEIN LILLI (Robert Wohlmuth, A 1936) EDITORIAL s ist ein wenig beachtetes Kapitel in der österreichischen EFilm- und Zeitgeschichte: Mit der Vertreibung von jüdischen Filmschaffenden aus Nazi-Deutschland werden Wien und Buda- pest zu den Hauptstädten einer unabhängigen Produktions- landschaft. Unerwünschtes Kino, die neue Ausstellung im METRO Kinokulturhaus, beleuchtet Protagonisten und Werke dieser kurzen, aber ereignisreichen Periode des deutschspra- chigen Exilfilms. -
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. -
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. -
Social TV Fernsehprogramm Und Online-Interaktion- Was Steckt Wirklich Hinter Dem Social TV Boom
Social TV Fernsehprogramm und Online-Interaktion- was steckt wirklich hinter dem Social TV Boom Berlin, 21. Februar 2013 Goldmedia Custom Research GmbH Dr. Florian Kerkau Oranienburger Str. 27, 10117 Berlin, Germany Tel. +49 30-246 266-0, Fax +49 30-246 266-66 [email protected] Was ist dran, am „New TV“? Revolution oder Ritual 2 20.521.618 TV-Sendungen im deutschen Fernsehen 1.240.945 Follower deutscher Fernsehsender Basis: 145 offizielle deutsche Sendungsprofile und alle deutschen Fernsehsenderaccounts bei Twitter 3 Social TV: Motivation der Nutzer Zuschauer nutzen Social Media beim Fernsehen, um… …die Aufmerksamkeit von anderen Menschen zu erlangen …sich selbst gegenüber Anderen aufzuwerten …nach ergänzenden Informationen zu suchen …TV - Inhalte zu beeinflussen …weiter zu diskutieren, zu analysieren oder etwas Kurioses zu lesen Quelle: Goldmedia 2012 / Ericsson Consumer Lab August 2012 4 Social TV: Bedeutung für das Fernsehen? Besonders 15-17jährige sind im Social TV aktiv Age 15-17 Age 18-34 Research Services 2012,Services Durch Social Media macht Fernsehen 20% and mehr Spaß Multicultural 14% Content 28% Durch Social Media vergesse ich nicht Market Inc. & , Multiplatform meine Lieblingsshow zu schauen 19% Asociates Durch Social Media entdecke ich 30% Horowitz neue TV-Sendungen 24% aus AuszugQuelle: 0% 5% 10% 15% 20% 25% 30% 35% Weltweit nutzen 62% aller 16-59-jährigen Internetnutzer TV und Social Media Quelle: Ericsson Consumer Lab August 2012 5 77 Prozent der Onliner nutzen das Internet während des Fernsehens Welcher der -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
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. -
Sprungbrett Oder Krise? Das Erlebnis Castingshow-Teilnahme
Sprungbrett oder Krise? 48 Maya Götz, Christine Bulla, Caroline Mendel Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Landesanstalt für Medien Nordrhein-Westfalen (LfM) Zollhof 2 40221 Düsseldorf Postfach 103443 40025 Düsseldorf Telefon V 021 1/77007-0 Telefax V 021 1/72 71 70 E-Mail V [email protected] LfM-Dokumentation Internet V http://www.lfm-nrw.de ISBN 978-3-940929-28-0 Band 48 Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Eine Befragung von ehemaligen TeilnehmerInnen an Musik-Castingshows Maya Götz, Christine Bulla, Caroline Mendel Ein Kooperationsprojekt des Internationalen Zentralinstituts für das Jugend- und Bildungsfernsehen (IZI) und der Landesanstalt für Medien Nordrhein-Westfalen (LfM) Impressum Herausgeber: Landesanstalt für Medien Nordrhein-Westfalen (LfM) Zollhof 2, 40221 Düsseldorf www.lfm-nrw.de ISBN 978-3-940929-28-0 Bereich Kommunikation Verantwortlich: Dr. Peter Widlok Redaktion: Regina Großefeste Bereich Medienkompetenz und Bürgermedien Verantwortlich: Mechthild Appelhoff Redaktion: Dr. Meike Isenberg Titelbild: Collage © Wild GbR Lektorat: Viola Rohmann M. A. Gestaltung: disegno visuelle kommunikation, Wuppertal Druck: Börje Halm, Wuppertal April 2013, Auflage: 1.000 Exemplare Nichtkommerzielle Vervielfältigung und Verbreitung ist ausdrücklich erlaubt unter Angabe der Quelle Landesanstalt für Medien Nordrhein-Westfalen (LfM) und der Webseite www.lfm-nrw.de Inhaltsverzeichnis Vorwort 8 Zusammenfassung 9 Einleitung 11 1 Das System Castingshow -
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 -
UFA Film Nights Go Digital in Anniversary Year
PRESS RELEASE Bertelsmann and UFA present: UFA Film Nights Go Digital in Anniversary Year From August 20 to 22, 2020, legendary silent films with exclusive musical accompaniment can be experienced online “Woman in the Moon,” “People on Sunday,” and “The Adventures of Prince Achmed” each accessible free of charge for 24 hours Music contributed by celebrated DJ Jeff Mills, chillout pioneer Raphaël Marionneau and Ensemble Trioglyzerin Berlin, August 5, 2020 – In light of the current situation, the UFA Film Nights will for the first time take place exclusively online and not with thousands of guests on Berlin's Museum Island. So in its tenth year, the silent film festival is open not only to Berliners, but to movie buffs all over the world. From August 20 to 22, 2020, Bertelsmann and UFA will present the anniversary edition of the UFA Film Nights as part of the digital Culture@Bertelsmann series, featuring three early masterpieces of cinema history, each with exclusive musical accompaniment. The films will be live streamed on the company website as well as on Bertelsmann's YouTube and Facebook channels. The event’s curtain-raiser is Fritz Lang's epochal, technically visionary masterpiece Frau im Mond (Woman in the Moon) from 1929, with a musical interpretation by the celebrated DJ Jeff Mills. The pairing was a highlight of last year's UFA Film Nights. This will be followed on the second evening by Menschen am Sonntag (People on Sunday), the legendary homage to Berlin by Robert Siodmak, Edgar G. Ulmer, and Billie Wilder (1929/1930), with DJ Raphaël Marionneau supplying the music.