BUSHIDO Moritz Bleibtreu Karoline Schuch Elyas M´BAREK Hannelore Elsner

Total Page:16

File Type:pdf, Size:1020Kb

BUSHIDO Moritz Bleibtreu Karoline Schuch Elyas M´BAREK Hannelore Elsner BUSHIDO mOrItz BleibtreU karOlIne SchucH elyaS m´BAREK HannelOre elSner BernD eIchinger anD cOnStantIn fIlm preSent an UlI eDel fIlm a BernD eIchinger production frOm tHe makerS Of laSt exIt tO Brooklyn anD tHe BaaDer meInhof cOmplex Director Uli Edel cast Bushido Moritz Bleibtreu Karoline Schuch Elyas M’Barek Hannelore Elsner genre Drama language German length 94 min Produced by Constantin Film Production in co-production with Rat Pack Filmproduktion electro ghetto SYNoPSIS Top German rapper Bushido is on tour in Germany, when he receives a post card from his father. All the old memories come boiling to the surface: Growing up as a ghetto kid in Berlin, dealing drugs instead of going to school, slipping ever further into juvenile delinquency, heading towards a life of crime and prison. One image especially won’t let go of Bushido: His father beating his mother in front of him. At the height of his success as a rapper, Bushido must confront the demons of his past. It‘s not just times that are a-changing, it’s the times that change you. the DIRECTOR Uli Edel was born in 1947 and studied German Language Studies and Theater Sciences before enrolling at the Munich University of Television & Film, where he first met Bernd Eichinger, whom he worked with on numerous films. A selection of his award-winning films include: “Christiane F. – Wir Kinder vom Bahnhof Zoo” (1981), “Last Exit to Brooklyn” (1989), numerous other US event movies and mini-series like “Body of Evidence” (1993), “The Mists of Avalon” (TV, 2001), “King of Texas” (2002), “Julius Caesar” (TV, 2003), “Ring of the Nibelungs” (TV, 2004), as well as “The Baader Meinhof Complex” (2008), among others. [email protected] I www.betacinema.com.
Recommended publications
  • Lieder, Die Ein Deutschlehrer Braucht
    Lieder, die ein Deutschlehrer braucht DOLORES RODRÍGUEZ CEMILLÁN Escuela Oficial de Idiomas de Fuenlabrada, Madrid s gibt viele und wichtige Gründe zum Einsatz Beispiele und Quellen von Liedern im Deutschunterricht: Lieder sind vor Allem authentische Texte, man kann mit Von der unten vorgestellten Liste sind bestimmte Lieder unt - ihnen die vier Fertigkeiten trainieren, sie er - entbehrlich und sehr empfehlenswert: so ist «1,2 Polizei« von leichtern die Ausprache und sie vermitteln Lan - Modo ist immer ein Erfolg, wenn man die Zahlen von 1 bis deskunde. Man kann Lieder fast für jede Un - 10 beibringen will. Oder «MFG» von den Fantastischen Vier terrichts− oder Lehrwerkseinheit gezielt ein - ist ein Rap-Hit zum üben des Alfabets und der Abkürzungen. setzen, da sie einen kreativen und motivieren - Immer wieder einsetzbar sind auch die deutschen Versionen den Umgang mit der deutschen Sprache er - von den Beatles, «Sie liebt dich» und «Komm, gib mir deine lauben und emotionale und kommunikative Hand», zwei bekannte Erfolge, mit denen man sehr schön Per - Kompetenzen ansprechen. Mit Liedern und sonalpronomen im Akkusativ und Dativ üben kann. Gram - Musik verbessern sich die kommunikativen matisch sehr interessant ist auch das Lied «Durch den Mon - und sozialen Kompetenzen der Lerner; man sun«, von Tokio Hotel, da hier viele Präpositionen kontextua - regt sie zu Leistungsbereitschaft an und hat lisiert vorkommen. Thematisch und landeskundlich gesehen, die Möglichkeit, Konzentrationsschwächen zu kompensie - ist das Lied «Deutschland» von den
    [Show full text]
  • 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.
    [Show full text]
  • Martin Moszkowicz Filmographie
    FILMOGRAPHIE MARTIN MOSZKOWICZ FILMOGRAPHIE MARTIN MOSZKOWICZ JAHR TITEL REGIE 2022 Liebesdings Anika Decker EXECUTIVE PRODUCER Der Nachname Sönke Wortmann EXECUTIVE PRODUCER 2021 Welcome to Raccoon City Johannes Roberts EXECUTIVE PRODUCER Contra Sönke Wortmann EXECUTIVE PRODUCER Caveman Laura Lackmann EXECUTIVE PRODUCER Tides Tim Fehlbaum EXECUTIVE PRODUCER Ostwind - Der große Orkan Lea Schmidbauer CO-PRODUZENT The Foundation Mike P. Nelson EXECUTIVE PRODUCER Monster Hunter Paul W.S. Anderson EXECUTIVE PRODUCER 2 020 Drachenreiter Tomer Eshed EXECUTIVE PRODUCER Black Beauty Ashley Avis EXECUTIVE PRODUCER Berlin, Berlin Franziska Meyer Price CO-PRODUZENT Das geheime Leben der Bäume Jörg Adolph EXECUTIVE PRODUCER 2019 Das perfekte Geheimnis Bora Dagtekin EXECUTIVE PRODUCER Eine ganz heiße Nummer 2.0 Rainer Kaufmann CO-PRODUZENT Die drei !!! Viviane Andereggen CO-PRODUZENT The Silence John R. Leonetti EXECUTIVE PRODUCER Der Fall Collini Marco Kreuzpaintner EXECUTIVE PRODUCER Ostwind – Aris Ankunft Theresa von Eltz CO-PRODUZENT Polar Jonas Akerlund EXECUTIVE PRODUCER FILMOGRAPHIE MARTIN MOSZKOWICZ JAHR TITEL REGIE 2018 Der Vorname Sönke Wortmann EXECUTIVE PRODUCER Fünf Freunde und das Tal der Dinosaurier Mike Marzuk CO-PRODUZENT Asphaltgorillas Detlev Buck EXECUTIVE PRODUCER Verpiss Dich, Schneewittchen Cüneyt Kaya EXECUTIVE PRODUCER Nur Gott kann mich richten Özgur Yildrim CO-PRODUZENT 2017 Dieses bescheuerte Herz Marc Rothemund PRODUZENT Das Pubertier Leander Haußmann EXECUTIVE PRODUCER Tigermilch Ute Wieland EXECUTIVE PRODUCER Ostwind – Aufbruch nach Ora Katja von Garnier CO-PRODUZENT Axolotl Overkill Helene Hegemann EXECUTIVE PRODUCER Tiger Girl Jakob Lass EXECUTIVE PRODUCER Jugend ohne Gott Alain Gsponer EXECUTIVE PRODUCER Timm Thaler oder das verkaufte Lachen Andreas Dresen EXECUTIVE PRODUCER Shadowhunters (TV) McG u.a. PRODUZENT Resident Evil: The Final Chapter Paul W.S.
    [Show full text]
  • Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
    through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma.
    [Show full text]
  • Whose Hi/Story Is It? the U.S. Reception of Downfall
    Whose Hi/story Is It? The U.S. Reception of Downfall David Bathrick Before I address the U.S. media response to the fi lm Downfall, I would like to mention a methodological problem that I encountered time and again when researching this essay: whether it is possible to speak of reception in purely national terms in this age of globalization, be it a foreign fi lm or any other cultural artifact. Generally speaking, Bernd Eichinger’s large-scale production Downfall can be considered a success in America both fi nancially and critically. On its fi rst weekend alone in New York City it broke box-offi ce records for the small repertory movie theater Film Forum, grossing $24,220, despite its consider- able length, some two and a half hours, and the fact that it was shown in the original with subtitles. Nationally, audience attendance remained unusually high for the following twelve weeks, compared with average fi gures for other German fi lms made for export markets.1 Downfall, which grossed $5,501,940 to the end of October 2005, was an unequivocal box-offi ce hit. One major reason for its success was certainly the content. Adolf Hit- ler, in his capacity as star of the silver screen, has always been a suffi cient This article originally appeared in Das Böse im Blick: Die Gegenwart des Nationalsozialismus im Film, ed. Margrit Frölich, Christian Schneider, and Karsten Visarius (Munich: edition text und kritik, 2007). 1. The only more recent fi lm to earn equivalent revenue was Nirgendwo in Afrika.
    [Show full text]
  • Online Streaming and the Chart Survival of Music Tracks
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe Article — Published Version “I will survive”: Online streaming and the chart survival of music tracks Managerial and Decision Economics Provided in Cooperation with: John Wiley & Sons Suggested Citation: Kaimann, Daniel; Tanneberg, Ilka; Cox, Joe (2020) : “I will survive”: Online streaming and the chart survival of music tracks, Managerial and Decision Economics, ISSN 1099-1468, Wiley, Hoboken, NJ, Vol. 42, Iss. 1, pp. 3-20, http://dx.doi.org/10.1002/mde.3226 This Version is available at: http://hdl.handle.net/10419/230292 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von
    [Show full text]
  • Stefan Zweig Farewell to Europe
    Austria’s Official Entry for the Best Foreign Language Film - 89th Academy Awards® A DOR FILM, X FILME CREATIVE POOL, IDÉALE AUDIENCE, MAHA PRODUCTION STEFAN ZWEIG FAREWELL TO EUROPE A film by: Maria Schrader Starring: Josef Hader, Barbara Sukowa, Aenne Schwarz, Matthias Brandt, Charly Huebner, Stephen SInger Screenplay: Maria Schrader and Jan Schomburg press contact in US: SashaBerman at Shotwell Media 310-450-5571 [email protected] Table of Contents Short synopsis & press note …………………………………………………………………… 3 Cast ……............................................................................................................................ 4 Crew ……………………………………………………………………………………………… 6 Long Synopsis …………………………………………………………………………………… 7 Persons Index…………………………………………………………………………………….. 14 Interview with Maria Schrader ……………………………………………………………….... 17 Backround ………………………………………………………………………………………. 19 In front of the camera Josef Hader (Stefan Zweig)……………………………………...……………………………… 21 Barbara Sukowa (Friderike Zweig) ……………………………………………………………. 22 Aenne Schwarz (Lotte Zweig) …………………………….…………………………………… 23 Behind the camera Maria Schrader………………………………………….…………………………………………… 24 Jan Schomburg…………………………….………...……………………………………………….. 25 Danny Krausz ……………………………………………………………………………………… 26 Stefan Arndt …………..…………………………………………………………………….……… 27 Contacts……………..……………………………..………………………………………………… 28 ! ! ! ! ! ! ! Technical details Austria/Germany/France, 2016 Running time 106 Minutes Aspect ratio 2,39:1 Audio format 5.1 ! 2! “Each one of us, even the smallest and the most insignificant,
    [Show full text]
  • Austrian Rap Music and Sonic Reproducibility by Edward
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Poetic Loop: Austrian Rap Music and Sonic Reproducibility By Edward C. Dawson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German May 11, 2018 Nashville, Tennessee Approved: Christoph M. Zeller, Ph.D. Lutz P. Koepnick, Ph.D. Philip J. McFarland, Ph.D. Joy H. Calico, Ph.D. Copyright © 2018 by Edward Clark Dawson All Rights Reserved ii For Abby, who has loved “the old boom bap” from birth, and whose favorite song is discussed on pages 109-121, and For Margaret, who will surely express a similar appreciation once she learns to speak. iii ACKNOWLEDGEMENTS This work would not have been possible without an Ernst Mach Fellowship from the Austrian Exchange Service (OeAD), which allowed me to spend the 2015-16 year conducting research in Vienna. I would like to thank Annagret Pelz for her support, as well as all the participants in the 2015-2016 Franz Werfel Seminar, whose feedback and suggestions were invaluable, especially Caroline Kita and organizers Michael Rohrwasser and Constanze Fliedl. During my time in Vienna, I had the opportunity to learn about Austrian rap from a number of artists and practitioners, and would like to thank Flip and Huckey of Texta, Millionen Keys, and DJ Taekwondo. A special thank you to Tibor Valyi-Nagy for attending shows with me and drawing my attention to connections I otherwise would have missed.
    [Show full text]
  • The Representation of Suicide in the Cinema
    The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII­ understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt.
    [Show full text]
  • Inhalt - Teil 1
    Inhalt - Teil 1 Vorwort (Gottfried Heinzmann) 8 Herzlichen Dank (Katja Heimann und Nicole Hauser) , 10 Praktische Tipps - Wie halte ich am besten die Liedandacht? 11 Die Songandachten 13 Ich+Ich: Universum 14 Freiheit; Nähe; Geborgenheit Udo Lindenberg feat. Jan Delay: Ganz anders 16 Identität Curse: Freiheit 18 Freiheit; Zuhause L Train: Marry me 20 Mut; Entscheidungen; Beziehung zu Jesus Jessie J: Price tag 22 Liebe Gottes; Selbstwert Laith Al-Deen: Sicher sein 24 Sicherheit; Vertrauen; Zukunft Kings of Leon: Use somebody 26 Vorbilder; Anerkennung Ich+Ich: Pflaster 28 Wunde Punkte; Heilung Andreas Bourani: Nur in meinem Kopf 30 Positives Denken; Negatives Denken; Neustart Unheilig: Geboren, um zu leben 32 Leben; Veränderung Lenny Kravitz: If you want it 34 Leben; Freiheit Bushido: Wärst du immer noch hier? 36 Liebe; Treue; Anerkennung 1 http://d-nb.info/1018131043 Curse: Und was jetzt? 38 Beziehung; Trennung; Vergebung; Liebe Philipp Poisel: Froh, dabei zu sein 40 Tod; Sterben; Hoffnung Blumentopf: Mehr 42 Unzufriedenheit; Veränderung Greenday: Boulevard of broken dreams 44 Lebensweg; Sinn des Lebens Laith Al-Deen: Alles an dir 46 Freiheit; Selbstbestimmung; Fremdbestimmung Jupiter Jones: Still 48 Vermissen; Zweifel Clueso: Zu schnell vorbei 50 Zeit; Veränderung Tim Bendzko: Nur noch kurz die Welt retten 52 Jesus; Nachfolge Revolverheld: Spinner 54 Berufung; Begleitung; Beziehung Die Toten Hosen: Ich bin die Sehnsucht in dir 56 Angst; Rettung; Sehnsucht Die Ärzte: Lasse reden 58 Ansehen; Lästern; Selbstwert Revolverheld: Halt dich an
    [Show full text]
  • Zeiten Ändern Dich
    Bernd Eichinger und Constantin Film zeigen eine Produktion der Constantin Film in Co-Produktion mit Rat Pack Filmproduktion mit Bushido, Moritz Bleibtreu, Karoline Schuch, Elyas M'Barek sowie Hannelore Elsner, Katja Flint, Uwe Ochsenknecht und Karel Gott Drehbuch Bernd Eichinger Inspiriert von der Biografie „Bushido“ (mit Lars Amend) Produziert von Bernd Eichinger & Christian Becker Regie Uli Edel 0 00 Kinostart: 4. Februar 2010 000 ZEITEN ÄNDERN DICH INHALT Seite Kurzinhalt 3 Pressenotiz 3 Inhalt 4 Produktionsnotizen 7 Besetzung & Stab Interviews Bernd Eichinger 13 Uli Edel 17 Bushido 21 Moritz Bleibtreu 28 Karoline Schuch 29 Elyas M’Barek 30 Hannelore Elsner 31 Besetzung Biografien 32 Stab Biografien 41 Die Besetzung 47 Der Stab 48 2 ZEITEN ÄNDERN DICH KURZINHALT Bushido befindet sich auf Konzert-Tournee durch Deutschland, als er eine Postkarte von seinem Vater erhält. Alte Erinnerungen kochen hoch: Seine Kindheit als Ghettojunge in Berlin, statt Schule dealt er Drogen, rutscht in die Kriminalität, es droht der Knast. Vor allem aber läuft ein Bild in Bushidos Hirn Amok, wie sein Vater die Mutter vor seinen Augen schlägt. Auf dem Höhepunkt seiner Karriere als Rapper muss sich Bushido den Dämonen der Vergangenheit stellen. Von wegen: Zeiten ändern sich, Zeiten ändern Dich: ab 4. Februar 2010 in den deutschen Kinos! PRESSENOTIZ Bernd Eichinger (DER BAADER MEINHOF KOMPLEX, DAS PARFUM, DER UNTERGANG) und Christian Becker (WICKIE UND DIE STARKEN MÄNNER, DIE WELLE, BANG BOOM BANG) bringen für Constantin Film ZEITEN ÄNDERN DICH auf die große Kinoleinwand. Regisseur Uli Edel inszenierte in Berlin die moderne Aufsteiger-Story nach einem Drehbuch von Bernd Eichinger, das durch Bushidos Biographie inspiriert wurde.
    [Show full text]
  • Download Download
    FORUM : QUALITATIVE Volume 8, No. 3, Art. 11 S O C IA L R ES EA RC H September 2007 S OZIALFORS CHUNG A Study of Media Influences on the Learning Strategies of Students in the First Years of Secondary School by Means of "Subtexts" Anja Kraus Key words: Abstract: Students' lives are more and more influenced by the media (e.g. television and the subtexts of Internet). These influences often extend to the learning strategies they use in school. To explore lessons at school, these influences further, the author used a method developed for the task to collect "subtexts" habitus, learning (comments students make to themselves during regular classroom lessons). These "subtexts" were strategies, collected during lessons in a 6th grade classroom and were subsequently analyzed using the docu- strategies of mentary method (BOHNSACK, 2003). It was found that some of the collected "subtexts" were learning, modeled on media prototypes, with these prototypes eventually influencing the learning strategies documentary employed by the students. This relationship is explored. method Table of Contents 1. The Theoretical Context: Research Question and Preconcepts 2. Empirical Approach to Research 2.1 The research instrument of an "auricle installation" 2.2 Design of the research 3. Analysis 3.1 Example of the reconstructive analysis of a "subtext" influenced by learning strategies modeled by media 3.1.1 Text interpretation 3.1.1.1 Formulating interpretation 3.1.1.2 "Reflecting interpretation" 3.1.1.3 Varieties of learning strategies (knowledge acquisition) modeled in G's "subtext" 4. Discussion and Outlook Acknowledgments References Author Citation © 2007 FQS http://www.qualitative-research.net/fqs/ Forum Qualitative Sozialforschung / Forum: Qualitative Social Research (ISSN 1438-5627) FQS 8(3), Art.
    [Show full text]