Auf Dem Weg Nach Ostern Medienliste
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Licht Ins Dunkel“
O R F – J a h r e s b e r i c h t 2 0 1 3 Gemäß § 7 ORF-Gesetz März 2014 Inhalt INHALT 1. Einleitung ....................................................................................................................................... 7 1.1 Grundlagen........................................................................................................................... 7 1.2 Das Berichtsjahr 2013 ......................................................................................................... 8 2. Erfüllung des öffentlich-rechtlichen Kernauftrags.................................................................. 15 2.1 Radio ................................................................................................................................... 15 2.1.1 Österreich 1 ............................................................................................................................ 16 2.1.2 Hitradio Ö3 ............................................................................................................................. 21 2.1.3 FM4 ........................................................................................................................................ 24 2.1.4 ORF-Regionalradios allgemein ............................................................................................... 26 2.1.5 Radio Burgenland ................................................................................................................... 27 2.1.6 Radio Kärnten ........................................................................................................................ -
Our Own James Bond for Eyes Only 19.06.13 16:36 1 Seite 16:36 19.06.13 Only Eyes Our Bond for Own James Co-Authoring the Script, Suggested Asking Harry Thürk
Our Own James Bond_For eyes only 19.06.13 16:36 Seite 1 OUR OWN JAMES BOND DEFA dramaturg Dieter Wolf remembers the production of For Eyes Only — Top Secret, the film that became an East German box office hit in 1963. You worked as a dramaturg on For Eyes Only, which was a project of the Solidarity artistic production group at the East German DEFA Film Studio. Could you please explain the structure of artistic groups within the studio... At the end of 1956, director Kurt Maetzig1 openly declared that “the time was ripe“ for founding artistic groups with more autonomy in script development and production. In the following years, directors, writers and other film artists responded to his call and formed artistic groups that each had its own dramaturg. A DVD Release by the DEFA Film Library There were eight of these groups in 1960; but was only after the Second Bitterfeld Conference in 1964 that centralized dramaturgy was entirely dissolved and chief dramaturgs became the cultural-political heads of the artistic groups. The studio management confirmed this new structural organization on September 1, 1964 and dramaturgs were appointed to be the leaders of the artistic groups: chief dramaturgs Werner Beck, Willi Brückner, Dr. Günter Karl and Willi Paech became the heads of the Berlin, Johannisthal, Roter Kreis and Children’s Films artistic groups, respectively; head dramaturg Klaus Wischnewski took over Heinrich Greif; and I headed Babelsberg. • For Eyes Secret Only • — Top This openness to decentralization ended after the 11th Plenum of the Central Committee of the SED [Socialist Unity Party] in 1965. -
GDR Films Various Authors
GDR Bulletin Volume 2 Issue 2 April Article 2 1976 GDR Films various authors Follow this and additional works at: https://newprairiepress.org/gdr This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation authors, various (1976) "GDR Films," GDR Bulletin: Vol. 2: Iss. 2. https://doi.org/10.4148/gdrb.v2i2.334 This Announcement is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in GDR Bulletin by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. authors: GDR Films GDR BULLETIN NEWSLETTER FOR LITERATURE AND CULTURE N THE GERMAN DEMOCRATIC REPUBLIC Vol. II, No. 2 April, 1976 GDR BULLETIN minority movements in the USA today are Published four times a year. Correspon• examples in this area. Finally, one may dence should be addressed to: Patricia choose to deal with the pedagogical prob• Herminghouse, editor, Dept. of Germanic lem of teaching literature dealing with revolution or teaching revolutionary thought. Languages and Literatures, Box 11C4, Washington University, St. Louis, Mo. Papers should be no more than 8 pages single- or to spaced and should be submitted by the begin• Regional Contributing Editors: ning of May to the coordinators for this Helen Fehervary, Ohio State University Forum: Ileana Rodriguez and Marc Zimmerman, Louis Helbig, Indiana University Sixth St., Minneapolis, Minn. i or Frank Hirschbach, University of Minnesota 1020 55'+1+, 3ob Holub, University of Wisconsin-Madison, H.G. Huettich, University of Southern German Department, Linden Drive, California 1220 8th Floor Van Hise Hall, Madison, Wise. -
Copyright by Sebastian Heiduschke 2006
Copyright by Sebastian Heiduschke 2006 The Dissertation Committee for Sebastian Heiduschke Certifies that this is the approved version of the following dissertation: The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy Committee: Kirsten Belgum, Supervisor Hans-Bernhard Moeller, Co-Supervisor Pascale Bos David Crew Janet Swaffar The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy by Sebastian Heiduschke, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Dedication Für meine Familie Acknowledgements First and foremost it is more than justified to thank my two dissertation advisers, Kit Belgum and Bernd Moeller, who did an outstanding job providing me with the right balance of feedback and room to breathe. Their encouragement, critical reading, and honest talks in the inevitable times of doubt helped me to complete this project. I would like to thank my committee, Pascale Bos, Janet Swaffar, and David Crew, for serving as readers of the dissertation. All three have been tremendous inspirations with their own outstanding scholarship and their kind words. My thanks also go to Zsuzsanna Abrams and Nina Warnke who always had an open ear and an open door. The time of my research in Berlin would not have been as efficient without Wolfgang Mackiewicz at the Freie Universität who freed up many hours by allowing me to work for the Sprachenzentrum at home. An invaluable help was the library staff at the Hochschule für Film und Fernsehen “Konrad Wolf” Babelsberg . -
DEFA Directors and Their Criticism of the Berlin Wall
«Das ist die Mauer, die quer durchgeht. Dahinter liegt die Stadt und das Glück.» DEFA Directors and their Criticism of the Berlin Wall SEBASTIAN HEIDUSCHKE MONTANA STATE UNIVERSITY This article examines the strategies used by directors of the East German film monopoly Deutsche Film-Aktiengesellschaft (DEFA) to voice their disap- proval of the Berlin Wall.1 My aim is to show how it was possible, despite universal censorship in East Germany, to create films that addressed the wall as an inhumane means to imprison the East German people. Although many DEFA films adhered to socialist law and reiterated the official doctrine of the «antifascist protection rampart» on the silver screen, an analysis of three DEFA films will demonstrate how the representation of human crisis was used as a means to criticize the wall.2 The films Das Kleid (Konrad Petzold, 1961), Der geteilte Himmel (Konrad Wolf, 1964), and Die Architekten (Peter Kahane, 1990) address walls in a variety of functions and appearances as rep- resentations, symbols, and metaphors of the barrier between East and West Germany. Interest in DEFA has certainly increased during the last decade, and many scholars have introduced a meaningful variety of topics regarding the history of East Germany’s film company and its films. In addition to book-length works that deal exclusively with the cinema of East Germany, many articles have looked at DEFA’s film genres, provided case studies of single DEFA films, and engaged in sociological or historical analyses of East German so- ciety and its films.3 In order to expand the current discussion of DEFA, this article applies a sociocultural reading to the three DEFA films Das Kleid, Der geteilte Himmel, and Die Architekten with the goal of introducing the new subtopic of roles and functions of the Berlin Wall in East German film to the field of DEFA studies. -
German Films Quarterly 2 · 2004
German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS. -
Mediatized Indians in Socialist Hungary: Winnetou, Tokei-Ihto, and Other Popular Heroes of the 1970S in East-Central Europe
Ildikó Sz. Kristóf (Multi-)Mediatized Indians in Socialist Hungary: Winnetou, Tokei-ihto, and Other Popular Heroes of the 1970s in East-Central Europe Indiánosdi as a Multimediatized Practice This study aims to analyse a specific field of the socialist past and its techniques of representation in our east-central European countries. This field, this “cultural field” (champs culturel), or “cultural practice” (pratique culturelle), to use the ap- proach of the excellent French sociologist, Pierre Bourdieu (1977, 1996), had two chief characteristics that seemed to be common to perhaps the majority of the scholars present in our conference in December 2015 in Sofia: first, that this so- cialist past and its cultural representations constituted our childhood—a peculiar childhood whose social context has been held and felt very different from the cur- 128 rent postsocialist–early capitalist era, its imagery, and its attitudes;1 and, second, that the same socialist past has provided a number of cultural motifs, patterns, and ways of doing for our childhood and early youth that themselves seem to have been (more or less) common in our east-central European countries. One such motif and also a pattern of doing was, I would argue, what we call indiánosdi (In- dianizing) in Hungarian—that is, reading, watching, playing, reenacting (North American) “Indians”. The functioning of indiánosdi during the 1970s in the Peoples’ Republic of Hungary is at the same time an excellent example of multimediality, the very topic of the 2015 conference. Indiánosdi relied upon—invaded, I would say—all the branches of contemporary media and (almost) all the channels of interpersonal communication and bound them closely together. -
Cold War Rivalry and the Perception of the American West
PALGRAVE MACMILLAN TRANSNATIONAL HISTORY SERIES COLD WAR RIVALRY AND THE PERCEPTION OF THE AMERICAN WEST PAWEL GORAL Palgrave Macmillan Transnational History Series Series Editors: Akira Iriye, Professor of History at Harvard University, and Rana Mitter, Professor of the History and Politics of Modern China at the University of Oxford This distinguished series seeks to: develop scholarship on the transnational con- nections of societies and peoples in the nineteenth and twentieth centuries; provide a forum in which work on transnational history from different periods, subjects, and regions of the world can be brought together in fruitful connection; and explore the theoretical and methodological links between transnational and other related approaches such as comparative history and world history. Editorial Board: Thomas Bender, University Professor of the Humanities, Pro- fessor of History, and Director of the International Center for Advanced Studies, New York University; Jane Carruthers, Professor of History, University of South Africa; Mariano Plotkin, Professor, Universidad Nacional de Tres de Febrero, Buenos Aires, and member of the National Council of Scientific and Technolog- ical Research, Argentina; Pierre-Yves Saunier, Researcher at the Centre National de la Recherche Scientifique, France, and Visiting Professor at the University of Montreal; Ian Tyrrell, Professor of History, University of New South Wales Titles include: Gregor Benton and Edmund Terence Gomez THE CHINESE IN BRITAIN, 1800–PRESENT Economy, Transnationalism and -
Introduction
INTRODUCTION “Can we Europeans still entertain? Can we think in the dimensions of a global culture? . The fi rst who has a vision of the fi lm of the future, to him belongs BABELSBERG!”1 With this bold statement in 1992, Volker Schlöndorff, an acclaimed cineaste born in West Germany (the Federal Republic of Germany, or FRG; hereafter West Germany or FRG), invited European artists to take over the studios near Berlin. The same stu- dios had housed the now defunct East German state-run fi lm company, Deutsche Film-Aktiengesellschaft (DEFA; 1946–92) and before that, one of the largest motion picture industries on the continent, Universum Film-Aktiengesellschaft (UFA; 1917–45). As Babelsberg’s managing di- rector (1992–97), Schlöndorff had avowed earlier in his statement: “To me, the name DEFA has no color or odor. Like the name UFA, it belongs to history and to an era that is not mine. It should continue to live in history as a name.”2 This text and later interviews stirred a larger de- bate about the dismantling of DEFA right after the collapse of East Ger- many (the German Democratic Republic, or GDR; hereafter either East Germany or GDR)—a controversy in which hundreds of fi lmmakers and crew members were dismissed from their job because they were viewed as obsolete in a newly transformed industry. In what became known as the public battle for Babelsberg, former DEFA employees largely decried Schlöndorff’s failure to recognize how much they had in common with their Western counterparts, particularly in regard to their contribution to -
Western (Genre)
Western (genre) http://en.academic.ru/dic.nsf/enwiki/41275 The Western is a fiction genre seen in film, television, radio, literature, painting and other visual arts. Westerns are devoted to telling stories set primarily in the later half of the 19th century in what became the Western United States (known as the American Old West or Wild West), but also in Western Canada, Mexico ("The Wild Bunch", "Vera Cruz"), Alaska ("The Far Country", "North to Alaska") and even Australia ("Quigley Down Under", "The Proposition"). Some Westerns are set as early as the Battle of the Alamo in 1836 but most are set between the end of the American Civil War and the massacre at Wounded Knee in 1890, though there are several "late Westerns" (e.g., "The Wild Bunch" and "100 Rifles") set as late as the Mexican Revolution in 1913. There are also a number of films about Western- type characters in contemporary settings where they don't fit in, such as "Junior Bonner" set in the 1970s, and "Down in the Valley" and "The Three Burials of Melquiades Estrada" in the 21st Century. Westerns often portray how primitive and obsolete ways of life confronted modern technological or social changes. This may be depicted by showing conflict between natives and settlers or U.S. Cavalry, or by showing ranchers being threatened by the onset of the Industrial Revolution. American Westerns of the 1940s and 1950s emphasise the values of honor and sacrifice. Westerns from the 1960s and 1970s often have more pessimistic view, glorifying a rebellious anti-hero and highlighting the cynicism, brutality and inequality of the American West. -
Education 31 3.1
CONTENTS PRESENTATION 4 1. INSTITUTIONAL 7 1.1. BOARD OF TRUSTEES OF THE CASA DE LA INDIA FOUNDATION 7 1.2. COUNCIL OF HONOUR 8 1.3. FRIENDS AND BOARD OF FRIENDS OF CASA DE LA INDIA 8 1.4. INSTITUTIONAL EVENTS 9 1.5. INSTITUTIONAL COLLABORATIONS WITH OTHER ORGANISATIONS 13 1.6. AGREEMENTS 13 1.7. GRANTS 14 1.7.1. GRANTS AND INTERNSHIPS AT CASA DE LA INDIA 14 1.7.2. SCHOLARSHIPS FROM THE INDIAN COUNCIL FOR CULTURAL RELATIONS (ICCR) OF THE GOVERNMENT OF INDIA 15 1.8. VIRTUAL PLATFORM INDIANET.ES 15 2. CULTURE 17 2.1. EXHIBITIONS 17 2.1.1. EXHIBITIONS AT CASA DE LA INDIA 17 2.1.2. EXHIBITIONS AT THE IX BIENNIAL HERITAGE RESTORATION AND MANAGEMENT FAIR - AR&PA 2014 20 2.2. CINEMA 22 2.2.1. FILM CYCLES 22 2.2.2. OTHER SCREENINGS AT CASA DE LA INDIA 23 2.2.3. SCREENINGS IN OTHER CITIES 24 2.3. PERFORMING ARTS AND MUSIC 24 2.3.1. III INDIA IN CONCERT FESTIVAL 24 2.3.2. OTHER PERFORMANCES 25 2.3.3. COLLABORATION IN PROJECT "SPAIN-INDIA PLATFORM FOR THE PROMOTION AND DISSEMINATION OF CULTURAL INDUSTRIES 27 2.4. BOOK PRESENTATIONS 29 3. EDUCATION 31 3.1. COURSES 31 3.1.1. KALASANGAM. PERMANENT PERFORMING ARTS AND MUSIC SEMINAR 31 3.2. LECTURES, ROUND TABLES AND WORKSHOPS 33 3.2.1. LECTURES, ROUND TABLES AND WORKSHOPS IN CASA DE LA INDIA 33 3.2.2. LECTURES AND WORKSHOPS AT OTHER INSTITUTIONS 34 3.3. ESCUELA DE LA INDIA PROGRAMMES 37 3.3.1. -
Annual Report 15 0.Pdf
CONTENTS PRESENTATION 4 1. INSTITUTIONAL 7 1.1. BOARD OF TRUSTEES OF THE CASA DE LA INDIA FOUNDATION 8 1.2. COUNCIL OF HONOUR 8 1.3. FRIENDS AND BOARD OF FRIENDS OF CASA DE LA INDIA 8 1.4. INSTITUTIONAL EVENTS 9 1.5. INSTITUTIONAL COLLABORATIONS WITH OTHER ORGANISATIONS 11 1.6. AGREEMENTS 12 1.7. GRANTS 12 1.7.1. GRANTS AND INTERNSHIPS AT CASA DE LA INDIA 12 1.7.2. SCHOLARSHIPS FROM THE INDIAN COUNCIL FOR CULTURAL RELATIONS (ICCR) OF THE GOVERNMENT OF INDIA 13 2. CULTURE 15 2.1. EXHIBITIONS 15 2.2. FILM 17 2.2.1. FILM CYCLES 17 2.2.2. OTHER FILM SCREENINGS AT CASA DE LA INDIA 19 2.2.3. SCREENINGS IN OTHER CITIES 19 2.3. PERFORMING ARTS AND MUSIC 20 2.4. LITERATURE 26 2.4.1. BOOK PRESENTATIONS 26 2.4.2. ROUND TABLE DISCUSSIONS 26 2.4.3. "SPAIN-INDIA WRITERS MEETING" PROJECT 27 2.4.4. WRITING COMPETITIONS 30 2.5. YOGA 30 3. EDUCATION 33 3.1. COURSES 33 3.1.1. KALASANGAM. PERMANENT PERFORMING ARTS AND MUSIC SEMINAR 33 3.2. TALKS, ROUND TABLES AND WORKSHOPS 35 3.2.1. TALKS, ROUND TABLES AND WORKSHOPS AT CASA DE LA INDIA 35 3.2.2. LECTURES AND MASTERCLASSES WITH OTHER INSTITUTIONS 35 3.3. THE ESCUELA DE LA INDIA ProgramS 37 3.3.1. INTERCULTURAL WEEKS AND DAYS 37 3.3.2. ART AND LITERATURE LABORATORY FOR CHILDREN 38 3.3.3. SPECIAL CELEBRATIONS AT CASA DE LA INDIA 38 3.3.4.