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Publikationen Zeitschriften
Publikationen: Zeitschriften - nach Titeln sortiert - Abschied von der DEFA : DEFA ade. Zwei Umfragen 1965/1992 Ost und West In: Film und Fernsehen 20. Jg. 92/2. - S. 33-41 Appell von Dokumentarfilmern aus der BRD und DDR In: epd Film 7. Jg. 90/4. - S. 43 [HUB]: Alles im Plan? : der Verkauf von Progress; die Privatisierung des ehemaligen DDR-Verleihs In: Filmecho/Filmwoche 95/28. - S. 6 Armin Müller-Stahl: Seine Filme - sein Leben : Rezension zur Heyne Filmbibliothek, Band 169 In: Filmdienst 46. Jg. 93/ 2. - S. 33 Aufbruch in der DDR : 12. Nationales Dokumentarfilmfestival d. DDR In: epd Film 6. Jg. 89/12. - S.39 Anmerkungen: „Spur der Steine“ v. Frank Beyer; Walter Janka - Generaldirektor d. DEFA (bis 1951); Rede v. Joachim Tschirner a. d. Großkundgebung a. d. Beliner Alexanderplatz; Filmemacher Konrad Weiß Ausverkauf der DDR : Deutscher Filmtag, 31.3.-1.4. 90 in der HFF „Konrad Wolf“ In: Filmdienst 43. Jg. 90/8. - S. 564 Babelsberg-Konzept steht: 17 Atelierhallen und jährlich 10 Produktionen angepeilt; Lob für Studiochef Schlöndorff In: Filmecho/Filmwoche 94/29. - S. 3 Babelsberg-Medienstadt In: Filmfaust 93/87. - S. ( ) Schlagwort: Babelsberg Betrifft DEFA-Filmstock: 2 Erklärungen zur Gründung einer Stiftung In: Film und Fernsehen 20. Jg. 92/3. - S. 49 [O.S.]: Babelsberg hebt ab: Ufa und Paramount drehen Pilotfilm; Babelsberg wird immer attraktiver für internationale Produktionen In: Filmecho/Filmwoche 95/9. - S. 11 [TTR]: Babelsberg lud zum Betriebsfest: abgewickeltes Dokfilm-Studio In: Filmecho/Filmwoche 96/20. - S. 7 [TTR]: Babelsberger Dokfilm-Studio verkauft: Kölner Video Company erhält den Zuschlag In: Filmecho/Filmwoche 97/29. -
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. -
Jewish Interest Table of Contents
OTHER PRESS JEWISH INTEREST TABLE OF CONTENTS UPCOMING 4 Nuestra América 4 by Claudio Lomnitz, translated by John Cullen Publication Date: 02/09/2021 Proustian Uncertainties 4 by Saul Friedländer Publication Date: 12/01/2020 JEWISH INTEREST 5 What You Did Not Tell 5 by Mark Mazower When Memory Comes 5 by Saul Friedländer, translated by Helen R. Lane Where Memory Leads 5 by Saul Friedländer A Brief Stop on the Road From Auschwitz 5 by Göran Rosenberg The Road to Rescue 5 by Mietek Pemper The Bell of Treason 6 by P. E. Caquet For Two Thousand Years 6 by Mihail Sebastian, translated by Philip Ó Ceallaigh The Brothers Ashkenazi 6 by I. J Singer The Witness House 6 by Christiane Kohl The Woman from Hamburg 7 by Hanna Krall Isaac’s Torah 7 by Angel Wagenstein, translated by Elizabeth Frank and Deliana Simeonova Farewell, Shanghai 7 by Angel Wagenstein, translated by Elizabeth Frank and Deliana Simeonova Stalemate 7 by Icchokas Meras and Jonas Zdanys The Impossible Exile 7 by George Prochnik A Guest in My Own Country 8 by George Konrad Stranger in a Strange Land 8 by George Prochnik Putnam Camp 8 by George Prochnik 2 The Sun and Her Stars 8 by Donna Rifkind And in the Vienna Woods the Trees Remain 8 By Elisabeth Åsbrink; translated by Saskia Vogel Hitler, My Neighbor 9 by Edgar Feuchtwanger and Bertil Scali, translated by Adriana Hunter Hurry Down Sunshine 9 by Michael Greenberg Beg, Borrow, Steal 9 by Michael Greenberg Departures 9 by Paul Zweig ISRAELI SOCIETY AND LITERATURE 10 Walled 10 by Sylvain Cypel, senior journalist from le Monde Breaking -
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. -
REFORM, RESISTANCE and REVOLUTION in the OTHER GERMANY By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository RETHINKING THE GDR OPPOSITION: REFORM, RESISTANCE AND REVOLUTION IN THE OTHER GERMANY by ALEXANDER D. BROWN A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music University of Birmingham January 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The following thesis looks at the subject of communist-oriented opposition in the GDR. More specifically, it considers how this phenomenon has been reconstructed in the state-mandated memory landscape of the Federal Republic of Germany since unification in 1990. It does so by presenting three case studies of particular representative value. The first looks at the former member of the Politbüro Paul Merker and how his entanglement in questions surrounding antifascism and antisemitism in the 1950s has become a significant trope in narratives of national (de-)legitimisation since 1990. The second delves into the phenomenon of the dissident through the aperture of prominent singer-songwriter, Wolf Biermann, who was famously exiled in 1976. -
Katalog FR En Web.Pdf
» WE ARE THE PEOPLE! « EXHIBITION MAGAZINE PEACEFUL REVOLUTION 1989/90 Published as part of the theme year “20 Years since the Fall of the Wall” by Kulturprojekte Berlin GmbH CONTENTS 7 | OPENING ADDRESS | KLAUS WOWEREIT 8 | OPENING ADDRESS | BERND NEUMANN 10 | 28 YEARS OF THE WALL 100 | TIMELINE 106 | HISTORY WITH A DOMINO EFFECT 108 | PHOTO CREDITS 110 | MASTHEAD 2 CONTENTS 14 | AWAKENING 38 | REVOLUTION 78 | UNITY 16 | AGAINST THE DICTATORSHIP 40 | MORE AND MORE EAST GERMANS 80 | NO EXPERIMENTS 18 | THE PEACE AND ENVIRONMENTAL WANT OUT 84 | ON THE ROAD TO UNITY MOVEMENT IN THE GDR 44 | GRASSROOTS ORGANISATIONS 88 | GERMAN UNITY AND WORLD POLITICS 22 | it‘s not this countrY – 48 | REVOLTS ALONG THE RAILWAY LINE 90 | FREE WITHOUT BORDERS yOUTH CULTURES 50 | ANNIVERSARY PROTESTS 96 | THE COMPLETION OF UNITY 24 | SUBCULTURE 7 OCTOBER 1989 26 | THE OPPOSITION GOES PUBLIC 54 | EAST BErlin‘s gETHSEMANE CHURCH 30 | ARRESTS AND EXPULSIONS 56 | WE ARE THE PEOPLE! 34 | FIRST STEPS TO REVOLUTION 60 | THE SEd‘s nEW TACTIC 62 | THE CRUMBLING SYSTEM 66 | 4 NOVEMBER 1989 70 | 9 NOVEMBEr 1989 – THE FALL OF THE WALL 74 | THE BATTLE FOR POWER CONTENTS 3 4 IMPRESSIONS OF THE EXHIBITION INSTALLATION © SERGEJ HOROVITZ 5 6 IMPRESSIONS OF THE EXHIBITION INSTALLATION OPENING ADDRESS For Berlin, 2009 is a year of commemorations of the moving Central and Eastern European countries and Mikhail Gorbachev’s events of 20 years ago, when the Peaceful Revolution finally policy of glasnost and perestroika had laid the ground for change. toppled the Berlin Wall. The exhibition presented on Alexander- And across all the decades since the airlift 60 years ago, Berlin platz by the Robert Havemann Society is one of the highlights of was able to depend on the unprecedented solidarity of the Ameri cans, the theme year “20 Years since the Fall of the Wall”. -
Imagens Para O Futuro O Cinema Da Alemanha Oriental
3 4 5 imagens para o futuro O CINEMA DA ALEMANHA ORIENTAL 31 JUL A 19 AGO DE 2018 8 9 ÍNDICE 13 A DEFA Robin Mallick 17 ENTRE IMAGENS E UTOPIAS Pedro Henrique Ferreira e Thiago Brito 23 DEFA: UM RESUMO HISTÓRICO Séan Allan 46 RESGATADO EM VÃO Thomas Elsaesser 71 A DESCOBERTA DO ORDINÁRIO Joshua Feinstein 117 OS FILMES PROIBIDOS Daniela Berghahn 131 SOBRE AS POSSIBILIDADES DE UMA ARTE CINEMATOGRÁFICA SOCIALISTA Konrad Wolf 140 ANDANDO NA CORDA BAMBA SOBRE TERRITÓRIO PROIBIDO Andrea Rinke 154 POR DETRÁS DAS CORTINAS DE UMA INDÚSTRIA CINEMATOGRÁFICA ESTATAL Margrit Frölich 180 ASSINCRONIA NO ÚLTIMO FILME DA DEFA Reinhild Steingröver 217 10 PERGUNTAS PARA EVELYN SCHMIDT Thiago Brito e Pedro Henrique Ferreira 222 DEFA: UMA VISÃO PESSOAL Wolfgang Kohlhaase 237 POSTERS 263 MINI-BIOS 270 SINOPSES 12 A DEFA Robin Mallick1 Depois que a DEFA teve que cancelar suas atividades, devido à unificação alemã em 1990, muitos dos filmes produzidos por ela foram esquecidos, até mesmo na Alemanha. Ao mesmo tempo, várias obras fazem sucesso até hoje em dia. O filme da DEFA de mais sucesso desde sua estreia em 1973 (com mais de 3 milhões de espectadores) até hoje é A lenda de Paul e Paula2. Heiner Carow conseguiu capturar no seu filme uma sensação de vida que não só impressionou o público dos anos 70, mas que prende os espectadores de quase todos os tempos. Seu filme Coming Out3 também marcou a história do cinema: a trama de um professor jovem que descobre sua homossexualidade não só quebrou vários tabus, mas também teve sua estreia em Berlim Oriental no dia 9 de novembro de 1989, dia da queda do Muro. -
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. -
L'homme, Band 26,2 (2015)
L’Homme. Z. F. G. 26, 2 (2015) Forum The Female Body of Jewish Suffering: The Cinematic Recreation of the Holocaust in the Bulgarian-East German Co-Production “Zvezdi/Sterne” (1959) Nadège Ragaru Distancing itself from earlier studies, recent scholarship on the cinematic representa- tion of the Holocaust has demonstrated that the portrayal of anti-Jewish persecution has not remained taboo throughout the socialist era in Eastern Europe.1 A segment of this scholarly literature has explored the gendered dimensions of the filmic rendering of Jewish victimhood and agency in Eastern Europe. In a recent contribution, for instance, Anke Pinkert has investigated the changing depictions of Jewish manhood in GDR cinema with a view to “re-examin[ing] discourses of victimisation and perpetration”.2 Focusing on the interpretation of womanhood in film, the present arti- cle aims to contribute to the growing body of literature by tracing the inception, mak- ing, and reception of “Zvezdi/Sterne” (Stars), a Bulgarian-East German co-production directed by Konrad Wolf. The film, which was awarded the Special Jury Prize at the Cannes Festival in 1959, tells the story of an impossible love between a German Unter- offizier and a Greek Jewish woman who was detained with other Jews from Bulgarian- occupied Western Thrace in a Bulgarian transit camp, pending deportation to Poland. 1 On the Soviet case cf. Jeremy Hicks, First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938–1946, Pittsburgh 2012; on the GDR, in an abundant literature, cf. Daniela Berghahn, Hollywood behind the Wall: The Cinema of East Germany, Manchester 2005; Christiane Mückenberger, The Anti-Fascist Past in DEFA Films, in: Seán Allan and John Sandford eds., DEFA: East German Cinema, 1946–1992, New York 2003, 58–76. -
Bstu / State Security. a Reader on the GDR
Daniela Münkel (ed.) STATE SECURITY A READER ON THE GDR SECRET POLICE Daniela Münkel (ed.) STATE SECURITY A READER ON THE GDR SECRET POLICE Imprint Federal Commissioner for the Records of the State Security Service of the former German Democratic Republic Department of Education and Research 10106 Berlin [email protected] Photo editing: Heike Brusendorf, Roger Engelmann, Bernd Florath, Daniela Münkel, Christin Schwarz Layout: Pralle Sonne Originally published under title: Daniela Münkel (Hg.): Staatssicherheit. Ein Lesebuch zur DDR-Geheimpolizei. Berlin 2015 Translation: Miriamne Fields, Berlin A READER The opinions expressed in this publication reflect solely the views of the authors. Print and media use are permitted ON THE GDR SECRET POLICE only when the author and source are named and copyright law is respected. token fee: 5 euro 2nd edition, Berlin 2018 ISBN 978-3-946572-43-5 6 STATE SECURITY. A READER ON THE GDR SECRET POLICE CONTENTS 7 Contents 8 Roland Jahn 104 Arno Polzin Preface Postal Inspection, Telephone Surveillance and Signal Intelligence 10 Helge Heidemeyer The Ministry for State Security and its Relationship 113 Roger Engelmann to the SED The State Security and Criminal Justice 20 Daniela Münkel 122 Tobias Wunschik The Ministers for State Security Prisons in the GDR 29 Jens Gieseke 130 Daniela Münkel What did it Mean to be a Chekist? The State Security and the Border 40 Bernd Florath 139 Georg Herbstritt, Elke Stadelmann-Wenz The Unofficial Collaborators Work in the West 52 Christian Halbrock 152 Roger Engelmann -
Nonviolent Struggle and the Revolution in East Germany
Nonviolent Struggle and the Revolution in East Germany Nonviolent Struggle and the Revolution in East Germany Roland Bleiker Monograph Series Number 6 The Albert Einstein Institution Copyright 01993 by Roland Bleiker Printed in the United States of America. Printed on Recycled Paper. The Albert Einstein Institution 1430 Massachusetts Avenue Cambridge, MA 02138 ISSN 1052-1054 ISBN 1-880813-07-6 CONTENTS Acknowledgments ................... .... ... .. .... ........... .. .. .................. .. .. ... vii Introduction ..............................................................................................1 Chapter 1 A BRIEF HISTORY OF DOMINATION, OPPOSITION, AND REVOLUTION IN EAST GERMANY .............................................. 5 Repression and Dissent before the 1980s...................................... 6 Mass Protests and the Revolution of 1989 .................................... 7 Chapter 2 THE POWER-DEVOLVING POTENTIAL OF NONVIOLENT S"I'RUGGLE................................................................ 10 Draining the System's Energy: The Role of "Exit" ...................... 10 Displaying the Will for Change: The Role of "Voice" ................ 13 Voluntary Servitude and the Power of Agency: Some Theoretical Reflections ..................................................15 Chapter 3 THE MEDIATION OF NONVIOLENT STRUGGLE: COMPLEX POWER RELATIONSHIPS AND THE ENGINEERING OF HEGEMONIC CONSENT ................................21 The Multiple Faces of the SED Power Base ..................................21 Defending Civil