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The Andrzej Wajda-Philip Morris Freedom Prize
The Andrzej Wajda-Philip Morris Freedom Prize By Ron Holloway Spring 1999 Issue of KINEMA Cinema is not just art and entertainment,” said Polish director Andrzej Wajda in dialogue with German colleague Volker Schlöndorff during a program scheduled at the American Academy in Berlin. ”Cinema also has a social, moral, philosophical function. This is often forgotten today.” Asked for further clarification, Wajda answered, without hesitation but on a note of nostalgia: ”Compare today’s cinema with Italian Neorealism, with postwar Swedish and French cinema, and the gap is evident!” Poland’s most acclaimed film director had his reasons for speaking out so directly and without compromise on the banality of contemporary cinema. On the day before, in the Polish Cultural Institute on Alexanderplatz, he had been honored with the American Cinema Foundation Freedom Award -- indeed, the ceremony was most impressive. Guests from the United States and Poland, among them Agnieszka Holland, Wajda’s favourite collaborator on screenplays, were present. Moreover, the occasion marked the founding of the new ”Andrzej Wajda -- Philip Morris Freedom Prize,” to be awarded annually to a promising filmmaker from Central or Eastern Europe, in whose works are reflected the themes of freedom and democracy. The prize will be awarded together withapurse of $10,000 donated by the Philip Morris Kunstförderung. Each July, during the Karlovy Vary International Film Festival, an international jury will select the winner of the Andrzej Wajda Prize. In February, on the occasion of the Freedom Film Festival in Berlin, the prize will be officially awarded to the winner. ”This is not a lifetime achievement award,” says Gary McVey, director of the American Cinema Foundation, ”but a prize in recognition of an exemplary moral and ethical message in the art of the cinema. -
Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
WHY ARE YOU CREATIVE? Teilnehmerinnen Und Teilnehmer
Leipziger Straße 16 Telefon +49 (0)30 202 94 0 D-10117 Berlin Telefax +49 (0)30 202 94 111 E-Mail [email protected] www.museumsstiftung.de WHY ARE YOU CREATIVE? Teilnehmerinnen und Teilnehmer ARTISTS ACTORS Marina Abramovic – Amsterdam 2012 Johnny Depp – Berlin 1994 Christo & Jeanne-Claude – Berlin 2001 Mel Gibson – Los Angeles 2000 Damien Hirst – Berlin 1994 Dennis Hopper – Marrakesh 1995 David Hockney – Bonn 1999 Sean Penn – San Francisco 1999 Jeff Koons – Berlin 2000 Gérard Depardieu – Berlin 2012 Jonathan Meese – Berlin 2007 Ben Kingsley – London 1995 Georg Baselitz – Derneburg 2000 Till Schweiger – Los Angeles 2000 Mordillo – Frankfurt 1999 Sir Ian McKellen – Los Angeles 1995 Yoko Ono – Venice 2002 Forest Whittaker - Los Angeles 2002 Tracey Emin – London 1999 Armin Mueller-Stahl – Los Angeles 1998 Eva & Adele – Berlin 2001 Sir Peter Ustinov – London 1999 Tom Sachs – New York 2000 Gary Oldman – Los Angeles 2001 Kenny Scharf – Los Angeles 1999 Karl-Heinz Böhm - Frankfurt 1997 Douglas Gordon – Frankfurt 2012 Vadim Glowna – Berlin 1998 Okwui Enwezor - New York 2002 Anthony Quinn – New York 1995 Joe Coleman – New York 2003 Otto Sander - Berlin 1997 Mariscal - Barcelona 1999 Bruno Ganz – Berlin 2002 Olu Oguibe – London 2000 Bill Murray – Los Angeles 2004 Klaus Staeck – Frankfurt 1995 Michael Madsen – Los Angeles 2010 Roland Topor - Hamburg 1994 John Hurt – London 2013 George Lois – New York 1995 Stephen Dorff – Istanbul 2013 Ana Zarubica – Prague 2009 Michael Douglas - Berlin 2013 Sebastian Horsley – London 2008 Willem Dafoe – New York -
War and Rape, Germany 1945
Lees-Knowles Lectures Cambridge 2002-3 Antony Beevor 2. War and Rape, Germany 1945 „Red Army soldiers don't believe in “individual liaisons” with German women‟, wrote the playwright Zakhar Agranenko in his diary when serving as an officer of marine infantry in East Prussia. „Nine, ten, twelve men at a time - they rape them on a collective basis‟. The Soviet armies advancing into East Prussia in January 1945, in huge, long columns were an extraordinary mixture of modern and mediaeval: tank troops in padded black helmets, Cossack cavalrymen on shaggy mounts with loot strapped to the saddle, Lend-Lease Studebakers and Dodges towing light field guns, and then a second echelon in horse- drawn carts. The variety of character among the soldiers was almost as great as their military equipment. There were freebooters who drank and raped quite shamelessly, and there were idealistic, austere Communists and members of the intelligentsia genuinely appalled by such behaviour. Beria and Stalin back in Moscow knew perfectly well what was going on from a number of detailed reports sent by generals commanding the NKVD rifle divisions in charge of rear area security. One stated that „many Germans declare that all German women in East Prussia who stayed behind were raped by Red Army soldiers‟. This opinion was presumably shared by the authorities, since if they had disagreed, they would have added the ritual formula: „This is a clear case of slander against the Red Army.‟ In fact numerous examples of gang rape were given in a number of other reports – „girls under eighteen and old women included‟. -
Politics of History and Memory: the Russian Rape of Germany in Berlin
POLITICS OF HISTORY AND MEMORY 225 POLITICS OF HISTORY AND MEMORY: THE RUSSIAN RAPE OF GERMANY IN BERLIN, 1945 major hospitals ranged from 95,000 to 130,000; one physician estimated that out of 100,000 women raped in Berlin alone, 1 Krishna Ignalaga Thomas 10,000 died as a result, with a large majority committing suicide. With the sheer velocity of women raped by Soviet troops, it is The marching of the Russian Red Army into eastern Germany in incredible to discover its neglect by earlier seminal works, such the spring of 1945, at the close of World War II, was full of as that by John Erickson, who wrote Road to Berlin, and even promise and hope, a promise of a new era of peace in Europe William L. Shirer of Rise and Fall of the Third Reich. At the same and an end to political isolation and economic deprivation at time, the opening of the Russian State Military Archives and the home. In 1994, almost half a century later, the return of the Central Archive of the Ministry of Defense, a whole array of Soviet troops to the motherland signaled the surprising collapse primary source material and other information media are now of the Soviet Union and ultimately, the end of Soviet occupation open for scholars to understand this contest of brutality from and a reunified Germany. At the same time, however, the first, the German soldiers and then the repatriating Soviet Russians also left behind them a legacy of resentment and anger. troops. Much academic scholarship has focused on the years of Soviet Natalya Gesse, a Soviet war correspondent, gave a first‐hand occupation, 1945‐49, as being the most brutal on the Germans in estimation of Red Army’s activities, and stated that “The Russian the Eastern Zone than their counterparts in the West. -
Werkschau Volker Schlöndorff 03.04
WERKSCHAU VOLKER SCHLÖNDORFF 03.04. bis 30.06.2019 Caligari FilmBühne und Murnau-Filmtheater, Wiesbaden Kino des DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt DEUTSCHES FILMINSTITUT FILMMUSEUM CALIGARI FILMBÜHNE, WIESBADEN Fr 05.04. 19:00 Ein Abend für Volker Schlöndorff mit Gästen, anschließend: DER PLÖTZLICHE REICHTUM DER ARMEN LEUTE Seite VON KOMBACH BRD 1971, 91 Min., FSK: ab 12 05 Im Frühling dieses Jahres feiert einer der bedeu- Mi 17.04 20:00 DER JUNGE TÖRLESS BRD/F 1966, 87 Min., FSK: ab 18 06 tendsten deutschen Regisseure seinen 80. Geburts- Sa 27.04. 17:30 STROHFEUER BRD/F 1972, 98 Min., FSK: ab 16 09 tag: Volker Schlöndorff. In über 50 Jahren hat sich Sa 04.05. 17:30 DEUTSCHLAND IM HERBST der gebürtige Wiesbadener einen herausragenden BRD 1978, 119 Min., FSK: ab 12 10 Platz in der Geschichte des internationalen Films Mi 08.05. 20:00 DIE BLECHTROMMEL BRD/F 1979, 142 Min., FSK: ab 16 11 Mi 22.05. 17:30 EINE LIEBE VON SWANN BRD/F 1984, 111 Min., FSK: ab 16 12 erarbeitet. Als erster deutscher Regisseur über- Mo 27.05. 17:30 TOD EINES HANDLUNGSREISENDEN haupt erhielt er einen Oscar in der Kategorie USA/BRD 1985, 136 Min., FSK: ab 12 07 „Bester fremdsprachiger Film“. Di 28.05. 18:00 EIN AUFSTAND ALTER MÄNNER USA/GB/BRD 1987, 91 Minuten: FSK: ab 12 12 Wir freuen uns sehr, Ihnen in einer Werkschau Mo 03.06. 17:30 HOMO FABER D/F/GRC 1991, 117 Min., FSK: ab 12 13 einen umfassenden Blick auf Schlöndorffs viel- Mi 05.06. -
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. -
A Film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS
A film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: I wanted to present a group of children on whom absolute values are being imposed. What I was trying to say was that if someone adopts an absolute principle, when it becomes absolute then it becomes inhuman. The original idea was a children’s choir, who want to make absolute principles concrete, and those who do not live up to them. Of course, this is also a period piece: we looked at photos of the period before World War I to determine costumes, sets, even haircuts. I wanted to describe the atmosphere of the eve of world war. There are countless films that deal with the Nazi period, but not the pre-period and pre-conditions, which is why I wanted to make this film. -
Heather Bigley, Phd Student, Writing a Dissertation on Film Studies
New German Cinema ENG 4135-13958 and GET 4523-15377 Barbara Mennel, Rothman Chair and Director, Center for the Humanities and the Public Sphere Office Hours: Mondays 11:00-12:00pm and by appointment Office: 200 Walker Hall (alternative office: 4219 TUR) Phone: (352) 392-0796; Email: [email protected] Meeting times: Class meetings: MWF 3 (9:35am-10:25) Room: TUR 2334 Screening: W 9-11 (beginning at 4:05pm) (attendance required) Room: Rolfs 115 Course objectives: In 1962, a group of young filmmakers at the Oberhausen Film Festival in West Germany boldly declared: “The old cinema is dead! We believe in a new cinema!” Out of this movement to overcome the 1950s legacies of fascism emerged a wave of filmmaking that became internationally known as New German Cinema. Its filmmakers were indebted to the student movement and a vision of filmmaking and distribution based on the notion of the director as auteur. This course offers a survey of the films from this brief period of enormous output and creativity, including the films by Rainer Werner Fassbinder, Werner Herzog, Alexander Kluge, Helke Sander, Volker Schlöndorff, Margarethe von Trotta, and Wim Wenders. We will trace the influence of the women's movement on feminist aesthetics and situate the films’ negotiations of history and memory in postwar West German politics. Required reading: Julia Knight. New German Cinema: Images of a Generation. London: Wallflower Press, 2004. Eric Ames. Aguirre, The Wrath of God. London: BFI, 2016. Excerpts and articles in Canvas. All readings are also on reserve and accessible through the website of Library West and Canvas. -
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. -
When the Wind Turns: Held for Questioning
WHEN THE WIND TURNS: HELD FOR QUESTIONING By Frank Beyer Hermann Kant’s novel Der Aufenthalt is a memoir. Kant narrates his story in retrospect, after much time has passed. There are childhood memories and inner monologs, numerous anecdotal digressions, and—as is common in Kant’s works—linguistic artistry and a proliferation of words that sometimes obfuscate the core of the story. In 1978, both East German Television (DFF) and the DEFA Studio for Feature Films inquired as to whether I could imagine making a screen adaptation of Kant’s novel. The broadcasting corporation was prepared to produce a mini-series. I was not very keen on the types of television adaptations being produced at the time, however, which entailed slicing up thick books into several parts and subjecting viewers to individual parts on consecutive evenings. Later, I spoke with [scriptwriter] Wolfgang Kohlhaase, who knew the novel well. Eventually, he suggested that we should not be so ambitious as to try to make an adaptation encompassing the entire novel. Instead, we could pull the story of • A 2017 DVD Release by the DEFA Film Library • A 2017 DVD Release by the DEFA Mark Niebuhr in prison in Warsaw out of the novel and make that the center of a film. Changing the novel’s narrative perspective had an impact and changed the main character. In the novel, Mark Niebuhr is steadfast; he always has the last word and makes jokes even in the worst situations. In the film, however, he is a young man of few words, introverted—somebody who becomes weaker as the plot progresses, but whose will desperately clings to his threatened existence. -
MICHAEL HANEKE SONY WRMI 02Pressbook101909 Mise En Page 1 10/19/09 4:36 PM Page 2
SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 1 A film by MICHAEL HANEKE SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 2 East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 3 X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 4 Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: Why do people follow an ideology? German fascism is the best-known example of ideological delusion. The grownups of 1933 and 1945 were children in the years prior to World War I. What made them susceptible to following political Pied Pipers? My film doesn’t attempt to explain German fascism. It explores the psychological preconditions of its adherents. What in people’s upbringing makes them willing to surrender their responsibilities? What in their upbringing makes them hate? Q.