DOCSLIB.ORG

Titel Kino 4/2000 Nr. 1U.2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Titel Kino 4/2000 Nr. 1U.2 EXPORT-UNION OF GERMAN CINEMA 4/2000 Special Report: TRAINING THE NEXT GENERATION – Film Schools In Germany ”THE TANGO DANCER“: Portrait of Jeanine Meerapfel Selling German Films: CINE INTERNATIONAL & KINOWELT INTERNATIONAL Kino Scene from:“A BUNDLE OF JOY” GERMAN CINEMA Launched at MIFED 2000 a new label of Bavaria Film International Further info at www.bavaria-film-international.de www. german- cinema. de/ FILMS.INFORMATION ON GERMAN now with links to international festivals! GERMAN CINEMA Export-Union des Deutschen Films GmbH · Tuerkenstrasse 93 · D-80799 München phone +49-89-3900 9 5 · fax +49-89-3952 2 3 · email: [email protected] KINO 4/2000 6 Training The Next Generation 33 Soweit die Füße tragen Film Schools in Germany Hardy Martins 34 Vaya Con Dios 15 The Tango Dancer Zoltan Spirandelli Portrait of Jeanine Meerapfel 34 Vera Brühne Hark Bohm 16 Pursuing The Exceptional 35 Vill Passiert In The Everyday Wim Wenders Portrait of Hans-Christian Schmid 18 Then She Makes Her Pitch Cine International 36 German Classics 20 On Top Of The Kinowelt 36 Abwärts Kinowelt International OUT OF ORDER Carl Schenkel 21 The Teamworx Player 37 Die Artisten in der Zirkuskuppel: teamWorx Production Company ratlos THE ARTISTS UNDER THE BIG TOP: 24 KINO news PERPLEXED Alexander Kluge 38 Ehe im Schatten MARRIAGE IN THE SHADOW 28 In Production Kurt Maetzig 39 Harlis 28 B-52 Robert van Ackeren Hartmut Bitomsky 40 Karbid und Sauerampfer 28 Die Champions CARBIDE AND SORREL Christoph Hübner Frank Beyer 29 Julietta 41 Martha Christoph Stark Rainer Werner Fassbinder 30 Königskinder Anne Wild 30 Mein langsames Leben Angela Schanelec 31 Nancy und Frank Wolf Gremm 32 Null Uhr Zwölf Bernd-Michael Lade 32 Das Sams Ben Verbong CONTENTS 50 Kleine Kreise 42 New German Films CIRCLING Jakob Hilpert 42 Das Bankett 51 Liebe nach Mitternacht THE BANQUET MIDNIGHT LOVE Holger Jancke, Olaf Jacobs Harald Leipnitz 43 Doppelpack 52 Liebesluder DOUBLE PACK A BUNDLE OF JOY Matthias Lehmann Detlev W. Buck 44 Erotic Tales: 53 Newenas weite Reise The Summer Of My Deflowering LONG TRAVELLING NEWENA Susan Streitfeld Nenad Djapic Die Tankstelle 54 Schule THE GAS STATION SCHOOL Jos Stelling Marco Petry 45 Finnlandia 55 Der Tunnel Eleni Ampelakiotou, Gregor Schnitzler THE TUNNEL 46 Hilfe, ich bin ein Fisch Roland Suso Richter HELP! I’M A FISH 56 Walk Don’t Walk Stefan Fieldmark, Michael Hegner Thomas Struck 47 Gelobtes Land PROMISED LAND Peter Patzak 58 Foreign Representatives 48 Goebbels und Geduldig GOEBBELS AND GEDULDIG 60 Film-Exporters Kai Wessel 49 Der Himmel kann warten 62 Imprint EXIT TO HEAVEN Brigitte Müller Film Schools In Germany Scene from ”alaska.de“ Scene from TRAINING THE NEXT GENERATION Hardly a month seems to go by these days without the announce- With the fall of the Berlin Wall and the opening of the borders, ment of plans in one corner of Germany or the other for a new the film schools map had to be re-drawn and students from both educational initiative in the area of audiovisual media. ”Medien- parts of Germany as well as from all over the world, and not just campus“, ”International Film School“, ”Multimedia Academy“ – the former Socialist countries, could now study at the Babelsberg the names are legion and are another phenomenon of the school. increasingly cut-throat competition between the German Länder to attract the most promising talents to locate in their respective The 1990s, in particular, saw the film and TV industry finding allies regions. in media politicians to respond to the ever increasing demand for qualified media professionals. Thus, Cologne’s Academy of Apart of the component of regional rivalries, the importance of Media Arts and the Baden-Württemberg Film film schools in Germany has grown over the years as the training Academy in Ludwigsburg were established at the beginning of became more thorough and diverse and, with the launching of the decade and have been followed over the years by a number such private commercial TV stations as RTL and SAT.1 in the of art colleges and polytechnics offering courses in film which also mid-1980s, the explosion of production output resulted in a include a practical element. seemingly insatiable demand for creative new talent to make the TV movies and series for the new schedules. Often a film school graduate has been snapped up by the broadcasters even before the ink has had time to dry on his or her diploma. Up until the beginning of the 1990s, film studies in the Western half of Germany were only possible in Berlin and Munich – at the German Film & Television Academy (dffb) and the Academy of Television & Film (HFF/M), the dffb students tending to concentrate on socio-political themes while ”Small Change“ Scene from their HFF colleagues gravitated more towards the mainstream and ”glossy images“. Meanwhile, aspiring filmmakers in former East Germany could apply to the Academy of Film & Television (HFF/B) in the Potsdam suburb of Babelsberg. 6 Film Schools In Germany Rather than try to distill some common elements from the A year later, a production class was set up at the dffb with a yearly various prospectuses issued by the teaching institutions, this intake of six students to train them as creative producers; and a article will instead concentrate on giving thumbnail sketches of Media Lab with state-of-the-art digital technology to acquaint the leading film schools and mentioning some of the illustrious the students with the technical and aesthetic possibilities of this past graduates as well as spotlighting the latest talents to world. emerge from the academies. Then, in 1999, a one-year TV Producer Programme was launched on the initiative of the German TV Producers dffb – Low Budgets, Association, the Berlin Senate, dffb and ProSieben, which is unique in Germany as the only further education programme High Energy which is targeted at professionals who already have at least two years of experience in production and/or dramaturgy and wish to train as TV producers. Starting our tour of the German film schools in the capital Berlin, our guide takes us to the city’s burgeoning new centre at As in other film schools around Germany, the emphasis here is Potsdamer Platz to visit the Deutsche Film- und Fernseh- also on the practical side with the students required to make films, akademie Berlin (German Film and Television Academy/dffb) individually or in groups, during their studies as well as a graduati- which moved into new premises in the Filmhaus at the Sony on film at the end of studies. Center this summer along with the Stiftung Deutsche Kinemathek, the Filmmuseum and the Arsenal Kino. Launched in September 1966 with 35 students, the dffb’s first couple of years were marked by a period of experimen- tal methods, technical improvisation and political conflict lea- ding to the expulsion of 18 students in 1968. According to the present director filmmaker Reinhard Hauff, who has been in the post since January 1993, study- ing at the dffb is ”low budget, high energy. Freedom for radical experiments as well as for learning profes- sional standards. Four years of consciously seeing and analysing films and for seeking a balance between technical needs and ”Makin’Scene from Up“ aesthetic aspirations. The aim is to make films which arouse feelings, provoke thoughts and are passionate and unforgettable“. And the dffb is no different to any of the other institutions in being able to call on a veritable ”Who’s Who“ of respected The four-year study is divided into two-year compulsory professionals to impart their knowledge and experience to the foundation studies and then the main course, with the possibility budding filmmakers as guest lecturers: Michael Ballhaus, to take up to a year out after the foundation course for an Werner Herzog, Thomas Arslan, Helma Sanders- internship. Training focuses on the areas of directing, cinemato- Brahms and Sophie Maintigneux are just a handful of graphy, and production with the possibility for supplementary the industry figures teaching what they do. specialisation in screenwriting, editing and digital technologies. Among the best known of the dffb graduates are Wolfgang The dffb has never stood still but has always adapted its program- Becker (winner of the Student Academy Award in 1988 for me to developments in the industry. Thus, in 1997, the dffb Schmetterlinge/Butterflies), Detlev Buck incorporated the Script Academy (Drehbuch-Akademie) (Liebesluder), Wolfgang Petersen (The Boat), Eoin which offers a two-year course exclusively for screenwriters and Moore (Break Even), Marc Schlichter (Ex), Fred is supported by the MEDIA II Programme, Filmboard Kelemen (Verhängnis), and, most recently, Nathalie Berlin-Brandenburg, SFB, RTL and private producers. Percillier (Hartes Brot/Sticky Dough). 7 Training The Next Generation HFF Munich – Close Links The catalogue of courses was expanded in 1997 with new professorships in departments III., IV. and V. for Dramaturgy to the Local Industry and Story Telling; Applied Aesthetics, Image Composition and Cinematography; Television Just over a year after lessons began at the dffb, the doors Journalism; Advertising, Public Relations and opened at the Academy of Television & Film (HFF/M) Corporate Image Film, which allow all of the students in Munich in November 1967 with 53 students. Initial difficulties the chance for a specialisation of their skills. were organisational rather than political: the fact that the academy’s premises were spread throughout Munich constituted As Doris Dörrie, the professor for Dramaturgy and Story a hurdle to overcome and, in fact, the HFF/M has only been Telling points out, ”the main goal of my work with students is housed in its own building since 1988. to convey the idea that writing is a skill and help them lose their fear.
Load more

Recommended publications
  • Dossier De Presse
    Isabelle Adjani Prix d’Interprétation Féminine - Festival de Cannes 1981 César de la meilleure actrice - 1982 TF1 STUDIO et TAMASA présentent POSSESSION un film de Andrzej Zulawski ¡ sortie en salles 14 juillet 2021 ¡ Presse CYNAPS - Stéphane Ribola T. 06 11 73 44 06 [email protected] Distribution TAMASA T. 01 43 59 01 01 [email protected] www.tamasa-cinema.com Un film purgatoire, à la fois blasphématoire et divin, dans " lequel les passions s’expient dans les cris et le fracas des corps, aspergés de boue et de sang. C’est une ronde macabre de pureté et de saleté, de grâce et de monstruosité, d’amour et de violence. » LES INROCKS Rentrant d’un long voyage, Marc retrouve à Berlin sa femme Anna et son fils, Bob. Mais rapidement, il se rend compte que le comportement de sa femme a changé. Prise de violentes crises, elle quitte souvent le domicile. Lorsqu’elle disparaît, Marc engage un détective qui découvre bientôt qu’Anna s’est réfugiée dans une étrange demeure où semble se cacher une créature surgie des ténèbres… Un film à l’atmosphère cauchemardesque et hallucinatoire Après son premier film français L’important c’est d’aimer (1975) et son retour en Pologne pour Le Globe d’argent, long métrage de science-fiction au tournage interrompu, Zulawski réalise ce qui reste sans doute son film le plus impression- nant et le plus réussi, objet d’un culte amplement mérité. Dans un Berlin lugubre coupé en deux par le Mur, Mark un homme aux activités mystérieuses (un es- pion ?) retrouve sa femme Anna et son fils Bobby après une longue absence.
    [Show full text]
  • Contemporary Composer Vladimir Jovanović and His Role in the Renewal of Church Byzantine Music in Serbia from the 1990S Until Today
    Interdisciplinary Studies in Musicology 19, 2019 @PTPN Poznań 2019, DOI 10.14746/ism.2019.19.1 GORDANA BLAGOJEVIĆ https://orcid.org/0000–0001–7883–8071 Institute of Ethnography SASA, Belgrade Contemporary composer Vladimir Jovanović and his role in the renewal of church Byzantine music in Serbia from the 1990s until today ABSTRACT: This work focuses on the role of the composer Vladimir (Vlada) Jovanović in the rene- wal of church Byzantine music in Serbia from the 1990s until today. This multi-talented artist wor- ked and created art in his native Belgrade, with creativity that exceeded local frames. This research emphasizes Jovanović’s pedagogical and compositional work in the field of Byzantine music, which mostly took place through his activity in the St. John of Damascus choir in Belgrade. The author analyzes the problems in implementation of modal church Byzantine music, since the first students did not hear it in their surroundings, as well as the responses of the listeners. Special attention is paid to students’ narratives, which help us perceive the broad cultural and social impact of Jovanović’s creative work. KEYWORDS: composer Vladimir (Vlada) Jovanović, church Byzantine music, modal music, St. John of Damascus choir. Introduction This work was written in commemoration of a contemporary Serbian composer1 Vladimir Jovanović (1956–2016) with special reference to his role in the renewal of church Byzantine music in Serbia from the beginning of the 1990s until today.2 In the text we refer to Vladimir Jovanović as Vlada – a shortened form of his name, which relatives, friends, colleagues and students used most of- ten in communication with the composer, as an expression of sincere closeness.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • EF International Language Center, Munich
    EF Munich EF INTERNATIONAL LANGUAGE CENTER EF PRIV. SPRACHINSTITUT GMBH,STERNSTR. 5 – LEHEL CARRE, 80538 MÜNCHEN City Highlights One of Germany's most popular city. Just 1 hour by train to the Alps Enjoy both the vibrant impressive life of a metropolis and the beautiful Bavarian countryside Culture, historic monuments, superb architecture and great shopping Very varied and exciting nightlife to suit all musical tastes and lifestyles Busy city festivals all year round (film, music, opera festival, Springfestival, Tollwood Festival, Octoberfest, Christmas market This cosmopolitan city is home to three of Germany’s top universities Book at worldwide lowest price at: https://www.languagecourse.net/school-ef-international-language-center-munich.php3 +1 646 503 18 10 +44 330 124 03 17 +34 93 220 38 75 +33 1-78416974 +41 225 180 700 +49 221 162 56897 +43 720116182 +31 858880253 +7 4995000466 +46 844 68 36 76 +47 219 30 570 +45 898 83 996 +39 02-94751194 +48 223 988 072 +81 345 895 399 +55 213 958 08 76 +86 19816218990 School Highlights Around the school Established EF school with more than 28 years of Cafes/restaurants experience 2 minutes walking - Italian, Indian, German, French Warm and friendly welcome from a team of professional City centre staff, dedicated to providing excellent service and 10 min walking - 5 min public transport support Situated in trendy suburb Lehel, just 5 minutes bus Public transportation stop/station ride from the town centre and 5 minutes walk from 1 Min - Lehel (Metro U4/U5) Maximilianstrasse. 10 minutes walk from Marienplatz, 150 meters from the Isar and 5 minutes walk to the Shops English Garden.
    [Show full text]
  • Kirkus Reviews on Our Website by Logging in As a Subscriber
    Featuring 319 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books VOL.KIRKUS LXXXVIII, NO. 18 | 15 SEPTEMBER 2020 REVIEWS Laila Lalami The author confronts American inequities in Conditional Citizens p. 58 Also in this issue: Sigrid Nunez, Daniel Nayeri, and Amra Sabic-El-Rayess from the editor’s desk: The Way I Read Now Chairman BY TOM BEER HERBERT SIMON President & Publisher MARC WINKELMAN John Paraskevas # Among the many changes in my daily life this year—working from home, Chief Executive Officer wearing a mask in public, watching too much TV—my changing read- MEG LABORDE KUEHN ing habits register deeply. For one thing, I read on a Kindle now, with the [email protected] Editor-in-Chief exception of the rare galley sent to me at home and the books I’ve made TOM BEER a point of purchasing from local independent bookstores or ordering on [email protected] Vice President of Marketing Bookshop.org. The Kindle was borrowed—OK, confiscated—from my SARAH KALINA boyfriend at the beginning of the pandemic, when I left dozens of advance [email protected] reader copies behind at the office and accepted the reality that digital gal- Managing/Nonfiction Editor ERIC LIEBETRAU leys would be a practical necessity for the foreseeable future. I can’t say that I [email protected] love reading on my “new” Kindle—I’m still a sucker for physical books after Fiction Editor LAURIE MUCHNICK all these years—but I’ll admit that it fulfills its purpose efficiently. And I do [email protected] Tom Beer rather enjoy the instant gratification of going on NetGalley or Edelweiss Young Readers’ Editor VICKY SMITH and dispatching multiple books to my device in one fell swoop—a harmless [email protected] form of bingeing that affords a little dopamine rush.
    [Show full text]
  • Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 the FAN - Ed Bianchi
    Domingo 9 17:00 THE SPY WHO CAME IN FROM THE COLD - Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 THE FAN - Ed Bianchi Lunes 10 CGAC 17:00 L’AVEU - Constantin Costa-Gavras 19:30 L’AMOUR À MORT - Alain Resnais 21:15 THE RAIN PEOPLE - Francis Ford Coppola Martes 11 17:00 A DANDY IN ASPIC - Anthony Mann, Laurence Harvey 19:00 THE DEADLY AFFAIR - Sidney Lumet 21:00 DER HIMMEL ÜBER BERLIN - Wim Wenders Miércoles 12 16:30 SECHSE KOMMEN DURCH DIE WELT - Rainer Simon 18:00 TILL EULENSPIEGEL - Rainer Simon 19:45 JADUP UND BOEL - Rainer Simon 21:30 DIE FRAU UND DER FREMDE - Rainer Simon Jueves 13 17:45 WENGLER & SÖHNE, EINE LEGENDE - Rainer Simon 19:30 DER FALL Ö - Rainer Simon 21:15 WORK IN PROGRESS: CORTOMETRAJES DE MARCOS NINE - Marcos Nine Viernes 14 16:00 FÜNF PATRONENHÜLSEN - Frank Beyer 17:30 NACKT UNTER WÖLFEN - Frank Beyer 19:45 KARBID UND SAUERAMPFER - Frank Beyer 21:15 JAKOB, DER LÜGNER - Frank Beyer 23:00 DER VERDACHT - Frank Beyer Miércoles 19 21:30 DER TUNNEL - Roland Suso Richter Jueves 20 16:00 CARLOS - Olivier Assayas 21:45 DIE STILLE NACH DEM SCHUSS - Volker Schlöndorff Venres 21 16:00 8MM-KO ERREPIDEA - Tximino Kolektiv (Ander Parody, Pablo Maraví, Itxaso Koto, Mikel Armendáriz) 17:00 PROXECTO NIMBOS (SELECCIÓN DE CORTOMETRAJES) - Varios autores 17:45 WORK IN PROGRESS: O LUGAR DOS AVÓS - Víctor Hugo Seoane 20:15 EL CORRAL Y EL VIENTO - Miguel Hilari 21:15 OUROBOROS - Carlos Rivero, Alonso Valbuena Sábado 22 17:00 VIDEOCREACIÓNS - Olalla Castro 18:30 A HISTÓRIA DE UM ERRO - Joana Barros 20:15 TRUE ROMANCE.
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • GDR Films Various Authors
    GDR Bulletin Volume 2 Issue 1 February Article 4 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. 1. https://doi.org/10.4148/gdrb.v2i1.323 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 -it- Mr. Peet fought in the Spanish Civil War with the British Battalion of the Inter• militarist society. Even such classics as Kiohard Wagner's THE national Brigade. After service with the FLYING DUTCHMAN. Geore Buchner's WOZZECK. and E. T. A. Hoffman's THE DEVIL'S ELIXIR are recreated from a socialist British Army in the Middle East during point of view. Thus the socialist realism of East German cinema can be studied as a cultural extension of a government that had the World War II he became editor of the enormous task of unifying a shattered nation and declared its belief in a democratic, humanist society constructed on the firm Jerusalem Radio. He later became a cor• foundation of socialism. It is not the purpose of this program to question the reality of these commitments, but it is necessary to respondent for Reuter's in Vienna, War• consider these stated national goals since they are reflected in the cut and fabric of the cinema from the German Democratic saw and West Berlin.
    [Show full text]
  • Zeughauskino
    HANDS ON FASSBINDER DISKUSSIONEN.ASSOZIATIONEN.FILME IM KINO Rainer Werner Fassbinder (1945-1982) ist einer der bedeutendsten europäischen Regisseure deutscher Herkunft. Zusammen mit dem Collegium Hungaricum Berlin, dem Zeughauskino, der Rainer Werner Fassbinder Foundation und der Bundeszentrale für politische Bil- dung möchte die Filmzeitschrift Revolver Fassbinders Werk neu er- schließen und zur Quelle von politischen, historischen, kulturellen und filmischen Visionen machen. Im Rahmen von Konferenzen, die noch bis zum November im Collegium Hungaricum Berlin stattfinden werden, sollen Ansätze und Fragestellungen, die Fassbinders mittler- weile historischen Arbeiten zugrunde liegen, auf unsere Gegenwart bezogen werden – eine Einstellung, die Fassbinders Grundhaltung entspricht. Dafür werden Film- und Medienfachleute, Schauspieler, Kritiker, Philosophen und Wissenschaftler eingeladen, aus seinem Nachlass neue Energien zu gewinnen – für das Filmland Deutschland und darüber hinaus. Abgestimmt auf die Themen der Konferenzen lädt das Zeughauskino jeweils im Vorfeld der Veranstaltungen zur Wiederentdeckung der Filme von Rainer Werner Fassbinder ein. Eine aktualisierte Fassung des Veranstaltungsprogramms findet sich unter der Adresse: www.handsonfassbinder.de. Die Veranstaltungsreihe Hands on Fassbinder wird vom Hauptstadtkulturfonds gefördert. Lili Marleen HANDS ON FASSBINDER 7 HANDS ON FASSBINDER Lili Marleen BRD 1980, R: Rainer Werner Fassbinder, B: Manfred Purzer, K: Xaver Schwarzenberger, D: Hanna Schygulla, Giancarlo Giannini, Mel Ferrer, Hark Bohm, Karl-Heinz von Hassel, 120‘ | 35 mm Die Zusammenarbeit Rainer Werner Fassbinders mit dem Produzenten Luggi Waldleitner, der vor allem als Produzent von seichten Pornos bekannt war, stellte für viele eine Überraschung dar. Papas Kino traf hier sprichwörtlich auf den Neuen Deutschen Film. Basierend auf dem Leben der Lale Anderson erzählt Lili Marleen die Geschichte der jungen Sängerin Willie, die nach Ausbruch des Zweiten Weltkriegs mit ihrem Lied Lili Marleen zum Star der deutschen Soldaten avanciert.
    [Show full text]
  • Beteiligungsbericht 2016
    BETEILIGUNGSBERICHT 2016 INHALT Inhalt 2 A Beteiligungen des WDR 5 A1 Anlass der Erstellung und Zielsetzung des Berichts 6 A2 Beteiligungspolitik des WDR 7 A3 Beteiligungsmanagement des WDR 8 A4 Übersicht über die Beteiligungen des WDR 8 B Wesentliche Entwicklungen seit dem letzten Bericht 11 B1 Übergreifende Entwicklungen 12 B2 Wesentliche Entwicklungen bei den Beteiligungen 13 B3 Neue Beteiligungen 19 C Einzeldarstellung der WDR-Beteiligungsunternehmen 21 C1 WDR mediagroup GmbH, Köln 22 C1.1 WDR mediagroup dialog GmbH, Köln 30 C1.2 WDR mediagroup digital GmbH, Köln 34 C1.3 RC Release Company GmbH, Köln 39 C1.4 Autentic Distribution GmbH, Köln 43 C1.5 Bavaria Film GmbH, München 47 C1.6 Der >Audio< Verlag GmbH, Berlin 55 C1.7 ARD-Werbung SALES&SERVICES GmbH, Frankfurt a. M. 58 C1.8 DEGETO Film GmbH, Frankfurt am Main 64 C2 WDR Gebäudemanagement GmbH i.L., Köln 70 C3 WDR German Broadcasting Centre Brussels SPRL, Brüssel (B) 74 C4 CIVIS Medienstiftung GmbH, Köln 78 C5 Digital Radio West GmbH i. L., Königswinter 80 C6 Film- und Medienstiftung Nordrhein-Westfalen GmbH, Düsseldorf 82 C7 Deutscher Fernsehpreis GmbH, Köln 88 C8 radio NRW GmbH, Oberhausen 92 C9 KölnMusik Betriebs- und Servicegesellschaft mbH, Köln 96 C10 Grimme-Institut Gesellschaft für Medien, Bildung und Kultur mbH, Marl 100 C11 European Road Transport Telematics Implementation Coordination Organisation S.C., Brüssel (B) 105 C12 Beteiligungen im Rahmen der ARD 108 C12.1 ARD.ZDF medienakademie gGmbH, Nürnberg 108 C12.2 ARTE Deutschland TV GmbH, Baden-Baden 113 C12.3 Institut für Rundfunktechnik GmbH, München 118 C12.4 Stiftung Deutsches Rundfunkarchiv, Frankfurt a.
    [Show full text]
  • The Politics of Space in the Cinema of Migration
    The Politics of Space in the Cinema of Migration Barbara Mennel, Gainesville, Florida ISSN 1470 – 9570 Barbara Mennel 40 The Politics of Space in the Cinema of Migration Barbara Mennel, Gainesville, Florida This article offers a reading of three films associated with migration and mobility between Turkey and Germany organized around the cinematic representation of space. Focusing on the politics of space, instead of national and/or ethnic identity, I propose, allows us to account for larger cultural shifts from a national to a transnational framework for cultural production, but also to be mindful of representational continuities from filmmaking in Turkey to Germany. My reading of Tevfik Başer‟s 40m² Germany (1986) in the context of Yilmaz Güney‟s The Father (1973) and Fatih Akın‟s Crossing the Bridge: The Sound of Istanbul (2005) proposes that the film was significantly misread by the West German public at the time. The comparison of the three films reads their spatial aesthetics as responding to the shift from national to transnational contexts and left-wing ideological to multicultural politics. 1. From “Cinema of Duty” to “Pleasures of Hybridity” In scholarship on Turkish-German cinema, it has become commonplace to read the brief history of films by and about Turkish migrants in Germany as a shift from, in the words of Deniz Göktürk, the “cinema of duty” to a cinema portraying the “pleasures of hybridity” (1999: 7). Films and literature by and about the first generation of labor migrants who arrived in Germany in the 1960s portrayed one-dimensional alienated Turks in Germany, either embodied by a figure of a silent male guestworker or by an oppressed female victim of Turkish patriarchy.
    [Show full text]
  • Pimp Dein' Trip!
    PIMP DEIN‘ TRIP! münchen PIMP DEIN‘ TRIP MÜNCHEN ÜBERSICHT CITY PÄSSE UND CARDS München City Pass München Card TRANSFER & TRANSPORT Flughafen Privattransfer HOP-ON/HOP-OFF Stadtrundfahrt München STADTBESICHTIGUNG & AUSFLÜGE Schlösser Neuschwanstein & Linderhof Geführter Ausflug Bierhallen und Brauereien Legenden der Altstadt Genießer Tour über den Viktualienmarkt FC Bayern Fußball Tour ATTRAKTIONEN Bavaria Filmstadt SeaLife München TimeRide PIMP DEIN‘ TRIP MÜNCHEN CITY CARDS & PÄSSE München City Pass DAS WICHTIGSTE IN KÜRZE ie möchten ganz München erkunden und viele Se- S henswürdigkeiten besuchen? - Der Münchner City Pass Verfügbarkeit: täglich ist ihre all-inklusive Eintrittskarte für die Top- Attraktionen und den Nahverkehr von München. Gültigkeit: 2 / 3/ 4 Tage Perfekt für alle, die Geld bei den Top-Attraktionen von Sprache: Deutsche Broschüren München sparen möchten und ihre kostbare Urlaubs- zeit nicht an Warteschlangen von Kassenschaltern oder Ticketautomaten verbringen möchten. keine kostenlose Stornierung Der Münchner City Pass gewährt Ihnen freien Eintritt zu Treffpunkt: -/- den beliebtesten Sehenswürdigkeiten und Attraktionen. Wählen Sie Ihren Pass mit einem Nahverkehrsticket für den Münchner Innenraum oder das Gesamtnetz. HIGHLIGTHS: BUCHBARKEIT : 01.11.2020 – 31.10.2021 Freier Eintritt in 45 Attraktionen City MUC88Z|2 Tage ab 66€ Freie Fahrt im ÖPNV (Zone M) City MUC89Z |3 Tage ab 86€ Zusätzliche Ermäßigungen, Rabatte und Extras Weiterführende Informationen zu den Attrak- City MUC90Z |4 Tage ab 96€ tionen im Ticketanhang HINWEISE: Der Pass ist ab dem Tag gültig, den sie bei Ih- rer Buchung als ersten Nutzungstag festlegen. Der München City Pass ist personengebun- den, Bitte führen Sie einen gültigen amtlichen Lichtbildausweis zur Identifizierung mit sich (z. B. Personalausweis, Reisepass, Führerschein). Bitte bei Buchung das Geburtsdatum der Rei- senden angeben.
    [Show full text]