DOCSLIB.ORG

IN BERLIN-BRANDENBURG K

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IN BERLIN-BRANDENBURG K Berlin-Brandenburg offers a variety of financing and funding opportunities, as well as consulting services: k Medienboard Berlin-Brandenburg GmbH k Berlin Partner for Business and Technology GmbH k ZAB Brandenburg Economic Development Board GmbH FUNDING, k Berlin Brandenburg Film Commission Berlin-Brandenburg... k Investitionsbank Berlin (IBB) FINANCING, AND k Investitionsbank des Landes Brandenburg (ILB) Netflix CEO Reed Hastings at MEDIA CONVENTION Berlin A meeting point for international media-industry thought leaders ...offers well-known industry events such as: CONSULTING k IFA k Drama Series Days | EFM Berlinale k MEDIA CONVENTION Berlin INDUSTRY EVENTS k Bambi Funding for development and production of TV k Prix Europa and web content Exhibitions, marketplaces, and conventions such as IFA, Drama Series k VideoDays Days at the Berlinale’s European Film Market, and MEDIA CONVENTION k animago AWARD & CONFERENCE Medienboard Berlin-Brandenburg GmbH Berlin offer insight into current themes and trends, while also drawing k www.medienboard.de representatives of the international media, thus contributing to the Dr. Anna Sarah Vielhaber | Head of Business Development and Funding worldwide networking of the capital region’s media sector. Regular ... benefits from high-quality media-sector [email protected] | +49 (0)331 7438783 training and continuing education programmes: events such as Mediengipfel, VideoDays, Europe’s biggest meeting of YouTubers, and the Germany-wide unique Your Turn – The Video Crea- k Film University Babelsberg KONRAD WOLF Consulting on business locations, funding, and enterprise development tor Competition continually drive the industry forward. In addition, k German Film and Television Academy Berlin the media.net berlinbrandenburg industry network, the Association of k Berlin University of the Arts Berlin Partner for Business and Technology GmbH Commercial Broadcasters and Audiovisual Services (VPRT), the German k www.berlin-partner.de k Media Innovation Center Babelsberg Producers Alliance – Film & Television, and other industry associations Birgit Reuter | Project Manager Media / Creative Industries k Erich Pommer Institute help create ties with the political, academic and cultural communities. [email protected] | + 49 (0)30 46302338 k Institut für Schauspiel, Film- und Fernsehberufe k Entertainment Master Class ZAB Brandenburg Economic Development Board GmbH k www.zab-brandenburg.de Fernanda Lange Boettcher | Project Manager Media / ICT TRAINING AND CONTINUING EDUCATION [email protected] | +49 (0)331 6603227 One of the capital region’s declared goals is to ensure the supply of highly qualified young people in the Locations, Film Permits, and Service Providers media industry. The success of this aim is shown by the diversity of training and continuing education offerings from universities, state and private colleges, media academies, and other educational institutions. Berlin Brandenburg Film Commission Film University Babelsberg KONRAD WOLF, German Film and Television Academy Berlin, DEKRA Media k www.bbfc.de Academy, Media Innovation Center Babelsberg (MIZ), Erich Pommer Institute, Entertainment Master Class, Christiane Raab | Head of BBFC and many other institutions offer study courses and training programmes in the areas of production, acting, [email protected] | +49 (0)331 7438731 screenplay writing, cinematography, and direction, as well as continuing education courses and workshops on media law, marketing, and management. TELEVISION Imprint Published by Medienboard Berlin-Brandenburg GmbH [email protected] IN BERLIN-BRANDENBURG k www.medienboard.de Design k www.simpelplus.de European Film Market – Berlinale’s business centre Credits With more than 8,600 participants, an inter- Cover: Homeland © “Homeland Season 5” Blu-ray, Twentieth Century Fox Home Entertainment; inner section p. 1: The Voice of Germany © SAT.1/ProSieben / Richard Hübner; p. 2-3: national marketplace for film and audiovisual Aspekte © ZDF / Jürgen Detmers, Blochin © ZDF / Real Film, GZSZ © RTL / Bernd Jaworek, Homeland © “Homeland Season 1-4” Blu-ray, Twentieth Century Fox Home Entertainment, content, since 2015 featuring a new platform for The Voice of Germany © SAT.1/ProSieben / Richard Hübner, Circus HalliGalli © ProSieben, Got To Dance © ProSieben/SAT.1: Frank Zauritz / Willi Weber, Deutschland 83 © RTL, LeFloid high-quality drama series © svensonpictures.com, ellevant © Ellevant Media, Anne Will © NDR/ARD, Tatort © rbb / Thomas Ernst, Sense8 © Murray Close / Netflix; p. 4: Reed Hastings © MEDIA CONVENTION Berlin / MaxThrelfallPhoto, European Film Market © Oliver Möst INTERNATIONAL, CREATIVE, DIGITAL: Channel Production companies TV productions Digital platforms and producers YouTube channel TV AND WEB IN THE CAPITAL REGION VICE Media Freemantle Novafilm Kundschafter DEF Media Fernseh- MOOVIE Film- Media produktion produktion SundanceTV Berlin - The VICE Deutschland — Tag und Reports 83 AMC Networks Nacht MEDIA LOCATION Letzte Schuld nach Bauer Spur Ferdinand von Eichwald, sucht Frau BERLIN-BRANDENBURG Berlin Schirach MdB RTL RTL Group RTL 2 Berlin-Brandenburg is one of the world’s leading media regions, with nal storytelling era – bears clear testimony to this fact. At the same nearly 4,000 film and TV businesses that collectively generate an time, Berlin-Brandenburg offers space for the development of ideas, Ein starkes UFA annual turnover of about € 1.9 billion per year. The capital region’s experimentation, and creative results to an extent unmatched by Das Team ZDF Team Divimove Deutsche Welle infrastructure creates an excellent foundation for the production of any other region in Germany. In Berlin, the digital scene is booming: TV and web content. National and international media professionals innovators and start-ups operate alongside large media companies benefit from the expertise of renowned traditional companies such as like VICE Media and Axel Springer, blazing a new trail in the media gebrueder Kobalt berlin Gute Zeiten, beetz Studio Babelsberg, Studio Berlin Adlershof, and Berliner Union-Film. world. Video-on-demand platforms like Netflix, web TV providers like Kuttner Axel Konzept producers aspekte Blochin N24 Schlechte filmproduktion plus 2 In addition, the high density of production companies such as UFA and Magine TV, and multi-channel networks like Studio71, Divimove, and Springer Zeiten service providers such as ARRI Media, as well as of additional specia- the 301+ YouTube collective have all established a presence in Berlin. lists in areas such as set construction, special effects, post production, In addition, one of only six YouTube Studios worldwide is located in Real Film Tankstellen and casting, offers optimal conditions for complex productions. The Berlin, offering video artists the opportunity to develop their creative Worldwide Berlin Nackt unter des Metropolis strand- Berlin Netflix production of series such as Homeland, Sense8, and Deutschland 83 potential in the heart of Europe. Wölfen Glücks gutmedia – high-end, internationally successful productions of the new fictio- MAZ & More Studio Babelsberg Sky Arte Turnover in the Berlin-Brandenburg TV industry Deutschland Sat.1 € 709 million Frühstücks- fernsehen Applewar +42% 16bars.tv DOKfilm X-Filme Pictures ARD Degeto Fernsehpro- Creative € 1 billion duktion Pool 0 100 300 500 700 900 € million Space Frogs Talpa Homeland Germany Sat.1 Companies in the Berlin-Brandenburg audiovisual media industry Kelly Die Stadt Babylon MissesVlog und die Polizeiruf 110 Sense8 7.222 Berlin Showtime Macht +55% The Voice of ProSiebenSat.1 Germany | — YouTube 301+ 11.177 Group The Voice Kids CBS 0 6000 12.000 LeFloid 2004 2013 Rundfunk Thadeusz h “The Voice” at Studio Berlin Adlershof Nilam ARD EIKON Berlin- und die ProSieben Studio71 Robert Media The ideal studio infrastructure for successful entertainment productions Source: Medienindex Berlin-Brandenburg 2015 Darkviktory Farooq aka Brandenburg Beobachter Daaruum Hofmann Got to Dance | Circus Got to Dance HalliGalli Kids Menschen bei Heiter bis tödlich Kesslers STUDIOS & LOCATIONS IN BERLIN-BRANDENBURG BERLIN BRANDENBURG FILM COMMISSION Kontraste Collective Anne Will Maischberger – Tatort Expeditionen Hauptstadtrevier (BBFC) LOCATION SERVICE Studio71 From Berlin Adlershof to Babelsberg to fernsehwerft – the studios in the capital region are in high demand, and streets and squares in Berlin and Brandenburg serve as popular shooting locations for diverse film and TV productions. With its constantly updated database of more than 1,500 locations in the Berlin-Brandenburg region, as well as consulting services for Will Askania WIEDUWILT locations, equipment, and potential partners, the Berlin Branden- Vincent TV k Studio Babelsberg k CINE PLUS Media Media FILM & TV burg Film Commission is the natural first stop for production teams PRODUKTION k k Studio Berlin Adlershof HAVELSTUDIOS wanting to shoot in the capital region. BBFC provides pointers to the k fernsehwerft k CCC Filmstudios / Filmatelier Haselhorst right contacts for film permits, offers advice on co-productions, and Endemol Endemol k Berliner Union-Film k VCC Studiobetriebsgesellschaft provides a comprehensive electronic commercial directory of produc- Florida TV Shine Group Germany beyond k YouTube Studio Berlin k filmyard tion companies and service providers. Berlin-Brandenburg offers a variety of financing and funding opportunities, as well as consulting services: k Medienboard Berlin-Brandenburg GmbH
Load more

Recommended publications
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • Iavivendia2000ieng.Pdf
    As Ñled with the Securities and Exchange Commission on July 2, 2001 SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 20-F n REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ≤ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 for the Ñscal year ended December 31, 2000 OR n TRANSITION REPORT PURSUANT TO SECTION 13 or 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 for the transition period from to Commission File Number: VIVENDI UNIVERSAL (Exact name of Registrant as speciÑed in its charter) N/A 42, avenue de Friedland Republic of France (Translation of Registrant's75380 Paris Cedex 08 (Jurisdiction of incorporation name into English) France or organization) (Address of principal executive oÇces) Securities registered or to be registered pursuant to Section 12(b) of the Act: Title of Each Class: Name of Each Exchange on Which Registered: American Depositary Shares (as evidenced by American The New York Stock Exchange Depositary Receipts), each representing one ordinary share, nominal value 55.50 per share Ordinary shares, par value 55.50 per share* Securities registered or to be registered pursuant to Section 12(g) of the Act: None Securities for which there is a reporting obligation pursuant to Section 15(d) of the Act: None Indicate the number of outstanding shares of each of the issuer's classes of capital or common stock as of the close of the period covered by the annual report: American Depositary Shares ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ
    [Show full text]
  • L'â Ge D 'Or« T Obia S Zielony Chicks on S
    DER STACHEL DES SKORPIONS EIN CADAVREEXQUIS NACH LUIS BUÑUELS »L’ÂGE D’OR« TOBIAS ZIELONY CHICKS ON SPEED M+M KEREN CYTTER JULIAN ROSEFELDT JOHN BOCK RALF BEIL, MICHAEL BUHRS, M+M (HG.) Ermöglicht durch TOBIAS ZIELONY CHICKS ON SPEED M+M KEREN CYTTER JULIAN ROSEFELDT JOHN BOCK INHALT DER STACHEL DES SKORPIONS, 2014 Filmstills 3 1. Episode: TOBIAS ZIELONY 25 2. Episode: CHICKS ON SPEED 49 3. Episode: M+M 73 4. Episode: KEREN CYTTER 97 5. Episode: JULIAN ROSEFELDT 121 6. Episode: JOHN BOCK M+M Ralf Beil 147 Brief an Ugo Gregoretti / 178 Respektieren Sie nicht die Gedanken Interview Ugo Gregoretti – Tanja Lelgemann eines toten Autors: Machen Sie einen Film! 150 Brief an Michel Houellebecq Ein Gespräch mit Luis Buñuel 151 Brief an John Forbes Nash über Musik, Moral und Martini Dry 152 Brief an Peter Raue / Antwortschreiben von Peter Raue Michael Buhrs 182 Panzerknacker: 154 Grußworte Das Phänomen Künstlerkollektive 155 Vorwort und Dank Marcus Steinweg M+M 190 Ontologisches Fieber 156 Ein paar Stunden später Konzeption und Umsetzung von Ralf Beil Der Stachel des Skorpions 196 Der Stachel im Ohr Spuren von Bild und Ton in Buñuels Jean-Henri Fabre L’Âge d’or sowie in Der Stachel des Skorpions 162 Der Languedokische Skorpion Erinnerungen eines Insektenforschers, 203 Biografien und Credits 1905, IXte Lieferung 208 Impressum und Fotonachweis 165 Luis Buñuel L’Âge d’or, 1930, Filmstills DER STACHEL DES SKORPIONS, 2014 Filmskripte 210 1. Episode: TOBIAS ZIELONY 212 2. Episode: CHICKS ON SPEED 218 3. Episode: M+M 222 4. Episode: KEREN CYTTER 234 5.
    [Show full text]
  • Staging the Urban Soundscape in Fiction Film
    Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • On the Application of Articles 4 and 5 of Directive 89/552/EEC "Television
    COMMISSION OF THE EUROPEAN COMMUNITIES Brussels, 15.07.1996 COM(96)302 final COMMUNICATION FROM THE COMMISSION TO THE COUNCIL AND THE EUROPEAN PARLIAMENT on the application of Articles 4 and 5 of Directive 89/552/EEC "Television without Frontiers" EXECUTIVE SUMMARY This is the second monitoring report on the implementation of Article 4 (European works) and Article 5 (independently produced European works) of the 1989 "Television without Frontiers" Directive. It covers the years 1993 and 1994. As with the previous report, it is based on national reports provided by each Member State as regards the broadcasters under its jurisdiction. The conclusions of the report are as follows: * There is a marked improvement in the quality of reporting by Member States. A number of methological difficulties have been ironed out as compared to the previous period. * In quantitative terms, the data is comprehensive. * The report confirms that all Member States have transposed Articles 4 and 5, although the flexible wording of these provisions has resulted.in differing levels of effectiveness and in variations as regards the basis on which they are applied. * The number of channels surveyed was 148 (105 in 1992). Of these, 91 broadcast a majority proportion of European works in 1994 (as compared to 70 channels doing so in 1992). Moreover, in almost all Member States, the majority of mainstream terrestrial broadcasters (which account for by far the largest share of the audience) achieved, or exceeded by a considerable margin, the majority proportion. There was only a limited number of exceptions and in most of these cases the proportion remained close to 50%.
    [Show full text]
  • After Ten Years in Power, Angela Merkel Is Being Forged Anew in the Refugee Crisis
    The Economist November 7, 2015 The chancellor’s crucible After ten years in power, Angela Merkel is being forged anew in the refugee crisis BERLIN In September, at the height of what the German press has since dubbed an “autumn fairy-tale”, Angela Merkel visited an asylum centre in Spandau, near Berlin. The refugees greeted the German chancellor as though she were their saviour, pressing close for selfies with her. Mrs Merkel does not usually take kindly to unsolicited male hugs. But this time she posed gamely and flashed winning smiles. What made her a heroine to the refugees was a decision she had taken only days earlier. Thousands of people trudging through the Balkans toward northern Europe were stranded in Hungary in precarious conditions. Empathising with these huddled masses, Mrs Merkel temporarily ignored the European Union’s asylum agreements, which stipulate that the member state in which refugees first arrive must process their asylum requests. On the chancellor’s command, Germany opened its borders to the refugees. Coming via Austria on foot, bus and train, more than 20,000 arrived in the first weekend of September alone. At first, many ordinary Germans greeted them in a euphoric mood—from the railway station in Munich where the refugees disembarked by the wagonload to asylum centres around the country like the one in Spandau. But others in Germany and across Europe were taken aback. There has since been a marked backlash against the August Willkommenskultur whose spirit Mrs Merkel captured and encouraged, with those Spandau selfies held up as reckless enticements for yet more Syrians and others to join the 1m refugees now expected in Germany this year.
    [Show full text]
  • Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
    Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space.
    [Show full text]
  • Germany and the Refugee Crisis: Practical Solutions, Political
    Teaching Modern Languages at Post-16 and Beyond (28/6/15) Dr Caroline Pearce, Department of Germanic Studies, University of Sheffield Germany and the Refugee Crisis: Practical Solutions, Political Consequences Terminology and context Integration Multikulturalismus Parallelgesellschaften ‚Einwanderungsland‘ Flüchtlinge, Asylbewerber, Einwanderer, Personen mit Migrationshintergrund, Migranten, Gastarbeiter, Ausländer, Fremde… Rechtspopulismus / Rechtsextremismus ‘Merkel’s policy’? Timeline September 2015: Merkel announces that people fleeing war and persecution are welcome in Germany; so-called ‘Dublin procedure’ suspended for refugees from Syria "Ich glaube, in der augenblicklichen Situation ist es offensichtlich, dass die auf dem Papier stehende europäische Asylpolitik nicht funktioniert.„ (Angela Merkel, 3 September 2015) Thousands of refugees arriving by train in Germany are greeted warmly by local residents and volunteers (Willkommenskultur) By mid-September, 400,000 refugees are arriving daily – the federal states report that they cannot cope with the influx and there is opposition towards the policy among the CDU /CSU Mid-September 2015: border controls are re-established between Germany and Austria Some European leaders distance themselves from German ‘open door’ policy October/November: dispute on proposed ‘transit zones’ at the borders New Year 2015: a series of sexual assaults on German women during New Year’s Eve celebrations in Cologne and other German cities. The perpetrators were mainly men of North African and Arabic background March 2016: Merkel negotiates EU deal with Turkey on refugee policy How many refugees have come to Germany? 1.1 million over the past year 1.26 million asylum applications submitted in the EU (2015) 35% of all applications submitted in Germany (2015) January –April 2015 114,125 asylum applications January-April 2016 246,393 asylum applications Drop in arrivals in 2016 (approx.
    [Show full text]
  • 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 .
    [Show full text]
  • NEUE WELTEN ENTDECKEN MIT SUNRISE TV TV-Senderliste Für Den Ausdruck
    NEUE WELTEN ENTDECKEN MIT SUNRISE TV TV-Senderliste für den Ausdruck Sie brauchen Hilfe? Hotline Mo - Fr 08.00 - 22.00 Uhr Sa - So 10.00 - 22.00 Uhr 0800 707 707 Hotline aus dem Ausland (gratis mit Sunrise Mobile) +41 58 777 01 01 Sunrise Shops Sunrise Shops Sunrise Communications AG Thurgauerstrasse 101B / Postfach 8050 Zürich 03|2021 Stand Deutsch Herzlich Willkommen bei Sunrise TV Mit dieser Übersicht finden Sie Ihre Lieblingssender schnell und unkompliziert. Das Inhaltsverzeichnis auf Seite 4 dieses PDF-Dokuments zeigt Ihnen, welche Seiten des Dokuments für Sie relevant sind – je nachdem, welches der Sunrise TV-Pakete TV start, TV comfort und TV neo und welche zusätzlichen Premiumpakete Sie gebucht haben. Sie können im Inhaltsverzeichnis weiter klicken zu den Seiten mit den gewünschten Senderlisten – nach Sender- namen oder alphabetisch geordnet – oder direkt die für Sie relevanten Seiten ausdrucken. 2 Anleitung zum Drucken Legende Falls Sie das vorliegende PDF-Dokument mit Adobe Acrobat Comeback TV steht für die Möglichkeit, TV Sendungen bis 7 Tage Reader geöffnet haben: nach Ihrer Ausstrahlung anschauen zu können (30h bei TV start). Ausserdem können Sie mit Comeback TV die Sendung neu starten, Klicken Sie über die Symbolleiste von Acrobat Reader die anhalten, vor- und zurückspulen. Menübefehle „Datei > Drucken“ an. HD steht für High Definition („hohe Auflösung“) und bezeichnet Falls Sie das PDF-Dokument mit einem Internetbrowser hochauflösendes Fernsehen und Video. (Chrome, Firefox, Edge, Safari…) geöffnet haben: Mit der neuen haben Sie Sunrise TV immer dabei. Klicken Sie in der Symbolleiste oder im oberen Bereich Ihres Sunrise TV App Mit allem, was Sunrise Smart TV so einzigartig macht: Live TV in HD, Browserfensters (je nach Browsertyp) das Druckersymbol oder Comeback TV Agent, Programmtipps, Senderlisten und alle Ihre die Menübefehle „Datei > Drucken“ an.
    [Show full text]
  • Fernsehen in Der Hauptstadtregion Berlin-Brandenburg Unsere Mütter, Unsere Väter (ZDF)
    FERNSEHEN in der Hauptstadtregion Berlin-Brandenburg Unsere Mütter, unsere Väter (ZDF) Circus Halligalli (ProSiebenSat.1) Gute Zeiten, schlechte Zeiten (RTL) Fernsehsender TV made in Berlin-Brandenburg »Wir machen Programm in und für Comedy Central Berlin-Brandenburg ist geprägt von einer lebendigen Brandenburg und Berlin. Ob die Echtzeit- DW-TV und kreativen Produktionswirtschaft und gilt als einer Dokumentation „24h Berlin“, internationale joiz Kinokoproduktionen wie aktuell etwa MTV der innovativsten und wichtigsten Standorte für „Lauf, Junge, lauf!“ von Pepe Danquart N24 Fernsehen und digitale Inhalte in Deutschland. Rund oder der Blick auf Brandenburger Nickelodeon Lebenswelten im Dokumentarfilm „Land rbb 2.000 Unternehmen generieren einen Umsatz von in Sicht“ - wir berichten über das, was die VIVA über 2,2 Mrd. € jährlich. Die UFA, größter Film- und Menschen in der Region bewegt.« Fernsehproduzent in Deutschland, ist hier ebenso zu Dagmar Reim Hauptstadtstudios Hause wie MME Moviement, Schwarzkopff TV oder ARD Intendantin Rundfunk Berlin-Brandenburg (rbb) n-tv Ziegler Film. Zahlreiche TV-Sender haben hier ihren Phoenix Sitz, darunter der Rundfunk Berlin-Brandenburg (rbb), RTL N24, Deutsche Welle TV und joiz. Der internationale Spiegel TV ZDF Medienkonzern Viacom ist mit seinen Sendern Viva, MTV, Comedy Central und ­Nickelodeon vor Ort, ge- Fernsehsender international nauso wie ARD, ZDF und RTL mit ihren Hauptstadt- BBC News Erfolgreiches Entertainment: Bloomberg TV studios. Neben einem funktionierenden Netzwerk und CNN professionellen Dienstleistern bieten Studio Babels- TV-Events, Serien, Shows und Talks France 2 berg, Studio Hamburg Berlin Brandenburg, Fernseh- Große TV-Events wie „Das Adlon – eine Familien- Fuji TV Berlin werft, Berliner Union Film sowie die Park Studios in saga“ (ZDF), „Der Turm“ (ARD), „Unsere Mütter, NHK ORF Potsdam exzellente Produktionsbedingungen für fik tio- unsere Väter“ (UFA Fiction/ZDF) oder „Weißensee“ RAI nale und non-fiktionale Film- und TV-Unterhaltung.
    [Show full text]