Quarterly 2 · 2006
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Weaponized Humor: the Cultural Politics Of
WEAPONIZED HUMOR: THE CULTURAL POLITICS OF TURKISH-GERMAN ETHNO-COMEDY by TIM HÖLLERING B.A. Georg-August Universität Göttingen, 2008 M.Ed., Georg-August Universität Göttingen, 2010 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Germanic Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June 2016 © Tim Höllering, 2016 Abstract My thesis aims to show how the humor of Turkish-German ethno-comedians fulfills a double purpose of entertaining its audience while advancing a cultural political agenda that Kathrin Bower called “transnational humanism.” It includes notions of human rights consensus, critical self-reflection, respect, tolerance, and openness to cultural diversity. Promoting these values through comedy, the artists hope to contribute to abating prejudice and discrimination in Germany’s multi-ethnic society. Fusing the traditional theatrical principle of “prodesse et delectare” with contemporary cultural politics, these comedians produce something of political relevance: making their audience aware of its conceptions of “self” and “other” and fostering a sense of community across diverse cultural identifications. My thesis builds mainly on the works of Kathrin Bower, Maha El Hissy, Erol Boran, Deniz Göktürk, and Christie Davies. Whereas Davies denies humor’s potential for cultural impact, Göktürk elucidates its destabilizing power in immigrant films. Boran elaborates this function for Turkish-German Kabarett. El Hissy connects Kabarett, film, and theater of polycultural artists and ties them to Bakhtin’s concept of the carnivalesque and the medieval jester. Bower published several essays on the works of ethno-comedians as humorous catalysts for advancing a multiethnic Germany. -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
German Films Quarterly 1/2021
GFQGERMAN FILMS QUARTERLY WITH ARTICLES AND PORTRAITS ON FACE TO FACE WITH GERMAN FILMS – THE FILMMAKERS DIVERSITY IN GERMAN FILMMAKING DIRECTORS BARBARA OTT & JULIAN RADLMAIER PRODUCER MARTIN HEISLER ISSUE 1-2021 ACTOR & EUROPAN SHOOTING STAR ALBRECHT SCHUCH efp_ESS2021_Anzeige_GERMANFILM_148x210_pfad_druck.indd 1 18.01.21 11:23 GFQ 1-2021 INTRODUCTION © Kurt Krieger © Kurt Dear Readers, The pandemic has changed the film industry to a great extent, bringing it close to a standstill at times in 2020. Despite the challenges we and the industry are facing, we are optimistic about 2021. This is because we love cinema and good films and series – and particularly in these difficult times, they are also some thing that is needed by audiences around the world. Time and again in recent years, German feature films and series have succeeded in captivating viewers abroad, and we are confident that this will be the case in 2021 as well. In particular, the new wave of German documentaries is establishing itself increasingly as a favourite with international audiences. We are just as proud of the German Films campaign FACE TO FACE, which has been in existence for six years now, and delighted that we will be able to continue it with a great new pool of talent in 2021 – despite the difficult current conditions. Films and series are created through the work of a large team, which is why we have decided to highlight a greater diversity of film professions in 2021 and are proudly presenting the premiere of our new faces in this issue of GFQ. German Films Quarterly will broaden its format in 2021: We will also open our publication to contri butions dealing with internationally controversial topics in the film industry. -
Annual Report CF AG 2008
CF_GB_2008_E_300309.qxd:Layout 1 30.03.2009 19:25 Uhr Seite 2 CONTENTS/ Annual Report 2008 Pages 5/6 -- Foreword Pages 7/9 -- Report by the Supervisory Board Pages 11/12 -- Corporate strategy Page 13 -- The 5-sector strategy Page 15 onwards -- Investor relations Page 23 -- Contents / financial information Page 25 onwards -- Combined management report of the Group and AG for the 2008 fiscal year Page 62 onwards -- Consolidated financial statements Pages 144/145 -- AG balance sheet Page 146 -- AG income statement Page 147 onwards -- Filmography Page 166 onwards -- Terminology Page 171 -- Summary of equity interests CF_GB_2008_E_300309.qxd:Layout 1 30.03.2009 19:25 Uhr Seite 3 KEY FIGURES / Group 01.01. – 01.01. – 31.12.2007 31.12.2008 € million € million Sales 225.0 248.5 of which in-house and co-productions 178.9 203.7 of which third-party productions 46.1 44.7 EBITDA 81.7 104.9 Gross profit 32.0 35.5 Operating result 12.4 15.1 Earnings for the year attributable to the shareholders of the parent company 6.2 10.5 Investments in film assets 79.1 73.6 Depreciation of film assets 68.2 88.9 31.12.2007 31.12.2008 Film assets 181.7 166.3 Equity 74.6 84.7 Balance sheet total 333.3 339.5 Permanent employees (number) 481 500 Earnings per share in € (undiluted and diluted) 0.49 0.83 Annual Report 2008 | | Page 3 CF_GB_2008_E_300309.qxd:Layout 1 30.03.2009 19:25 Uhr Seite 4 CF_GB_2008_E_300309.qxd:Layout 1 30.03.2009 19:25 Uhr Seite 5 FOREWORD by the Management Board of Constantin Film AG Dear shareholders, dear friends of Constantin Film AG, A positive trend compared with the previous year was apparent again the industry’s overall cost burden, to offer audiences a larger selection in the German theatrical industry in 2008. -
Sonntag, 27. September 2015, 15.15 Uhr, 3Sat Das Wunder Von Berlin Fernsehfilm, Deutschland 2007
Sonntag, 27. September 2015, 15.15 Uhr, 3sat Das Wunder von Berlin Fernsehfilm, Deutschland 2007 Marco Kaiser Kostja Ullmann Anja Ahrendt Karoline Herfurth Hanna Kaiser Veronica Ferres Jürgen Kaiser Heino Ferch Walter Kaiser Michael Gwisdek u. a. Buch: Thomas Kirchner Regie: Roland Suso Richter Länge: 103 Minuten Ostberlin, Sommer 1988: Als Sohn eines Offiziers der Staatssicherheit hat es der 18-jährige Marco besser als seine Freunde. Dennoch fordert er als Punker sein spießiges Elternhaus heraus. Marcos Vater Jürgen arbeitet im Bereich Rückwärtige Dienste der Stasi, zuständig für die Organisation erlesener Konsumgüter. Für ihn und seine Familie fällt dabei genügend ab. Jürgen hat sich mit seinem Leben gut arrangiert. Aber seine Frau Hanna gehört zu einer wachsenden Zahl von Menschen, die mit den politischen und gesellschaftlichen Verhältnissen der DDR unzufrieden sind. Als Marco und seine Freundin Anja bei einem illegalen Punk-Konzert verhaftet werden, fürchtet Jürgen, dass sein Ruf Schaden nehmen könnte. Er zwingt seinen Sohn, für seine und Anjas Freilassung den Militärdienst zu absolvieren. Widerwillig rückt Marco bei der NVA ein, bald aber weckt der Rekrutendienst seinen sportlichen Ehrgeiz. Während sich in der DDR im Lauf der Frühjahrs- und Sommermonate 1989 allerorten Verunsicherung breitmacht, identifiziert sich Marco mehr und mehr mit seiner Aufgabe: den Sozialismus gegen den Klassenfeind und seine Agenten zu verteidigen. Hanna und Anja beginnen, sich in der DDR-Bürgerrechtsbewegung zu engagieren. Jürgen dagegen sieht die gesellschaftlichen Veränderungen mit großer Sorge und fürchtet um alles, was er sich und seiner Familie aufgebaut hat. Zwischen ihm und Hanna kommt es zum offenen Streit, Hanna zieht aus. Unterdessen wird Marco mit seiner Einheit aus der Provinz nach Berlin verlegt und auf einen geheimen Einsatz vorbereitet. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
Brechts 3Groschenfilm
LARS TOBIAS HANNAH JOACHIM CLAUDIA EIDINGER MORETTI HERZSPRUNG KRÓL MICHELSEN BRITTA ROBERT PERI CHRISTIAN HAMMELSTEIN STADLOBER BAUMEISTER REDL EIN FILM VON JOACHIM A. LANG BRECHTS 3GROSCHENFILM WILD BUNCH PRÄSENTIERT MACKIE MESSER BRECHTS DREIGROSCHENFILM EINE PRODUKTION DER ZEITSPRUNG PICTURES IN KOPRODUKTION MIT SWR ARTE UND VELVET FILMS NACH DIE DREIGROSCHENOPER VON BERTOLT BRECHT UND KURT WEILL UNTER MITARBEIT VON ELISABETH HAUPTMANN FILMKOMPOSITION WALTER MAIR KURT SCHWERTSIK MUSIKALISCHE LEITUNG HK GRUBER FILMMUSIK SWR SYMPHONIEORCHESTER SWR BIG BAND SWR VOKALENSEMBLE CHOREOGRAPH ERIC GAUTHIER CASTING MARC SCHÖTTELDREIER BILDGESTALTUNG DAVID SLAMA MASKENBILD JEANETTE LATZELSBERGER KOSTÜMBILD LUCIA FAUST SZENENBILD BENEDIKT HERFORTH VFX SUPERVISOR ROLF MÜTZE SCHNITT ALEXANDER DITTNER LEITENDE REDAKTION (SWR) UND DRAMATURGIE SANDRA MARIA DUJMOVIC REDAKTION (ARTE) ANDREAS SCHREITMÜLLER HERSTELLUNGSLEITUNG (SWR) MICHAEL BECKER EXECUTIVE PRODUCER DANIEL MANN KOPRODUZENTEN SANDRA MARIA DUJMOVIC SEBASTIAN SCHELENZ ANDRÉ SOMMERLATTE PRODUZENTEN MICHAEL SOUVIGNIER TILL DERENBACH BUCH & REGIE JOACHIM A. LANG ARTWORK: WERK 3 BERLIN WERK ARTWORK: präsentiert eine Produktion von in Koproduktion mit Ein Film von Joachim A. Lang mit Lars Eidinger, Tobias Moretti, Hannah Herzsprung, Joachim Król, Claudia Michelsen, Britta Hammelstein, Robert Stadlober, Peri Baumeister, Christian Redl u.a. PRESSEHEFT Kinostart: 13. September 2018 gefördert durch MFG Baden-Württemberg Deutscher Filmförderfonds Tax Shelter Belgien Screen Flanders PRESSEBETREUUNG LIMELIGHT PR Martin Wieandt, Natalie Graf, Nora Debreslioska, Svenja Gelfert Bergmannstr. 103 | 10961 Berlin Tel. 030 - 263 96 98 -12 / -15 / -13 / -16 [email protected] | [email protected] [email protected] | [email protected] VERLEIH WILD BUNCH GERMANY GmbH Büro München Holzstraße 30 | 80469 München Büro Berlin Knesebeckstr. 59 – 61 | 10719 Berlin [email protected] VERTRIEB CENTRAL FILM VERLEIH GmbH Knesebeckstr. -
Keinohrhasen (“Rabbit Without Ears ”)
THE GERMAN SOCIETY OF PENNSYLVANIA Friday Film Fest Series KeinOhrHasen (“Rabbit Without Ears ”) By Till Schweiger June 15th 2012 ● 6:30 PM ● Film, Food & Discussion Donations $15, Members $12 The German Society of PA 611 Spring Garden St. 215-627-2332 KeinOhrHasen exploits occur: “she loves me not, he loves me not, she begins to love me, he re- alizes he loves me at the 11th hour.” Anna’s klutziness adds to the physical com- Director: Til Schweiger edy, and Schweiger’s youngest daughter amps up the cuteness factor as one of Drehbuch: Anika Decker, Til Schweiger the day care kids, Cheyenne-Blue. Producers: Til Schweiger, Thomas Zickler, Stefan Gärtner Cinematography: Christof Wahl The Rom-Com Formula Music: Stefan Hansen, Dirk Reichardt, Mirko Schaffer By American standards, this plot structure spans decades - The Goodbye Girl Release Date: 20 December 2007 Spieldauer: 116 minutes (1977) , When Harry Met Sally (1989), As Good As It Gets (1997), Sweet Home Cast: Til Schweiger (Ludo Dekker); Nora Tschirner (Anna Gutslowsky); Matthias Alabama (2002) - and the list continues into the contemporary Hollywood Schweighöfer (photographer Moritz); Alwara Höfels (Miriam) ; Jürgen Vogel (himself - scene. KeinOhrHasen can be added to this list. Both characters fit into roman- famous movie star) ; Wladimir Klitschko (himself - Celebrity-Groom ); Yvonne Catter- tic comedy stereotypes. Ludo is the playboy with a fast-paced glamorous life feld (herself - Celebrity-Bride ); Emma Schweiger (Cheyenne-Blue) who gets relegated to temporarily living a more mundane existence. Anna is the clumsy, uptight plain jane who reunites with said playboy and ignites the inter- Commentary by Sharan Knoell nal “are we friends or something more?” debate. -
Only Lovers Left Alive
Only Lovers Left Alive A FILM BY Jim Jarmusch Synopsis Set against the romantic desolation of Detroit and Tangier, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? Director’s Statement ONLY LOVERS LEFT ALIVE is an blood to survive. But they now live in the unconventional love story between a man world of the 21st century where biting the and a woman, Adam and Eve. (My script was neck of a stranger would be reckless and partially inspired by the last book published regressive -- for survival, they must be certain by Mark Twain: The Diaries of Adam and Eve the blood that sustains them is pure and free -- though no direct reference to the book of disease or contamination. And, almost is made other than the character’s names.) like shadows, they have learned long ago to These two lovers are archetypal outsiders, deftly avoid the attention of any authorities. classic bohemians, extremely intelligent and sophisticated -- yet still in full possession of For our fi lm, the vampire is a resonant their animal instincts. They have traveled the metaphor -- a way to frame the deeper world and experienced many remarkable intentions of the story. This is a love story, things, always inhabiting the shadowed but also the story of two exceptional margins of society. -
Cosmopolitan Normalisation? the Culture of Remembrance of World War II and the Holocaust in Unified Germany
臺大歷史學報第 53 期 BIBLID1012-8514(2014)53p.181-227 2014 年 6 月,頁 181-227 2014.1.13 收稿,2014.5.23 通過刊登 DOI: 10.6253/ntuhistory.2014.53.04 Cosmopolitan Normalisation? The Culture of Remembrance of World War II and the Holocaust in Unified Germany Christoph Thonfeld* Abstract Since the 1990s, Germany has dealt with the difficult integration of collective and individual memories from East and West Germany. Alongside the publicly more prominent remembrances of perpetration has occurred an upsurge in the memories of German suffering. At the same time, Europe has increasingly become a point of reference for national cultures of remembrance. These developments have been influenced by post-national factors such as Europeanisation and transnationalisation along with the emergence of a more multicultural society. However, there have also been strong trends toward renationalisation and normalisation. The last twenty years have witnessed a type of interaction with the ‘other’ as constructively recognised; while at the same time it is also excluded by renationalising trends. Researchers have described the combination of the latter two trends as the cosmopolitanisation of memory. This article adopts the diachronic perspective to assess the preliminary results since 1990 of the actual working of this cosmopolitanisation process within the culture of remembrance of World War II and its aftermath in Germany. Keywords: culture of remembrance, World War II, cosmopolitanisation, Europeanization, renationalization. * Assistant Professor at National ChengChi University, Dept. of European Languages and Cultures. Rm. 407, 4F., No.117, Sec. 2, Zhinan Rd., Wenshan Dist., Taipei City 11605, Taiwan (R.O.C.); E-mail: [email protected]. -
Titel Kino 1 2000, Endversion
EXPORT-UNION OF GERMAN CINEMA 1/2000 GERMAN MASTERS Schlöndorff, Thome and Wenders in Competition at the Berlin International Film Festival Special Report SELLING GERMAN FILMS Spotlight on GERMAN TV-MARKETS Kino Scene from:“THE MILLION DOLLAR HOTEL” Thanks to our national and international customers subtitling film video dvd 10 years of Film und Video Untertitelung dubbing post-production 10 years of high-quality subtitles editing telecine 10% reduction on our regular prices standard conversion video transfer inspection of material during 10 celebratory months graphic design from 10 July 1999 to 10 May 2000 dvd mastering you will see the difference www.untertitelung.de [email protected] tel.: +49-2205/9211-0 fax: +49-2205/9211-99 www. german- cinema. de/ INFORMATION ON GERMAN FILMS. now with links to international festivals! Export-Union des Deutschen Films GmbH Tuerkenstrasse 93 · D-80799 München · phone +49-89-39 00 95 · fax +49-89-39 52 23 · email: [email protected] KINO 1/2000 6 Selling German Films 25 In Competition at Berlin Special Report 25 The Million Dollar Hotel 10 Opening Reality OPENING FILM Wim Wenders For Illusions 26 Paradiso – Sieben Tage mit Portrait of Director Sherry Hormann sieben Frauen PARADISO 11 ”I Sold My Soul To Rudolf Thome The Cinema“ 27 Die Stille nach dem Schuss Portrait of Director Tom Tykwer RITA’S LEGENDS Volker Schlöndorff 12 Purveyors Of Excellence Cologne Conference 13 German TV Fare Going Like Hot Cakes German Screenings 15 A Winning Combination Hager Moss Film 16 KINO news 28 German