1 Wim Wenders / Biographie
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WIM WENDERS FILM-KONZEPTE Begründet Von Thomas Koebner Herausgegeben Von Michaela Krützen, Fabienne Liptay Und Johannes Wende
FILM-KONZEPTE Begründet von 4 / 2018 Thomas Koebner 50 Herausgegeben von Michaela Krützen, Fabienne Liptay und Jörn Glasenapp (Hg.) Johannes Wende WIM WENDERS FILM-KONZEPTE Begründet von Thomas Koebner Herausgegeben von Michaela Krützen, Fabienne Liptay und Johannes Wende Heft 50 · April 2018 Wim Wenders Herausgeber: Jörn Glasenapp Redaktion: Michelle Koch ISSN 1861-9622 ISBN 978-3-86916-655-1 E-ISBN 978-3-86916-656-8 Umschlaggestaltung: Thomas Scheer Umschlagabbildung: Wim Wenders Paris, Texas (1984) / © ullstein bild – United Archives / 90061 Die Abbildungen aus den Filmen sind Screenshots. E-Book-Umsetzung: Datagroup int. SRL, Timisoara Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National- bibliografie; detaillierte bibliografische Daten sind im Internet über www.dnb.de abrufbar. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung, die nicht ausdrücklich vom Urheberrechtsgesetz zugelassen ist, bedarf der vorherigen Zustimmung des Verlages. Dies gilt insbesondere für Vervielfältigungen, Bearbeitungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektroni- schen Systemen. © edition text + kritik im Richard Boorberg Verlag GmbH & Co KG, München 2018 Levelingstraße 6a, 81673 München www.etk-muenchen.de Buchgestaltung: Kathrin Michel, München Druck und Buchbinder: Esser printSolutions GmbH, Westliche Gewerbestraße 6, 75015 Bretten FILM-KONZEPTE 5043 7 / 20164 / 2018 JörnJohannes -
Wim Wenders Umdeutung Klassischer Hollywoodgenres Am Beispiel "Paris, Texas"
BACHELORARBEIT Herr Daryl Eduard Aiple Wim Wenders Umdeutung klassischer Hollywoodgenres am Beispiel Paris, Texas 2017 Fakultät: Medien BACHELORARBEIT Wim Wenders Umdeutung klassischer Hollywoodgenres am Beispiel Paris, Texas Autor: Herr Daryl Eduard Aiple Studiengang: Film und Fernsehen Seminargruppe: FF13wR3-B Erstprüfer: Herr Prof. Dr. Detlef Gwosc Zweitprüfer: Herr Christian Maintz, M. A. Einreichung: Hamburg, 06.06.2017 Faculty of Media BACHELOR THESIS Wim Wenders’ reinterpretation of classical Hollywood genres using the example of Paris, Texas author: Mr. Daryl Eduard Aiple course of studies: Film and Television seminar group: FF13wR3-B first examiner: Prof. Dr. Detlef Gwosc second examiner: Mr. Christian Maintz, M. A. submission: Hamburg, 06.06.2017 Bibliografische Angaben Aiple, Daryl Eduard: Wim Wenders Umdeutung klassischer Hollywoodgenres am Beispiel Paris, Texas Wim Wenders‘ reinterpretation of classical Hollywood genres using the example of Paris, Texas 52 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2017 Abstract Die vorliegende Arbeit analysiert Wim Wenders Umdeutung klassischer Hollywoodgen- res am Beispiel seines 1984 erschienenen Films Paris, Texas. Dieser Film vereint neben der typischen Handschrift des Autorenfilmers Wenders auch noch Elemente des Road Movie, des Western und des Melodrams. Diese Arbeit soll die Verzahnung der Hand- schrift Wenders mit Genrekonventionen ergründen. Außerdem wird diese Verzahnung auf Merkmale des postmodernen Films untersucht. Inhaltsverzeichnis -
The Million Dollar Hotel
Wettbewerb/IFB 2000 THE MILLION DOLLAR HOTEL THE MILLION DOLLAR HOTEL THE MILLION DOLLAR HOTEL Regie: Wim Wenders Deutschland/USA 1999 Darsteller Tom Tom Jeremy Davies Länge 122 Min. Eloise Milla Jovovich Format 35 mm, Skinner Mel Gibson Cinemascope Dixie Peter Stormare Farbe Geronimo Jimmy Smits Jessica Gloria Stuart Stabliste Best Donal Logue Buch Nicholas Klein,nach Shorty Bud Cort einer Idee von Bono Vivien Amanda Plummer und Nicholas Klein Stanley Goldkiss Harris Yulin Kamera Phedon Papamichael Stix Conrad Roberts Schnitt Tatiana S.Riegel Hector Tom Bower Schnittassistenz Lin Coleman Joc Richard Edson Ton Lee Orloff Jean Swift Charlayne Woodard Mischung Jeffrey Perkins Izzy Goldkiss Tim Roth Sound Supervisor Elmo Weber Terence Scopcy Julian Sands Musik Bono Brian Eno U2 Production Design Robbie Freed Ausstattung Bella Serrell Milla Jovovich, Mel Gibson Tiffany Payne Kostüm Nancy Steiner Haar Styling DJ Plumb THE MILLION DOLLAR HOTEL Maske Debbie Zoller Los Angeles im Frühjahr 2001. Im Schatten der Bürotürme der multinatio- Spezialeffekte Thomas Tannen- nalen Konzerne liegt das Million Dollar Hotel, Zufluchtsort für schräge berger Gestalten und Außenseiter, die am American Dream nicht teilhaben. Einer Aufnahmeltg. Jeremy Alter Regieassistenz Christine Larson von ihnen ist der liebeskranke und leicht verhuschte Tom Tom,der sein Herz Produzenten Deepak Nayar an das Straßenmädchen Eloise verloren hat. Doch ehe er ihr überhaupt Bono seine Zuneigung offenbaren kann, wird dem Million Dollar Hotel unge- Nicholas Klein wöhnliche Aufmerksamkeit zuteil: Einer seiner Bewohner, der Junkie und Wim Wenders Künstler Izzy,ist unter ungeklärten Umständen vom Hoteldach gefallen.War Bruce Davey Executive Producer Ulrich Felsberg es ein Unfall, Selbstmord, oder wurde er hinuntergestoßen? Normalerweise Co-Produktion Kintop Pictures, würde sich in Downtown LA keine Menschenseele um so ein Schicksal Los Angeles kümmern, doch Izzys Tod wird binnen kürzester Zeit zur Nachrichtensensa- tion. -
WIM WENDERS a Film Journal
WIM WENDERS فيم فيندرز A FILM JOUrnAL مجلة للفيلم WIM WENDERS A FILM JOUrnAL Wim Wenders // 2014 // Photo © Sebastião Salgado / Amazonas images / Agentur Focus PreFACE // 7 WIM WENDERS // 9 FILMOGRAPHY // 11 KING OF THE ROAD // 13 WIM WENDERS By Joseph Fahim “I AM A GERMAN ROMANTIC” // 19 OR ESCAPING, SAVING AND PRESERVING : ON WIM WENDERS IMPrint By Amin Farzanefar This film journal is published by the Goethe-Institut Amman, 2015 // Editor: Günther Hasenkamp // Contributors: Joseph Fahim, Amin E-mails to Amin Farzanefar: Farzanefar, Günther Hasenkamp, and Ahmad Abdalla, Massoud Bakhshi, Nouri Bouzid, Khaled El Hagar, Sohrab Mahdavi, Necati Sönmez, Massoud Bakhshi // 20 Belmin Söylemez, Negar Tahsili, Haşmet Topaloğlu // Design & Layout: Ahmad Abdalla // 20 [email protected] // Project assistance: Karoline Kubanek, Khaled El Hagar // 21 Lena Veldscholten // Special thanks to André Mieles, Claire Brunel, Inken Kiupel, Ghada El-Sherbiny // Copyrights photography & text: © Sohrab Mahdavi // 21 photographers and authors. All rights reserved // Photos: Wim Wen- Belmin Soylemez // 22 ders Stiftung (Düsseldorf), Donata Wenders // Photos on pages 45, Negar Tahsili // 23 50, 65, 66 made available by Deutsches Filminstitut – DIF, Frankfurt // Photo on page 62 by Vladimir Lupowskoj (Moscow) // Photos on pages Nouri Bouzid // 23 1, 96 reprinted by kind permission of the rightsholders, © Sebastião Necati Sönmez // 24 Salgado / Amazonas images / Agentur Focus // We thank all copyright Haşmet Topaloğlu // 25 holders for granting us permission to reproduce their work. If we have inadvertently failed to acknowledge copyright, please send an e-mail to the Goethe Institute in Amman at [email protected] Translations & Editing SKYWAY MOTEL // 27 English: Manuela Thurner (Munich) Arabic: Isis Hakim (Cairo) IMAGE AS ANTI-IMAGE IN WENDERS’ FILMS By Günther Hasenkamp // 7 PREFACE Wim Wenders is one of the most important film directors of our time. -
Interview with Claude Chamberlan of Montréal's Festival Du Nouveau Cinéma
Document generated on 09/30/2021 11:16 p.m. ETC Claude Chamberlan in New York Interview with Claude Chamberlan of Montréal's Festival du Nouveau Cinéma. New York. June 1996 Steven Kaplan Art et mondialisation 2 : les frontières Number 35, September–October–November 1996 URI: https://id.erudit.org/iderudit/36022ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this document Kaplan, S. (1996). Claude Chamberlan in New York: Interview with Claude Chamberlan of Montréal's Festival du Nouveau Cinéma. New York. June 1996. ETC, (35), 22–26. Tous droits réservés © Revue d'art contemporain ETC inc., 1996 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nil/Uf-TIIH NEW YORK CLAUDE CHAMBERLAN IN NEW YORK Interview with Claude Chamberlan of Monttéal's Festival du Nouveau CinémaMevi York. June 1996 Claude Chamberlan ontréal's Festival du Nouveau Cinéma has charmed This interview is the product of two conversations we audiences on its home turf for 25 years, making it the had in the " Lina Wertmuller " studio and the " Orson longest running film and video festival in Canada. -
Wenders Has Had Monumental Influence on Cinema
“WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film. -
DÜSSELDORFER DES JAHRES 2020 RHEINISCHE POST Düsseldorfer Des Jahres 2020 MITTWOCH, 24
DÜSSELDORFER DES JAHRES 2020 RHEINISCHE POST Düsseldorfer des Jahres 2020 MITTWOCH, 24. MÄRZ 2021 E2 Liebe Leserinnen und Leser, auch und gerade in Zeiten einer globalen Pan- die Corona-Pandemie bestimmt seit inzwischen demie ist es wichtig, dass wir Menschen, die rundeinemJahrdasgesellschaftliche,wirtschaftli- sich um unsere Heimatstadt Düsseldorf ver- che und kulturelle Leben und den Alltag in Düssel- Eine Jury unter der Leitung von Johannes Werle, Vorsitzender der dient machen, ehren. Schon seit 2009 zeich- dorf. In der ganzen Stadt dürfte es vermutlich nie- Geschäftsführung der Rheinische Post Mediengruppe (sitzend vor- net die Rheinische Post Mediengruppe daher manden geben, an dem diese außergewöhnliche ne links), ermittelte die Preisträger. FOTO: MELANIE ZANIN die „Düsseldorfer des Jahres“ aus. Damit do- Situation spurlos vorbeigegangen ist. kumentieren wir erfolgreiche Lebenswege von Tausende waren selbst infiziert. Hunderte sind Menschen, die die Kultur, die Wirtschaft, den erkrankt, manche davon schwer. Zahlreiche Fa- „Düsseldorfer des Jahres Sport, das ehrenamtliche Engagement sowie milien trauern um verstorbene Angehörige. Pfle- die Innovationen und Nachhaltigkeit beson- gekräfte, Ärztinnen und Ärzte in Krankenhäusern 2020“: diesmal digital ders prägen. Besonders leidenschaftlich disku- und Pflege- und Behinderteneinrichtungen leisten FOTO: ANDREAS ENDERMANN tieren wir in der Jurysitzung auch immer wie- FOTO: NORBERT HÜTTERMANN täglich Großartiges, um Erkrankten zu helfen und Die zwölfte Ausgabe der Gala der, Senior Manager Public der, wer Sonderpreise erhalten soll und wer für Hilfebedürftige zu unterstützen. Manche wachsen „Düsseldorfer des Jahres 2020“ Affairs Vodafone, Knut Dahl- das Lebenswerk ausgezeichnet wird. Und im- über sich hinaus, und auch in unzähligen Famili- ist eine besondere – sie findet manns, Leiter Marketing der mer wieder freuen wir uns über die Vielzahl toller Vorschläge, die von Ihnen, en, in Vereinen, in Nachbarschaften und Kirchengemeinden zeigt sich ein wun- digital statt. -
Wim Wenders RITORNO ALLA VITA
Wim Wenders RITORNO ALLA VITA con JAMES FRANCO, CHARLOTTE GAINSBOURG RACHEL McADAMS, MARIE-JOSÉE CROZE uscita: 24 settembre 2015 ufficio stampa Nicoletta Billi 333 2432777 - [email protected] Gabriele Barcaro 340 5538425 - [email protected] clicca qui per i materiali stampa CAST TECNICO Regia WIM WENDERS Sceneggiatura BJØRN OLAF JOHANNESSEN Produttore GIAN-PIERO RINGEL Produttori esecutivi JEREMY THOMAS, HUSSAIN AMARSHI, ERWIN M. SCHMIDT, VINCE JOLIVETTE Coproduttori RONALD J. GILBERT, STEPHAN MALLMANN, MATHIEU ROBINET, CHRISTER NILSON, MARIA EKERHOVD, OSKAR SÖDERLUND Fotografia BENOÎT DEBIE Direzione stereografia JOSÉPHINE DEROBE Musica ALEXANDRE DESPLAT Scenografia EMMANUEL FRÉCHETTE Montaggio TONI FROSCHHAMMER Costumi SOPHIE LEFEBVRE Line Producer PETER HERMANN Assistenti al montaggio GABRIELE HEUSER, PROF., ANDREAS SCHREITMÜLLER, OLAF GRUNERT Trucco DONALD MOWAT Acconciature DENIS PARENT Suono PETER BERGSTRÖM Progettisti del suono CHRISTIAN HOLM, NIKLAS SKARP Missaggio TORMOD RINGNES Casting Usa HEIDI LEVITT Casting Europa LEO DAVIS & LISSY HOLM Casting Canada LUCIE ROBITAILLE PRODUZIONE E DATI TECNICI Una produzione NEUE ROAD MOVIES in associazione con HANWAY FILMS e WARNER BROS. GERMANY in coproduzione con MONTAUK PRODUCTIONS, BAC FILMS, GÖTA FILM, MER FILM, FILM IVÄST, FUZZ e ZDF/ARTE con il supporto di FFA, EURIMAGES, MEDIENBOARD, SODEC, CAVCO, BKM, DFFF, CNC, NORSK FILMINSTITUTT, SVENSKA FILMINSTITUTET con la partecipazione di ILB, CANAL+, THE MOVIE NETWORK, MOVIE CENTRAL Origine Canada/Francia/Svezia/Norvegia/Germania -
Our Little Differences a Film by Sylvie Michel World Sales
Our littlE DifferEnces A Film by SylviE michEl world sales The Match Factory GmbH Balthasarstrasse 79-81 | D-50670 Cologne Tel.: + 49 221 539 70 90 | Fax: + 49 221 53 97 09 10 E-Mail: [email protected] www.the-matchfactory.de synopsis 03 Sebastian is a successful doctor who lives the good life. He has an easy-going relationship with his son Arthur. At least, that’s how he sees it. His cleaner Jana takes a very different approach. To the doctor’s amusement, she’s a control freak when it comes to her daughter Vera. And Jana, for her part, can only shake her head at how much freedom Arthur enjoys. One evening the youngsters go out together. Without Jana’s consent. The following morning when Jana finds out and realises that Arthur and Vera haven’t come home, she panics. Sebastian’s attempts to calm her have Presskit | our little differences the opposite effect. Beside herself, and provoked by Sebastian’s indifference, Jana can hold back no longer and all their differences erupt. Things come to a head. But their children’s disappearance remains a mystery that has to be solved. Sylvie Michel’s direction is sensitive and delicate. She shows the- se two people whom so much unites, but who are unable to reach out to each other. Carefully observed and told with great feeling Our Little Differences is a tense psychological drama about a de- eply riven community. 4 the story 05 A specialist in the field of IVF, Sebastian is very much in demand. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
Get Smart with Art Is Made Possible with Support from the William K
From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco. -
FM 271 the Films of Wim Wenders
FM 271 The Films of Wim Wenders Seminar Leader: Matthias Hurst Email: [email protected] Office Hours (P 98, Room 003): Tuesday, 13.30 – 15.00, or by appointment Course Times: Friday, 14.00 – 17.15; Wednesday, 19.30 – 22.00 (weekly film screening) Course Description Wim Wenders is one of Germany’s best known and most prolific filmmakers. He was a major representative of New German Cinema and the so-called Autorenfilm in the 1970s and 1980s, and an important artistic voice for the post-war generation. In addition, he became a celebrated figure in international cinema, making films in locations all over the world, and contributing to the genre of documentary as well as the development of the feature film. As film historians have noted, Wenders is notoriously difficult to classify in terms of cultural traditions or cinematic movements; thus exploring Wenders’s development as filmmaker implies looking at different aesthetic and narrative approaches to cinema, from auteur cinema to modern and postmodern film. His two most famous works Paris, Texas (1984), set in the desolate American West, and Wings of Desire (1987), a gripping portrait of the divided city of Berlin, encapsulate his wide-ranging scope and experimental power. We will consider these two works within Wim Wenders’s career, which includes Alice in the Cities (1974), Kings of the Road (1976), The American Friend (1977), The End of Violence (1997), Buena Vista Social Club (1999), The Million Dollar Hotel (2000), Land of Plenty (2004), Don’t Come Knocking (2005), Every Thing Will Be Fine (2015), Submergence (2017).