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Filming in Croatia 2016 Production Guide
Filming in Croatia 2016 Production Guide cover photo: Lambert Wilson (Jacques Cousteau) and Audrey Tautou (Simone Cousteau) on the set of The Odyssey by Jérôme Salle near Pakleni Islands / Island of Hvar. Courtesy of mp Film Production © Fidélité Films – Pan-Européenne 2 Filming in Croatia 2016 Nik Xhelilaj (Winnetou) and Wotan Wilke Möhring (Old Shatterhand) in the Winnetou Trilogy, shot on Contents locations in Croatia. Courtesy of Aleks Produkcija © rtl / Nikola Predović, RatPack Introduction • 5 Permits and Equipment • 78 Filming and Location Permits • 81 Filming in Croatia • 8 Visas • 83 The Role of Croatian Work Permits for Audiovisual Centre • 12 Foreign Nationals • 85 The Incentive Programme • 15 Customs Regulations • 87 Selective Co-production Funding • 30 Temporary Import of Producers’ Testimonials • 32 Professional Equipment • 91 Crew and Services • 48 This is Croatia • 92 Production Know-How • 53 Country at a Glance • 95 Production Companies • 57 Essential Facts • 99 Facilities and Technical Equipment • 59 Location Highlights • 109 Crew • 61 Costume & Props • 63 Made in Croatia Overview Locations • 65 of International Productions in Hotels & Amenities • 69 Croatia • 144 Airports • 71 Sea Transport • 73 Croatian Audiovisual Buses and Railways • 75 Centre • 162 Traffic and Roads • 77 Island of Hvar, Dalmatia Introduction Croatia may be a small country, but it has a vibrant film industry, exceptional local talent and production companies with impressive record in domestic and international production. These factors, in combination with spectacular locations and the country’s proximity to some of Europe’s largest filmmaking centers such as Vienna, Budapest, Munich and Prague have led to a steady rise in the international production of commercials, television serials and major international feature films shot in Croatia. -
Verleihkopien
Mitglied der Fédération D FF – Deutsches Filminstitut & Tel.: +49 (0)611 / 97 000 10 www.dff.film Wiesbadener Volksbank Internationale des Archives Filmmuseum e.V. Fax: +49 (0)611 / 97 000 15 E-Mail: wessolow [email protected] IBAN: D E45510900000000891703 du Film (FIAF) Filmarchiv BIC: WIBADE5W XXX Friedrich-Bergius-Stra ß e 5 65203 Wiesbaden 8 / 2019 Verleihkopien Eine Auswahl aus unserem Archiv-Bestand Wir bieten16mm und 35mm Filmkopien, sowie DVDs und DCPs für den nichtkommerziellen Verleih an. Die angegebenen Preise verstehen sich pro Vorführung (zzgl. 7% MwSt. und Transportkosten). * Preis ohne Vorführrechte; Details erfragen Sie bitte im Filmarchiv Darüber hinaus stehen Ihnen noch weitere Filme zur Verfügung. Auskunft über den technischen Zustand der Kopien erhalten Sie im Filmarchiv. Erläuterung viragiert = ganze Szenen des Films sind monochrom eingefärbt koloriert = einzelne Teile des Bildes sind farblich bearbeitet ohne Angabe = schwarz/weiß restauriert = die Kopie ist technisch bearbeitet rekonstruiert = der Film ist inhaltlich der ursprünglichen Fassung weitgehend angeglichen Kurz-Spielfilm = kürzer als 60 Minuten russ./ eUT = russisch mit englischen Untertiteln dtUT = mit deutschen Untertiteln dt.vorh./engl.vorh. = deutsche oder englische Zwischentitel-Liste vorhanden Einige der Stummfilme sind auch mit Musik vorhanden Zwischen- Stummfilm Titel / Land / Jahr Regie / Darsteller Titel / Format Preis € Tonfilm Sprache Abend der Gaukler Regie: Ingmar Bergman GYKLARNAS AFTON Tonfilm Darsteller: Harriet Andersson Hasse Ekman deutsch -
Transculturality in the West-German Edgar Wallace Series Wieland Schwanebeck (Dresden)
From German Grusel to Giallo: Transculturality in the West-German Edgar Wallace Series Wieland Schwanebeck (Dresden) The West-German Edgar Wallace films of the 1960s are without a match in the history of German cinema. No other franchise is as fondly remembered and paid tribute to in German popular culture as frequently; no other series of films ran for so long and remained profitable for more than a decade.1 There have been numerous critical studies of the Wallace films, often as part of a sociology of German cinema, with a distinct emphasis on the films’ ideological subtexts (see Bergfelder; Gerhards). The films are viewed as emblematic of the transitional period of the 1960s and characterised as indicative of an overarching paradigm shift in the national mentality throughout this decade (see Bliersbach; Grob; Schneider). There have been far fewer efforts to explore the Wallace films as adaptations2 and to unpack their transcultural baggage, even though it is clear from watching almost any film in the series that there is far too much eclectic internationalism and spatio-temporal flexibility here to simply classify the Wallace films as ‘Germanised’ versions of English source material, or as mere attempts to transplant 1920s crime stories into the post-war context. It is my aim not just to highlight how the Edgar Wallace films work as adaptations, but also to argue for the transcultural quality of the series, which goes far beyond the frequently ridiculed ways in which it mines contemporary Anglophilia to subliminally work through national neuroses. By the same token, I want to argue that the tendencies towards internationalisation that some commentators have aligned exclusively to the series’ later years, when the Wallace films were absorbed into the Italian giallo craze of the 1970s, can be detected several years before that. -
12 Years a Slave (Steve Mcqueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Electronic version URL: http://journals.openedition.org/transatlantica/11425 DOI: 10.4000/transatlantica.11425 ISSN: 1765-2766 Publisher AFEA Electronic reference Transatlantica, 1 | 2018, “Slavery on Screen / American Women Writers Abroad: 1849-1976” [Online], Online since 27 August 2018, connection on 29 April 2021. URL: http://journals.openedition.org/ transatlantica/11425; DOI: https://doi.org/10.4000/transatlantica.11425 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 TABLE OF CONTENTS L’esclavage à l’écran / Slavery on Screen Dirigé par Michaël Roy et Philip Kaisary / Edited by Michaël Roy and Philip Kaisary Introduction« A hole in the canon of cinema » ? L’esclavage nord-américain à l’écran Michaël Roy From Uncle Tom to Nat Turner: An Overview of Slavery in American Film, 1903-2016 Melvyn Stokes « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993) Claire Dutriaux Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery The Birth of a Nation (Nate Parker, 2016): The Tale of Nat Turner’s Rebellion Delphine Letort American Women Writers Abroad: 1849-1976 Edited by Stéphanie Durrans American Women Writers Abroad: Myth and Reality Stéphanie Durrans In, Out, and Beyond: Dislocation, Contamination and the Redemptive Power of Womanhood in California, In-doors and Out by Eliza W.