DOCSLIB.ORG

The Summer Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Summer Issue S.01_CoverGFQ3_2016_end_Layout 1 20.07.16 17:36 Seite 1 GFQ GERMAN FILMS QUARTERLY THE SUMMER ISSUE DIRECTORS Johannes Naber & Maria Schrader PRODUCER Corinna Mehner of blue eyes Fiction ACTRESS Paula Beer ISSUE 3-2016 S.02_Contents_U2_GFQ_3_2016_Layout 1 20.07.16 15:28 Seite 1 CONTENTS GFQ 3-2016 18 19 20 21 22 24 26 27 29 S.03_CONTENTS_GFQ3_2016.qxp_Layout 1 20.07.16 15:31 Seite 1 GFQ 3-2016 CONTENTS IN T H I S I S S U E PORTRAITS NEW SHORTS “MAKE EVERY FILM AS IF IT WERE YOUR LAST” EINE VILLA MIT PINIEN A portrait of director Johannes Naber ........................................... 4 THE PINETREE VILLA Jan Koester .............................................. 29 WHEN REALITY BECOMES CINEMA DIE WEITE SUCHEN A portrait of director Maria Schrader .............................................. 6 WIDER HORIZONS Falk Schuster ................................................... 29 INSPIRING IMAGINATION A portrait of blue eyes Fiction ......................................................... 8 UPCOMING FILMS THE FULL MEASURE ALPENBRENNEN A portrait of actress Paula Beer ................................................... 10 Tobias Wiemann ............................................................................. 31 BABYLON BERLIN NEWS & NOTES ................................................................................ 12 Tom Tykwer, Hendrik Handloegten, Achim von Borries ................ 31 FÜHLEN SIE SICH MANCHMAL AUSGEBRANNT UND LEER? NEW FEATURES Lola Randl ....................................................................................... 31 ANISHOARA HAPPY BURNOUT Ana-Felicia Scutelnicu ................................................................... 18 André Erkau ..................................................................................... 32 DAS DUNKLE HAUS AM RANDE DES WALDES DIE KLEINE HEXE THE DARK HOUSE BY THE WOODS Johannes Leistner ................ 19 Mike Schaerer .................................................................................. 32 GLEISSENDES GLÜCK LEANDERS LETZTE REISE ORIGINAL BLISS Sven Taddicken ................................................... 20 Nick Baker-Monteys ....................................................................... 32 HANNAS SCHLAFENDE HUNDE MONSTER HANNA’S SLEEPING DOGS Andreas Gruber ................................. 21 Kerstin Polte .................................................................................. 33 DAS KALTE HERZ ONKEL WANJA HEART OF STONE Johannes Naber .............................................. 22 Anna Martinetz ................................................................................ 33 LOU ANDREAS-SALOMÉ IN LOVE WITH LOU RETURN TO MONTAUK – A PHILOSOPHER’S LIFE Cordula Kablitz-Post ............................ 23 Volker Schlöndorff ........................................................................... 33 MARIJA SOMMERFEST Michael Koch .................................................................................... 24 Sönke Wortmann ........................................................................... 34 PAULA TAUSEND ARTEN, DEN REGEN ZU BESCHREIBEN Christian Schwochow ..................................................................... 25 Isabel Prahl .................................................................................... 34 VOR DER MORGENRÖTE WERK OHNE AUTOR STEFAN ZWEIG – FAREWELL TO EUROPE Florian Henckel von Donnersmarck ............................................... 34 Maria Schrader .............................................................................. 26 NEW DOCUMENTARIES Shareholders & Supporters ............................................................ 37 PETER HANDKE – BIN IM WALD. KANN SEIN, DASS ICH MICH Film Exporters ................................................................................. 38 VERSPÄTE … PETER HANDKE – IN THE WOODS, MIGHT BE LATE Corinna Belz .................................................................................. 27 Imprint .............................................................................................. 39 POWER TO CHANGE Carl-A. Fechner ................................................................................ 27 UMARMUNG – TANGO IM SCHWARZWALD EMBRACE – TANGO IN THE BLACK FOREST Irene Schüller ................................................................................. 28 WHEN I DANCE Daniela Lucato .................................................................................. 28 3 S.04-05_PORTRAIT OF DIRECTOR JOHANNES NABER.qxp_Layout 1 20.07.16 15:33 Seite 1 DIRECTOR’S PORTRAIT GFQ 3-2016 Johannes Naber (photo © Mark de Longueville) © Mark de (photo Johannes Naber “MAKE EVERY FILM AS IF IT WERE YOUR LAST” A PORTRAIT OF DIRECTOR JOHANNES NABER ohannes Naber has a recipe for had a striking moustache like those worn by Johannes Naber began at the Filmakademie success: he is a person who thinks past generations. That looked strange, and I Baden-Württemberg, initially in the screen- politically, and a director with some- thought: surely he is an Albanian himself, tell - play writing course, but ending up in the field Jthing to say. He formulates a theory, ing his own story in this film. Naber put me of documentary film directing, where he poses intelligent questions, and opens up straight on that, saying that he was born in graduated in 1999 with the 60-minute film people’s eyes. No insights or ideas are too Baden-Baden but finds it interesting that POPSTAR. Even at that time, Naber was set - crazy for him to turn into a good film – there many Germans now believe he has Albanian ting his own course: everything in his film just needs to be a clever idea behind it. roots. The Albanians, for their part, had taken about a girl band and a singer-songwriter him for a Turk, probably because of the from Hamburg centered on the question of I met Johannes Naber for the first time on the moustache, as well. Subsequently, the film compromises that have to be accepted in stage of the Berlinale in 2011, at the pre - was received with great enthusiasm by many order to become a successful artist. Working sentation in the Perspektive Deutsches Kino festival-goers all over the world, winning the without compromise is a luxury not everyone of the Max Ophüls Prize winner, which he Special Jury Award in Moscow, and enjoying can afford. So that Johannes Naber can afford had just won for his feature film debut THE great success in Albanian cinemas. Over- this luxury, he has been working as a gaffer ALBANIAN. He was self-confident in discus- night, Johannes Naber’s name was added to for other projects (e.g. JACK by Edward sion with the audience and astonishingly the list of “people to watch”. Berger or THE CULPABLE by Gerd Schneider) well-dressed for a young filmmaker. He also and so procuring a financial basis which 4 S.04-05_PORTRAIT OF DIRECTOR JOHANNES NABER.qxp_Layout 1 20.07.16 15:33 Seite 2 GFQ 3-2016 DIRECTOR’S PORTRAIT allows him more freedom in his work as a follow the motto: “Make every film as if it were director. “Non-conformism is actually the your last.” aim,” Naber says with an arch smile, and tells me how Laurens Straub once said to him that Johannes Naber enters into temporary alli- now he had succeeded; he was only mak ing ances for this, re-forging them for every new “consensus-free” films these days. Naber project rather than backing a fixed network. likes that – for him, it’s what it’s all about. The idea of a machine that the same old people keep putting money and ideas into, When he and his sister Milena Maitz, pro - and good films then come out at the bottom ducer and managing director of studio.tv.film, – it doesn’t work for Naber. “I have respect for began to work on his second full-length networks like that, but it is the wrong ap- feature AGE OF CANNIBALS, they also proach for me. I need to construct a new thought: now we are making a film that will machine for every project. That’s my insight meet with absolutely no consensus. It felt that gained from the past.” way above all when they took the project into the funding phase: a lot of convincing had to Now we are eagerly anticipating Naber’s new be done. “I started out from the fixed assump- film, HEART OF STONE with Frederick Lau tion, OK, it will all be over after this film be- and Henriette Confurius in the leading roles cause it’s just so far out … And as things – a fairy-tale film for adults, a romantic love turned out, it’s not far out at all, people think story. Naber himself describes it as “a mix- it’s super. Recently AGE OF CANNIBALS was ture of Russian fairy-tale film and GAME OF on the cover of Stern-TV magazine, so the film THRONES, an opulent work, not a respectable has definitely arrived in the mainstream,” German fairy-tale, not historical realism, but Naber jokes in retrospect. At the award cer - genre and cliché with an anti-materialistic emony for the German Film Award 2015, the message, cinema of the best standard.” It is grotesque story of corporate consultants Johannes Naber’s third feature film and at rightly won the bronze Lola in the category the same time, his third film telling of money Best Feature Film, and screenplay writer and its negative effects on people. That is ob- Stefan Weigl received the Lola for the Best viously Naber’s theme – money as excess, and Screenplay. how it brings evil into the world. HEART OF STONE will be launched in German cinemas In reference to a Fassbinder quotation, Naber this autumn. put the label “films not bombs” on his earlier works, but he no longer uses it that way
Load more

Recommended publications
  • The Future of the German-Jewish Past: Memory and the Question of Antisemitism
    Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 12-15-2020 The Future of the German-Jewish Past: Memory and the Question of Antisemitism Gideon Reuveni University of Sussex Diana University Franklin University of Sussex Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Jewish Studies Commons Recommended Citation Reuveni, Gideon, and Diana Franklin, The Future of the German-Jewish Past: Memory and the Question of Antisemitism. (2021). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. THE FUTURE OF THE GERMAN-JEWISH PAST THE FUTURE OF THE GERMAN-JEWISH PAST Memory and the Question of Antisemitism Edited by IDEON EUVENI AND G R DIANA FRANKLIN PURDUE UNIVERSITY PRESS | WEST LAFAYETTE, INDIANA Copyright 2021 by Purdue University. Printed in the United States of America. Cataloging-in-Publication data is on file at the Library of Congress. Paperback ISBN: 978-1-55753-711-9 An electronic version of this book is freely available, thanks to the support of librar- ies working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-61249-703-7. Cover artwork: Painting by Arnold Daghani from What a Nice World, vol. 1, 185. The work is held in the University of Sussex Special Collections at The Keep, Arnold Daghani Collection, SxMs113/2/90.
    [Show full text]
  • BIBLIOTECA LA BÒBILA. L'hospitalet/Esplugues
    bobila.blogspot.com el fanzine del “Club de Lectura de Novel·la Negra” de la Biblioteca la Bòbila # 1 24 Gereon Rath - Volker Kutscher Gereon Rath es comisario de policía en Berlín, Alemania, durante la Republica de Weimar. Nació en Colonia en 1900, en una familia muy católica. Su padre, Engelbert Rath, era un miembro importante de la policía. Participó en la Gran Guerra con 18 años, pero no llegó a disparar un tiro. Al finalizar, siguiendo los pasos de su hermano Anno, muerto en combate, ingresó en la policía de Colonia donde trabajó en la brigada de homicidios. Acosado por la prensa por matar (justificadamente) al hijo de un hombre importante, abandonó su ciudad natal. Le conocemos en 1929. Los contactos de su padre le han conseguido un puesto de Comisario de la Policía Criminal en Alexanderplatz, en Berlín. Trabaja en la Inspección E, la brigada de costumbres, que persigue a pornógrafos y desmantela burdeles y bares clandestinos. Gereon es corpulento, alto, ojos azul grisáceo. Es policía porque desea ocuparse del orden, la justicia y la seguridad en las calles, para él no tiene sentido hacer redadas en locales nocturnos para detener a gente que se divierte. Su máximo deseo es volver a homicidios. No le gusta la política, aunque es consciente de que la policía tiene más políticos que criminalistas. Sabe que el 90% del trabajo de un policía son tareas inútiles y rutinarias y no quiere tocar un arma si puede evitarlo. No le gusta mostrar sus flaquezas, piensa que ser amable puede ser interpretado como signo de debilidad.
    [Show full text]
  • BERLIN to Go
    EDITION Nº 02/2017 BERLIN to go BUSINESS NEWS TO TAKE AWAY IN THE NEWS: CITY OF FREEDOM CREATIVE INDUSTRIES STARTUP SCENE #FREIHEITBERLIN Mehr als eine Heizung. Ein Heizsystem mit Zukunft. solide modular vernetzt Die Heizsysteme der Titanium Linie sind immer eine wegweisende Systemlösung. Hochwertige Materialien und intelligente Produktdetails sorgen für eine besondere Langlebigkeit und Energieeffi zienz. Ihr modularer Aufbau ermöglicht zukünftige Erweiterungen und ihre Vernetzung über das Internet garantiert Ihnen eine komfortable Bedienung auch von unterwegs – mit dem Buderus Control Center Connect. www.buderus.de/zukunft Die Klassifi zierung zeigt die Energieeffi zienz des Buderus Systems bestehend aus Logamax plus GBH192iT150S PNR400, Systembedieneinheit Logamatic RC300 plus 4 Stück Flachkollektoren Logasol SKT 1.0. Die Klassifi zierung kann je nach Komponenten oder Leistungsgrößen eventuell abweichen. Bosch Thermotechnik GmbH · Buderus Deutschland · www.buderus.de Bessemerstr. 76A Berliner Straße 1 12103 Berlin 16727 Velten Tel.: 030/75488-0 Tel.: 03304/377-0 [email protected] [email protected] Am Magnapark 4 Feldmark 9 Hansestr. 5 14542 Werder OT Plötzin 17034 Neubrandenburg 18182 Bentwisch Tel.: 03327/5749-110 Tel.: 0395/4534-201 Tel.: 0381/60969-12 [email protected] [email protected] [email protected] BUD_AZ_Mehr als eine Heizung_A4.indd 1 17.02.17 14:42 EDITORIAL LEGAL NOTICE DEAR READER, BERLIN to go Berlin is the city of freedom – a place where creativity, entrepre- BUSINESS NEWS TO TAKE AWAY neurial spirit and joie de vivre determine the rhythm. Artists, designers, musicians and filmmakers from all over the world is a Berlin Partner publication value Berlin as a stage, as an inspiration and as a city where Publisher: creativity can be lived without any limitation.
    [Show full text]
  • German American 2018
    GERMAN 2018 AMERICAN a student-run conference at Harvard University in our own hands. OUR PARTNERS We are proud to present our supporters and partners MAIN PARTNERS PLATINUM PARTNERS GOLD PARTNERS 1 OUR PARTNERS SILVER PARTNERS COUNCIL OF THE GERMAN AMERICAN CONFERENCE at HARVARD e.V. MEDIA PARTNERS 2 WELCOME 10 Years of German American Conference DEAR GUESTS AND FRIENDS OF THE GERMAN AMERICAN CONFERENCE, In the spring of 2008, a group of students at the The tenth conference in 2018 convenes in the midst of Kennedy School took the initiative of organizing the the deepest crisis in US-European relations after World first German-American conference – then still called War II. President Trump challenges NATO’s security “German Conference at Harvard”. commitment, the unification of Europe, the liberal trading order and the multilateralism that had been They were motivated by the conviction that critical the framework within which the American-German developments in America’s relations with Europe and relationship and Germany’s role as an international Germany did not receive adequate attention. At the actor emerged. It remains an essential task of the con- time of the meeting East West relations had taken a ference to examine how the US-German relationship turn toward more conflict after Putin’s 2007 speech can contribute to the future of the West. at the Munich Security Conference and the interna- tional financial crisis was heading toward its climax In this critical moment of history, following John F. and a world recession. The conference examined the Kennedy’s unforgettable call, ask what you can do to implications of these developments for the America’s contribute to this goal.
    [Show full text]
  • Representing Veterans of the First World War in German Literature and Culture During the Weimar Republic & Now
    Looking Back at the Lost Generation: Representing Veterans of the First World War in German Literature and Culture during the Weimar Republic & Now Jairo Izaguirre, Class of 2022 Inspired by my seminar on the “Literature and Culture of the Great War and the Weimar Republic” (GER 3390) with Professor Jill Smith, I aimed to investigate how men of the “lost generation,” those who fought in and survived the First World War, are depicted in the literature and visual works (film, graphic fiction, television) of two separate time periods: the period between the First World War and the takeover of the National Socialist or Nazi regime (1918-1933) and the present day (2008-present). In regard to the first period, which is usually known as the Weimar Republic, I investigated two key questions: First, what sorts of physical and psychological wounds did the veterans of WWI have, and which of these were seen as new? For instance, how did what came to be known as “shell shock” manifest itself physically and mentally in veterans? Second, how were literature and art used as a way to process the trauma of war? What works were produced by veterans, and how do those differ from works written about them by someone who did not experience the war firsthand? While a significant body of scholarship on this topic during the Weimar era does exist and was an essential part of my project, little to no scholarly attention has yet been given to the present moment. As the centenary of the First World War approached, I argue, writers, artists, directors, and producers displayed renewed interest in the war and its effects on those who fought in it.
    [Show full text]
  • Babylon Berlin, Een 'Must' Voor De Culturele Criminologie
    VOORBIJ DE HORIZON Babylon Berlin, een ‘must’ voor de culturele criminologie Mare Cools Berlijn voor criminologen We kunnen veronderstellen dat elke criminoloog al wel eens Berlijn heeft bezocht. Wie deze Faust’s Metropolis (Richie, 1999) nog niet grondig heeft doorploegd, koestert misschien wel een spreekwoordelijk gat in de eigen intellectuele bagage. Zouden er bovendien ook criminologen bestaan die de boeken Afscheid van Berlijn (1971) van Christopher Isherwood (1904-1986) en Berlijn Alexandeijilatz (1989) van Alfred Döblin (1878-1957) nog niet hebben gelezen? Laat ons hopen dat de films Cabaret (1972), Christiane F. - Wir Kinder vom Bahnhof Zoo (1981) en/of de televisiereeks Berlin Alexanderplatz (1980) hun iets zegt. Of zouden er ook col­ lega’s zijn die niet weten dat de David Bowie (1947-2016) trilogie: Low (1977), Heroes (1977) en Lodger (1979) en The Idiot (1977) van Iggy Pop Berlijnse roots (Baqué, 2013) hebben? De bovengenoemde kunst (Siegel, 2009), als een van de meest creatieve menselijke uitingsvormen, kunnen de (cultureel) criminoloog immers inspireren en gidsen in zijn voortdurende zoektocht in de tuin van Akade- mos (Cools, 2018). Berlijn is niet veraf en al dan niet klimaatbewuste city trips zijn nog steeds niet verboden. Op reis dan maar, in de wetenschap dat we kennis en inzichten kunnen verwerven inzake macht, structuur, fenomenen, betekenis en symboliek (Cools, 2019) en dat we deze kunnen plaatsen binnen de cultures of deviance en de cultures ofcontrol (Ferrel e.a., 2008). Onze eerste bezoeken aan Berlijn dateren alweer van de jaren 1980. We koesteren nog steeds de veelvuldig door het Wachregiment Feliks Dzierzynski aangebrachte stempels in onze reispas.
    [Show full text]
  • THE FUTURE of the GERMAN-JEWISH PAST
    THE FUTURE OF THE GERMAN-JEWISH PAST THE FUTURE OF THE GERMAN-JEWISH PAST Memory and the Question of Antisemitism Edited by IDEON EUVENI AND G R DIANA FRANKLIN PURDUE UNIVERSITY PRESS | WEST LAFAYETTE, INDIANA Copyright 2021 by Purdue University. All rights reserved. Printed in the United States of America. Cataloging-in-Publication data is on file at the Library of Congress. Paperback ISBN: 978-1-55753-711-9 ePub ISBN: 978-1-55753-729-4 ePDF ISBN: 978-1-55753-796-6 Cover artwork: Painting by Arnold Daghani from What a Nice World, vol. 1, 185. The work is held in the University of Sussex Special Collections at The Keep, Arnold Daghani Collection, SxMs113/2/90. The authors are grateful to the Centre for German-Jewish Studies at the University of Sussex for granting us permission to use the image for the cover. This book is dedicated to the memory of Professor Edward Timms OBE— scholar, mentor, friend, and founder of the Centre for German-Jewish Studies at the University of Sussex. CONTENTS Acknowledgments xi The Future of the German-Jewish Past Starts Here xiii Gideon Reuveni THE PERSONAL, THE HISTORICAL, AND THE MAKING OF GERMAN-JEWISH MEMORY “No More Mr. Nice Guy”: Questioning the Ideal of Assimilation 3 Alan Posener Generation in Flux: Diasporic Reflections on the Future of German-Jewishness 13 Sheer Ganor Home on the Balcony: New Initiatives for the Preservation of Documents and Material Objects Relating to German-Jewish History 25 Joachim Schlör From Object to Subject: Representing Jews and Jewishness at the Jewish Museum Berlin 37
    [Show full text]
  • Berlin Babylon
    October 2018 The Berlin Times 3 out of Döblin – that figures BY URSULA SCHEER in the fate of each our stars: the weighty, warmhearted yet o one evades the under- brutal Bruno Wolter (Peter tow of ecstasy, nor the Kurth), who passes himself off Nvortex of doom. As the BERLIN TIMES as something like a fatherly first double-episode of Babylon friend. Berlin comes to a close and the A political sex scandal pro- denizens of a packed nightclub vides but a succulent introduc- throb to the music, entranced tory segue to the main events and infatuated by the androg- that will ensnarl the main char- ynous charm of the Russian 1929 acters: a bloody massacre and a performer on stage, elsewhere conspiracy involving a freight in the city Stalin’s henchmen train from Russia. Poison gas, unload their Gatling guns on an Weighty, warmhearted, brutal – Berlin Babylon is the German TV series bounteous amounts of gold and underground band of Trotskyite of the year, depicting life in the German capital during the Roaring Twenties the ambitions of the “Black dreamers. A lady of the night Reichswehr,” a group of gen- finds her John; confetti litters the erals out to restore the Kaiser air; bodies fall in a flurry of gun- to his throne – these are just fire. The singer lowers her mask, a few of the factors our stars banana-skirted dancers contort face in season one. Season two their bodies à la Josephine Baker features the specter of commu- and a love-struck youth looks FILME FRÉDÉRIC BATIER/X nists and brownshirts marching on in awe.
    [Show full text]
  • Rights Guide Frankfurt 2017
    Rights Guide Frankfurt 2017 For more information please contact: Verlag Kiepenheuer & Witsch GmbH & Co. KG Iris Brandt: [email protected] Dorothee Flach: [email protected] New Books • Frankfurt 2017 LITERARY FICTION Heiss, Sonja: Rimini 3 Krohn, Tim: Erich Wyss übt den freien Fall 4 Meyerhoff, Joachim: Die Zweisamkeit der Einzelgänger 5 Ohler, Norman: Die Gleichung des Lebens 6 Ortheil, Hanns-Josef: Der Typ ist da 7 Regener, Sven: Wiener Straße 8 Schalko, David: Schwere Knochen 9 Stein, Hannes: Nach uns die Pinguine 10 Timm, Uwe: Ikarien 11 Wulf, Kirsten: Sommer unseres Lebens 12 Backlist Literary Fiction 13 CRIME/THRILLER Bannalec, Jean-Luc: Bretonisches Leuchten 14 Chaplet, Anne: In tiefen Schluchten 15 Kutscher/Menschik: Moabit 16 Musharbash, Yassin: Jenseits 17 Wagner, Jan Costin: Sakari lernt durch Wände zu gehen 18 Weigold, Christof: Der Mann, der nicht mitspielt 19 NON-FICTION Böll, Heinrich: Die Kriegstagebücher 1943-1945 20 Schnell, Ralf: Böll und die Deutschen 20 Ulrich, Bernd: Guten Morgen, Abendland. Der Westen am Beginn einer neuen Epoche 21 Dambeck, Holger: Kommen drei Logiker in eine Bar … Die schönsten Mathe-Rätsel 21 Glimbovski, Milena: Ohne Wenn und Abfall. Wie ich dem Verpackungswahn entkam 22 Kaller, Nunu: Fuck Beauty! 22 Gorkow, Alexander: Hotel Laguna 23 Herzog, Rudolph: Heil Hitler, das Schwein ist tot! 24 Hettche, Thomas: Unsere leeren Herzen 25 Kapfer/Exner: Verborgene Chronik 1914 26 Kapfer/Exner: Verborgene Chronik 1915-1918 26 N., Oliver: Meine falschen Brüder. 27 Seyboldt, Franziska: Rattatatam, mein Herz. Leben mit der Angst 28 Weidermann, Volker: Träumer. Als die Dichter die Macht übernahmen 29 Yogeshwar, Ranga: Nächste Ausfahrt Zukunft.
    [Show full text]
  • Leseprobe L 9783462052503.Pdf
    HERAUSGegebEn von MICHAEL TÖTEbERG EInE SERIE von ACHIM von borries HEnk HAndLoegten ToM TykwER MIT FoTografien von Joachim GERn FRÉdÉRIC Batier Verlag Kiepenheuer & Witsch, FSC® N001512 1. Auf la ge 2018 © 2018 by Ver lag Ki epen heu er & Witsch, Köln Alle Rechte vorbehalten. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mikrofilm oder ein anderes Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Um schlag ge stal tung: Rudolf Linn, Köln Umschlagmotiv: © X Filme Creative Pool Entertainment GmbH / Degeto Film GmbH / Beta Film GmbH / Sky Deutschland GmbH 2017 Innengestaltung: Anita Wertiprach, Hamburg Gesetzt aus der Neutraface Satz: Buch-Werk statt GmbH, Bad Aib ling Druck und Bindung: Kösel GmbH & Co. KG, Krugzell ISBN 978-3-462-05250-3 Volker Bruch ist Gereon r ath 6 ToM TykwER dREHT BabyL on bERLIn liV lisa Fries ist charlotte ritter 11 HEnk HAndLoegten dREHT BabyLon bERLIn PETER Kurth ist bruno w olter ACHIM von borries dREHT BabyL on bERLIn voRwoRT tom tykwer, henk handloe Gten und achim V on Borries ilme sind wie Reisen; Reisen in fremde Welten, Zeiten, F Figuren. 2013 haben wir uns gemeinsam aufgemacht zu einer Reise in das sagenumwobene Berlin der Zwanzigerjahre — jenem verschwundenen Kosmos, welcher der Welt bis heute als Mythos erhalten ist. Am Anfang stand ein Roman von Volker Kutscher und der Wunsch, Zeit und Stadt wieder aufleben zu lassen und sie in einem Film als das zu feiern, was sie waren: Deutschlands radikaler Aufbruch in die Moderne, eine Hochzeit der Kunst und der Kultur, Nährboden politischer Utopien und Intrigen, ebenso kurze wie heftige Blüte in einer Zwischenkriegsphase.
    [Show full text]
  • Volker Kutscher – Tichý Zabiják
    Volker Kutscher – Tichý zabiják „Román s úžasnou atmosférou nabízející živý pohled do kulturních zvratů pozdní Výmarské republiky.“ The Sunday Times 1 www.mobaknihy.cz pro nakladatelství MOBA zpracovala Johana Turner, TURNER PR www.mobaknihy.cz www.turner.cz Volker Kutscher – Tichý zabiják Tichý zabiják – Der stumme Tod – The Silent Death Obsah: strana 1 úvod strana 2 obsah, anotace strana 3 informace o spisovateli Volkeru Kutscherovi strana 4 ohlasy na knihu strana 5 Babylon Berlin – základní informace k seriálu na motivy knih Volkera Kutschera strana 6 - 11 rozhovory s Volkerem Kutscherem strana 12 - 16 ukázka z knihy Tichý zabiják strana 16 - 17 ukázka z knihy Mokrá ryba Na motivy knih Volkera Kutschera vznikl nákladný koprodukční seriál nazvaný Babylon Berlin podle anglického názvu první knihy Der Nasse Fisch (Mokrá ryba, první díl série, vyšel v nakladatelství MOBA v říjnu 2017) a s udávaným rozpočtem 40 milionů eur se jedná o historicky nejdražší německý seriál. Premiéru měl 13. října 2017 na programu SKY, u nás na HBO, dále je distribuován po celém světě prostřednictvím Netflixu. V České televizi bude odvysílán v průběhu roku 2019. 2 Aktuální knižní novinka a v pořadí druhá kniha série Tichý zabiják (Der stumme Tod – The Silent Death) je i předlohou pro třetí sérii zmiňovaného seriálu Babylon Berlin, která se v těchto dnech začíná natáčet. anotace Volker Kutscher, Tichý zabiják Z originálu Der stumme Tod přeložil Tomáš Butala Berlín 1930. Tragická smrt zbožňované herečky Betty Winterové přímo během natáčení přivádí Gereona Ratha do berlínských filmových ateliérů. Mladý komisař z berlínského oddělení vražd rychle poznává stinné stránky hvězdného prostředí a je svědkem přelomového momentu ve filmové branži.
    [Show full text]
  • Babylon Berlin
    Serie des Monats September BABYLON BERLIN TV-Start (ARD): 30.09.2018, im Kino am 22./23.9.2018 Ende der 1920er-Jahre ist Berlin eine Metropole voller kul- die historischen Konflikte, die Dreharbeiten der Serie und tureller und gesellschaftlicher Widersprüche. Die TV-Krimi- ihre stilistischen Vorbilder aus der Stummfilmzeit. Zum TV- serie BABYLON BERLIN ist als Sittengemälde dieser Spätphase und DVD-Start gibt es Unterrichtsmaterial ab Klasse 10. der Weimarer Republik angelegt. kinofenster.de erkundet www.kinofenster.de Kinofenster: Serie des Monats September 2018: BABYLON BERLIN 2 / 31 INHALT Serienbesprechung BABYLON BERLIN Interview „Wir wollten erzählen, wie die Zeit vor dem Nationalsozialismus war“ Hintergrund Berlin im Weimarer Kino Hintergrund BABYLON BERLIN – Vom Roman zur Serie Hintergrund Wie Jugendliche aus der Hauptstadt BABYLON BERLIN sehen Filmpädagogisch arbeiten Didaktische Vorschläge für die Fächer Deutsch, zur Weimarer Republikt Kunst, Musik, Sozialkunde, Ethik ab Klasse 10 Arbeitsblätter zu BABYLON BERLIN Drei Aufgaben zur Arbeit mit der Serie BABYLON BERLIN für die Fächer Deutsch, Musik, Sozialkunde, Ethik, Geschichte ab Klasse 10 www.kinofenster.de Kinofenster: Serie des Monats September 2018: BABYLON BERLIN 3 / 31 FILMBESPRECHUNG BABYLON BERLIN Deutschland 2017 Fernsehserie, Drama, Historienfilm Kinostart: 22.09.2018 Verleih: X Verleih AG Veröffentlichungstermin: ab 30.09.2018, 20:15 Uhr (ARD, ARD-Mediathek); ab 05.10.2018 auf DVD und Blu-ray Distributionsform: TV, Video-on-Demand, DVD, Kino Regie: Tom Tykwer, Henk Handloegten, Achim von Borries Drehbuch: Tom Tykwer, Henk Handloegten, Achim von Borries nach dem Ro- man „Der nasse Fisch“ von Volker Kutscher Darsteller/innen: Volker Bruch, Liv Lisa Fries, Peter Kurth, Matthias Brandt, Leonie Benesch, Lars Eidinger u.a.
    [Show full text]