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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 -
Dossier De Presse
Isabelle Adjani Prix d’Interprétation Féminine - Festival de Cannes 1981 César de la meilleure actrice - 1982 TF1 STUDIO et TAMASA présentent POSSESSION un film de Andrzej Zulawski ¡ sortie en salles 14 juillet 2021 ¡ Presse CYNAPS - Stéphane Ribola T. 06 11 73 44 06 [email protected] Distribution TAMASA T. 01 43 59 01 01 [email protected] www.tamasa-cinema.com Un film purgatoire, à la fois blasphématoire et divin, dans " lequel les passions s’expient dans les cris et le fracas des corps, aspergés de boue et de sang. C’est une ronde macabre de pureté et de saleté, de grâce et de monstruosité, d’amour et de violence. » LES INROCKS Rentrant d’un long voyage, Marc retrouve à Berlin sa femme Anna et son fils, Bob. Mais rapidement, il se rend compte que le comportement de sa femme a changé. Prise de violentes crises, elle quitte souvent le domicile. Lorsqu’elle disparaît, Marc engage un détective qui découvre bientôt qu’Anna s’est réfugiée dans une étrange demeure où semble se cacher une créature surgie des ténèbres… Un film à l’atmosphère cauchemardesque et hallucinatoire Après son premier film français L’important c’est d’aimer (1975) et son retour en Pologne pour Le Globe d’argent, long métrage de science-fiction au tournage interrompu, Zulawski réalise ce qui reste sans doute son film le plus impression- nant et le plus réussi, objet d’un culte amplement mérité. Dans un Berlin lugubre coupé en deux par le Mur, Mark un homme aux activités mystérieuses (un es- pion ?) retrouve sa femme Anna et son fils Bobby après une longue absence. -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
National Gallery of Art Fall 2014 Film Program
Film Fall 2014 Film Fall 2014 National Gallery of Art with American University School of Communication American Film Institute Goethe-Institut, Washington National Archives National Portrait Gallery Introduction 5 Schedule 7 Special Events 11 Suso Cecchi d’Amico: Homage at 100 15 Viewing China 19 American Originals Now: Jodie Mack 22 Morality and Beauty: Marco Bellocchio 23 The Play’s the Thing: Václav Havel, Art and Politics 28 Also Like Life: Hou Hsiao-hsien 30 Athens Today 32 Index 36 Standing Aside, Watching p34 Cover: Moon Over Home Village p19 During the fall of 2014, with the ongoing renovations in the East Building, a number of National Gallery of Art screen- ings are moving to various sites in Washington, DC; please note the temporary locations on the following pages. We are grateful this season for the cooperation of many other institutions, including the National Portrait Gallery, National Archives, American University, Goethe-Institut Washington, and American Film Institute. The season opens with a tribute to the influential Italian screenwriter Suso Cecchi d’Amico on her one-hundredth birthday. During subsequent weeks there are other opportunities to view the rich legacy of Italian cin- ema, including a retrospective devoted to Marco Bellocchio. Viewing China, a program of non-fiction work from mainland China, relates aspects of rural and urban life and contrasts recent indie cinema with films made by the state-owned Cen- tral Newsreel and Documentary Studio. In December there is an opportunity to view the important oeuvre of Taiwanese filmmaker Hou Hsiao-hsien during a major retrospective tak- ing place at the Freer Gallery, the American Film Institute, and the Goethe-Institut, in partnership with the National Gallery of Art. -
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 -
Rainer Werner Fassbinder Amor Y Rabia Coordinado Por Quim Casas
Rainer Werner Fassbinder Amor y rabia Coordinado por Quim Casas Colección Nosferatu Editan: E. P. E. Donostia Kultura Teatro Victoria Eugenia Reina Regente 8 20003 Donostia / San Sebastián Tf.: + 34 943 48 11 57 [email protected] www.donostiakultura.eus Euskadiko Filmategia – Filmoteca Vasca Edificio Tabakalera Plaza de las Cigarreras 1, 2ª planta 20012 Donostia / San Sebastián Tf.: + 34 943 46 84 84 [email protected] www.filmotecavasca.com Distribuye: UDL Libros Tf.: + 34 91 748 11 90 www.udllibros.com © Donostia Kultura, Euskadiko Filmategia – Filmoteca Vasca y autores ISBN: 978-84-944404-9-6 Depósito legal: SS-883-2019 Fuentes iconográficas: Rainer Werner Fassbinder Foundation, Goethe-Institut Madrid, StudioCanal, Beta Cinema, Album Diseño y maquetación: Ytantos Imprime: Michelena Artes Gráficas Foto de portada: © Rainer Werner Fassbinder Foundation Las amargas lágrimas de Petra von Kant © Rainer© Fassbinder Werner Foundation SUMARIO CONTEXTOS Presentación: amor y rabia. Quim Casas .......................................... 17 No había casa a la que volver. Fassbinder y el Nuevo Cine Alemán. Violeta Kovacsics ......................................... 31 En la eternidad de una puesta de sol. Carlos Losilla ........................... 37 El teatro, quizá, no fue un mero tránsito. Imma Merino ...................... 47 GÉNEROS, SOPORTES, FORMATOS, ESTILOS Experimentar con Hollywood y criticar a la burguesía Los primeros años del cine de Fassbinder Israel Paredes Badía ..................................................................... 61 Más frío que la muerte. El melodrama según Fassbinder: un itinerario crítico. Valerio Carando .............................................. 71 Petra, Martha, Effi, Maria, Veronika... El cine de mujeres de Fassbinder. Eulàlia Iglesias ........................................................ 79 Atención a esas actrices tan queridas. La puesta en escena del cuerpo de la actriz. María Adell ................................................ 89 Sirk/Fassbinder/Haynes. El espejo son los otros. -
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. -
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. -
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 -
231 0931 Presenteert / Présente
CINEMIEN Designcenter De Winkelhaak Lange Winkelhaakstraat 26 2060 Antwerpen t. 03 – 231 0931 www.cinemien.be presenteert / présente release : 14/12/2016 Persmappen en beeldmateriaal van al onze actuele titels kan u downloaden van onze site: Vous pouvez télécharger les dossiers de presse et les images de nos films sur: www.cinemien.be pag. 2 I Pugni in Tasca (Fists in the pocket / Les Poings dans les poches) – synopsis (Her) ontdek de eerste film van Marco Bellocchio, I Pugni in Tasca (Fists in the pocket), in première gegaan in Locarno (1965) en nu, 50 jaar later, prachtig gerestaureerd door de Cinematheek van Bologna! Vandaag nog steed wordt de film, die destijds als een bom insloeg bij de release in de bioscoop, als hét chef-d’œuvre van de Maestro beschouwd. Alessandro (Lou Castel) woont met zijn drie broers, zus en hun blinde moeder in een Italiaanse villa. Allen lijden aan epilepsie, behalve de oudste zoon Augusto (Marino Mase). Augusto is de enige die een normaal leven kan leiden en hij is dan ook de kostwinner van de familie. Dit alles legt een grote druk op zijn liefdesleven. Het liefst wil hij trouwen, maar wil tegelijkertijd zijn vriendin niet opzadelen met de last van zijn zieke familie. Alessandro is van mening dat Augusto enkel vrij is zijn leven te leiden wanneer zijn broers, zus en moeder er niet meer zouden zijn. Duur: 105min - Dialogen: Italiaans - Ondertiteling: Nederlands (Re) découvrez le premier film de Marco Bellocchio, Les Poings dans les poches, primé à Locarno (1965) et magnifiquement restauré par la Cinémathèque de Bologne 50 ans après ! Encore aujourd’hui, ce film, qui fit l’effet d’une bombe à sa sortie en Italie, est considéré comme le chef-d’œuvre du Maestro. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Ich glaube, wenn man Filme macht, muss man etwas vom Theater verstehen.“ Die Theaterarbeit Rainer Werner Fassbinders am action-theater und antiteater Verfasserin Hanna Bauer angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin / Betreuer: Univ.-Prof. Dr. Brigitte Marschall Inhaltsverzeichnis Vorwort S.4 1. Protest- und Studentenbewegung – die 68er Bewegung in Deutschland S.7 mit besonderem Blick auf München 1.1. Die APO – Außerparlamentarische Opposition S.9 1.2. Die Ostermarschbewegung S.10 1.3. Kampagne zur Notstandsgesetzgebung S.10 1.4. Die Studentenbewegung S.13 1.5. Grenzgang zwischen Klamauk und Politik - die Kommune 1 S.16 1.6. Die Situation in München S.22 1.7. Kulmination – die Jahre 1967 und 1968 S.26 1.8. Die Jahre nach 1968 S.30 2. Theatersituation in der BRD in den sechziger/siebziger Jahren S.36 2.1. Theaterformen in der BRD der sechziger und siebziger Jahre S.36 2.1.1. Das institutionalisierte Theater S.37 2.1.2. Das Studententheater S.50 2.1.3. Das Straßentheater S.54 2.1.4. Kleinbühnen und Freie Gruppen S.57 2.1.5. Protestformen der antiautoritären Bewegung – das Wirklichkeitstheater S.61 2.2. Münchner Theatersituation S.63 2.3. Die Außerparlamentarische Opposition und das Theater S.65 3. Rainer Werner Fassbinders Arbeit am action-theater und antiteater S.67 3.1. Das action-theater S.67 3.1.1.