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Flucht Ins Dunkel (D 1939, Regie: Arthur Maria Rabenalt) Unter Vorbehalt Filmreihe Im Zeughauskino
Unter Vorbehalt Filmreihe im Zeughauskino Flucht ins Dunkel (D 1939, Regie: Arthur Maria Rabenalt) Filmeinführung vom 6. März 2013 Stefanie Mathilde Frank „‚Flucht ins Dunkel‘, ein neuer Rabenaltfilm mit Hertha Feiler. Gut geworden in Regie, Spiel und Tendenz.“ 1 Diese Einschätzung notierte der Reichspropagandaminister Joseph Goebbels in seinem Tagebuch am 2. Juli 1939, einen Monat bevor der Film im schlesischen Beuthen – heute Bytom – uraufgeführt wurde. Das Drehbuch entstand nach der Geschichte Gespenst im späten Licht von Karl Unselt, die wenige Jahre zuvor als Fortsetzungsroman in der Berliner Illustrirten erschienen war. Gedreht wurde der Film in den Ufa-Ateliers in Tempelhof und auf dem Freigelände in Babelsberg. 2 Er lässt sich als Genre-Mix aus Drama und Abenteuer- inklusive Liebesgeschichte(n) klassifizieren. Die „Tendenz“ ist unschwer zu identifizieren: Mit dem Prädikat „künstlerisch wertvoll“ bedacht, sehen wir hier die Geschichten des Chemikers Gildemeister und seines Laboranten Engelbrecht, die sich 1914 beim Frankreich-Feldzug treffen. Während der eine wegen einer Erfindung in französische Kriegsgefangenschaft gerät und nach dem Ende des Krieges durch Frankreich irrt, rettet der andere dessen Fabrik inmitten der Wirren der Weimarer Republik. Verhandlung des Ersten Weltkriegs: Bereits die zwölfminütige Inszenierung der Deutschen in Frankreich setzt deutlich deutende Akzente: Gildemeisters Kriegsgefangenschaft in Frankreich wird als langsame Fahrt entlang eines Lagerzauns dargestellt, über die jeweils die Jahre geblendet werden. Diese Zahlen werden langsam gesteigert, die Kamera verringert zudem ihre Distanz zu den Gefangenen, die in den letzten beiden Jahren des Krieges schließlich mahnend am Stacheldraht verharren. Begleitet werden jene Bilder von ebenso eindringlich sich steigernder Musik, die in der Melodie der Marseillaise triumphiert. -
GDR Films Various Authors
GDR Bulletin Volume 2 Issue 1 February Article 4 1976 GDR Films various authors Follow this and additional works at: https://newprairiepress.org/gdr This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation authors, various (1976) "GDR Films," GDR Bulletin: Vol. 2: Iss. 1. https://doi.org/10.4148/gdrb.v2i1.323 This Announcement is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in GDR Bulletin by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. authors: GDR Films -it- Mr. Peet fought in the Spanish Civil War with the British Battalion of the Inter• militarist society. Even such classics as Kiohard Wagner's THE national Brigade. After service with the FLYING DUTCHMAN. Geore Buchner's WOZZECK. and E. T. A. Hoffman's THE DEVIL'S ELIXIR are recreated from a socialist British Army in the Middle East during point of view. Thus the socialist realism of East German cinema can be studied as a cultural extension of a government that had the World War II he became editor of the enormous task of unifying a shattered nation and declared its belief in a democratic, humanist society constructed on the firm Jerusalem Radio. He later became a cor• foundation of socialism. It is not the purpose of this program to question the reality of these commitments, but it is necessary to respondent for Reuter's in Vienna, War• consider these stated national goals since they are reflected in the cut and fabric of the cinema from the German Democratic saw and West Berlin. -
September 2016 Kinoprogramm Filmmuseum
Filmmuseum September 2016 Kinoprogramm Ausstellungen · Projekte 2 INFORMATION & TICKETRESERVIERUNG ≥ Tel. 069 - 961 220 220 Impressum Herausgeber: Deutsches Filminstitut – DIF e.V. Schaumainkai 41 60596 Frankfurt am Main JÜDISCHE FILMTAGE Vorstand: A LA VIE Claudia Dillmann, ≥ Seite 43 Dr. Nikolaus Hensel Direktorin: Claudia Dillmann (V.i.S.d.P.) Presse und Redaktion: Frauke Haß (Ltg.), Flemming Feß Texte: Vanessa Aab, Andreas Beilharz, Flemming Feß, Natascha Gikas, Leif Horns, Michelle Koch, Christine Kopf, Lisa Roßmann, Daland Segler, Urs Spörri, Treppe 41, Sabrina Wagner Vorführer/innen: Christian Appelt, Michael Besser, Pramila Chenchanna, Hans-Peter Marbach, Günther Volkmann Gestaltung: Optik — Jens Müller www.optik-studios.de Druck: Fißler & Schröder – Die Produktionsagentur 63150 Heusenstamm Anzeigen (Preise auf Anfrage): Presse- und Öffentlichkeitsarbeit Tel.: 069 - 961 220 222 E-Mail: [email protected] Abbildungsverzeichnis: Alle Abbildungen stammen aus dem Bildarchiv des Deutschen Filminstituts, sofern nicht anders verzeichnet. Titelmotiv: Aus dem Film WATERBABY (Indien 2016) zu sehen im LUCAS PROGRAMM 2 – Kurze und mittellange Filme im Wettbewerb 8+ ≥ Seite 25 INHALT 3 Sonderausstellung: Die Kunst von Aardman 4 70 Jahre CCC 8 Fünf Jahre Neues Filmmuseum 10 Tagung: Film, Flucht und Interkultur 14 LUCAS – Internationales Festival für junge Filmfans 16 Filmprogramm Abbas Kiarostami 27 Alex van Warmerdam 32 Peter Zingler 34 Klassiker & Raritäten: Joachim Gottschalk 38 Late Night Kultkino: Bud Spencer 40 Junger Filmclub -
Children in Frank Beyer's Holocaust Films
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2016 Children in Frank Beyer's Holocaust Films Delene M. White University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Film and Media Studies Commons, and the German Language and Literature Commons Recommended Citation White, Delene M., "Children in Frank Beyer's Holocaust Films" (2016). Doctoral Dissertations. 815. https://doi.org/10.7275/9052390.0 https://scholarworks.umass.edu/dissertations_2/815 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CHILDREN IN FRANK BEYER’S HOLOCAUST FILMS A Dissertation Presented By DELENE CASE WHITE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2016 German and Scandinavian Studies © Copyright by Delene Case White 2016 All Rights Reserved CHILDREN IN FRANK BEYER’S HOLOCAUST FILMS A Dissertation Presented by DELENE CASE WHITE Approved as to style and content by: __________________________________ Barton Byg, Chair __________________________________ Sky Arndt-Briggs, Member __________________________________ Jonathan Skolnik, Member __________________________________ Jon Olsen, Member _____________________________ Andrew Donson, Member and Program Director German and Scandinavian Studies _____________________________ William Moebius, Department Chair Languages, Literature, and Cultures DEDICATION For Jack, my own child with the most agency of all. ACKNOWLEDGMENTS I have many people and institutions to thank for their support of many various kinds. -
Holocaust Film Before the Holocaust
Document généré le 28 sept. 2021 22:42 Cinémas Revue d'études cinématographiques Journal of Film Studies Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps Les films sur l’Holocauste avant l’Holocauste : la DEFA, l’antifascisme et les camps David Bathrick Mémoires de l’Allemagne divisée. Autour de la DEFA Résumé de l'article Volume 18, numéro 1, automne 2007 Très peu de films représentant l’Holocauste ont été produits avant les années 1970. Cette période a souvent été considérée, sur le plan international, comme URI : https://id.erudit.org/iderudit/017849ar une période de désaveu, tant politique que cinématographique, de la DOI : https://doi.org/10.7202/017849ar catastrophe ayant frappé les Juifs. Outre les productions hollywoodiennes The Diary of Anne Frank (George Stevens, 1960), Judgment at Nuremberg (Stanley Aller au sommaire du numéro Kramer, 1961) et The Pawnbroker (Sidney Lumet, 1965), on a souvent fait remarquer que peu de films est- ou ouest-européens ont émergé de ce paysage politique et culturel, ce qui a été perçu par plusieurs comme une incapacité ou une réticence à traiter du sujet. Le présent article fait de cette présomption son Éditeur(s) principal enjeu en s’intéressant à des films tournés par la DEFA entre 1946 Cinémas et 1963, dans la zone soviétique de Berlin-Est et en Allemagne de l’Est, et qui ont pour objet la persécution des Juifs sous le Troisième Reich. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Bathrick, D. (2007). Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps. -
Marriage in the Shadows • a DVD Release by the DEFA Film Library Contemporary Press Comments Marriage in the Shadows 23.08.13 08:07 Seite 2
Contemporary Press Comments_Marriage in the Shadows 23.08.13 08:07 Seite 1 Contemporary Press Comments y Introduction r a r b i L m l Marriage in the Shadows premiered in all four occupied sectors of Berlin on October 3, 1947: at the i F A Filmtheater am Friedrichshain (Soviet sector), the Cosima in Friedenau (American sector), the Prinzenpalast F E 1 D in Gesundbrunnen (French sector) and the Kurbel in Charlottenburg (British sector). At the time, a coor - e h t dinated premiere in all four parts of the city was a very special event. As the commander of each sector was y b e responsible for licensing films from other sectors, films were usually screened only in the sector in which s a e 2 l they were produced. The same held true for the different occupied zones of Germany. e R D V D Director Kurt Maetzig recalled what might have provided the basis for coordinating the four simultaneous A • premieres: “Before Marriage in the Shadows , I had co-founded the Augenzeuge (Eyewitness Newsreel ) s w o series and been able to arrange for distribution of the DEFA Newsreel in all sectors of the city with the four d a h S Berlin commanders. They knew me and they knew my work. In addition, the topic of the film was important e h 3 t to them.” Kurt Maetzig and his main actors drove from one cinema to the next on the evening of the premiere, n i e as scheduling had made it possible for the team to take a bow after each screening. -
Contemporary Afro-German Theater
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2017 The Drama of Race: Contemporary Afro-German Theater Jamele Watkins University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the German Language and Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Performance Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Watkins, Jamele, "The Drama of Race: Contemporary Afro-German Theater" (2017). Doctoral Dissertations. 985. https://doi.org/10.7275/10006407.0 https://scholarworks.umass.edu/dissertations_2/985 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DRAMA OF RACE: CONTEMPORARY AFRO-GERMAN THEATER A Dissertation Presented by JAMELE WATKINS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 German and Scandinavian Studies © Copyright by Jamele Watkins 2017 All Rights Reserved. THE DRAMA OF RACE: CONTEMPORARY AFRO-GERMAN THEATER A Dissertation Presented by JAMELE WATKINS Approved as to style and content by: ______________________________________ -
The Gottschalks in the Shadow of Nazi Cultural Policies: Timeline
The Gottschalks in the Shadow of Nazi Cultural Policies-Timeline_Marriage in the Shadows 23.08.13 08:09 Seite 1 The Gottschalks in the Shadow of Nazi Cultural Policies: Timeline y 1927–1928 r a r b Actor Joachim Gottschalk joins the touring theater group Württembergische Volksbühne Stuttgart, where he i L m l meets the actress Meta Wolff. He works with this troupe for two seasons before signing a contract with the i F A theater in Zwickau. F E D e h t May 1931–early 1932 y b e Meta Wolff, who works at the theater in Halberstadt, and Joachim Gottschalk get married on May 3, 1930. s a e l Meta, who is Jewish, converts to Protestantism for her husband’s sake. In the fall of 1931, Joachim is e R D engaged at the theater in Leipzig; at the beginning of 1932, Meta resigns her contract in order to join him. V D A • January 30, 1933 s w o Adolf Hitler, head of the National Socialist German Workers (or Nazi) Party, is appointed Chancellor of the d a h S German Reich. e h t n i e February 19, 1933 g a i r r Joachim and Meta Gottschalk’s son Michael is born. a M • e n February 27–28, 1933 i l e m In Berlin, the dome of the Reichstag burns. The Nazis use this event to legalize arresting up and prosecuting i T : s their political opponents. Approximately 30,000 to 40,000 mainly leftwing opponents of the Nazi government e i c i l emigrate to France and Czechoslovakia in the first weeks after the Nazis take power; many of them will o P l later have to leave these countries for other places in the world, including the USSR, USA, Mexico and a r u t l Palestine. -
Universal Pictures International the Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected]
Press Contacts : International Press Contact: Domestic Press Contact: Universal Pictures International The Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected] INGLOURIOUS BASTERDS Written and Directed by Quentin Tarantino Produced by Lawrence Bender Executive Producers Erica Steinberg Lloyd Phillips Executive Producers Bob Weinstein Harvey Weinstein Co-Producers Henning Molfenter Carl L. Woebcken Christoph Fisser Associate Producer Pilar Savone Director of Photography Robert Richardson, ASC Production Designer David Wasco Costume Designer Anna B. Sheppard Special Makeup Effects by Gregory Nicotero and Howard Berger Visual Effects Designer John Dykstra Casting by Johanna Ray & Jenny Jue (US), Simone Bär (GER), Olivier Carbone (FR) Edited by Sally Menke, A.C.E. The Weinstein Company and Universal Pictures Present A Band Apart A Zehnte Babelsberg Film GmbH Production A Film by Quentin Tarantino 2 INGLOURIOUS BASTERDS Synopsis In the first year of the German occupation of France, Shosanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema. Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemy as “the basterds,” Raine's squad joins German actress and undercover agent Bridget von Hammersmark (Diane Kruger) on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own... -
Brian Currid
Brian Currid "Es war so wunderbar!" Zarah Leander, ihre schwulen Fans, und die Gegenöffentlichkeit der Erinnerung 1 Zarahs Stimme, die noch lang in deutschen Ohren liegen wird, hält die Agonien wach. Karsten Witte (l 982) Zunehmend rückt die Starkultur ins Zentrum der aktuellen Debatten über die Massen- bzw. Populärkultur: die Film- und Medienwissenschaften erör• tern am Starwesen seit einiger Zeit die verschiedenen Wahrnehmungswei sen des Publikums, und die Queer Theory beziehungsweise die Gay- and Lesbian Studies haben gerade an den Stars die problemlose Produktion von Heteronormativität in der Massenkultur thematisiert. 2 In Abkehr von den als monolithisch kritisierten Zuschauerkonzepten in der kognitivistischen und psychoanalytischen Theorie verortet die Queer Theory den Zuschauer im gesellschaftlichen Kontext, um dessen potentiell subversive Bedeutungs produktionen aufzuzeigen: die Aufmerksamkeit gilt den Lektüren, die das Kino gegen den Strich bürsten, seine Interpellationen verweigern und die Die Recherchen zu diesem Artikel wurden durch ein Promotionsstipendium des DAAD gefördert; der Text entstand mit finanzieller Unterstützung des Chicago Humanities Institute an der Universität Chicago. Teile davon wurden 1996 bei der Jahrestagung der Arnerican Musicological Society vorgetragen. Bedanken möchte ich mich vor allem bei Wilhelm Werthern, der bei der Übersetzung eine entscheidende Rolle gespielt hat, und Paul Seiler, der mir in der Anfangsphase dieser Studie sehr großzügig geholfen hat. Weiterhin danke ich Philip Bohl man, Temby Caprio, Miriam Hansen, Berhold Hoeckner, Dana Seitler, Katie Trumpener, Candace Vogler, den Mitarbeitern des Film Studies Center an der Universität Chicago und den Herausgebern dieses Themenheftes. Zum Zuschauer im US-amerikanischen Stummfilm siehe Miriam Hansen (1991) - v.a. ihre Überlegungen zu Rudolf Valentino und seinen Fans (245- 294). -
Visiting Lecturers Various Authors
GDR Bulletin Volume 2 Issue 1 February Article 3 1976 Visiting Lecturers various authors Follow this and additional works at: https://newprairiepress.org/gdr This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation authors, various (1976) "Visiting Lecturers," GDR Bulletin: Vol. 2: Iss. 1. https://doi.org/10.4148/ gdrb.v2i1.322 This Announcement is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in GDR Bulletin by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. authors:-3 Visiting- Lecturers theory in the GDR, including recent dis• (for example, history, sociology,etc.) are cussions and influences of Western theories, being invited from individuals or groups, especially "Rezeptionstheorie" but also including graduate students. The topics structuralism and other critical modes. An should be of interest to an audience outside oi interesting possibility might be to discuss German, too. It is planned to have presenta• to what degree such developments had an in• tions in the form of summaries or a set of fluence on the reception of bourgeois avant- theses, rather than long papers, and to have garde literature and/or on the production of a discussant for each. literature in the GDR. No papers will be Please submit ideas by March 15, 1976, read in the seminar. Proposals for discus• in duplicate to the co-chairpersons: one sion topics, which might take the form of copy to Gisela Bahr, Dept. of GREAL, Miami papers to be distributed to participants University, Oxford, Ohio 45056, and the other beforehand or presentation of short theses to Evelyn Beck, Dept. -
Historical Dictionary of German Cinema
07_677 (01) FM.qxd 1/15/08 6:20 PM Page i HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Er- rol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old-Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 07_677 (01) FM.qxd 1/15/08 6:20 PM Page ii 07_677 (01) FM.qxd 1/15/08 6:20 PM Page iii Historical Dictionary of German Cinema Robert C.