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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 -
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. -
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 -
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). -
Press Release Wim Wenders 4 Real True 2
SCHIRMER/MOSEL VERLAG WIDENMAYERSTRASSE 16 • D-80538 MÜNCHEN TELEFON 089/21 26 70- 0 • TELEFAX 089/33 86 95 e - mail: press@schirmer- mosel.com Munich, April 2015 PRESS RELEASE 4 Real & True 2 th On the occasion of Wim Wenders’ 70 birthday: An exhibition, a new film and three Schirmer/Mosel books He has just been awarded the Honorary Golden Bear at this year’s Berlinale and nominated for an Oscar for his documentary film on photographer Sebastião Wim Wenders: Salgado – 2015 is a “Wenders year”. Indeed, not only is multi-award-winning 4 Real & True 2 Landscapes. Photographs German filmmaker Wim Wenders (born August 14, 1945 in Düsseldorf) With texts by Beat Wismer, celebrating his 70th birthday this year, but after a successful start to the year he is Hubertus von Amelunxen, also presenting several more new productions. His second 3D film is just Laura Schmidt, and Wim Wenders starting to show at German cinemas (Every Thing Will Be Fine with James Franco 352 pages, 163 plates and Charlotte Gainsbourg) and a major retrospective entitled 4 Real & True 2 ISBN 978-3-8296-0697-4 featuring his impressive landscape photographs has just opened at Düsseldorf’s € 29.80 Museum Kunstpalast (through August 16). Schirmer/Mosel is publishing Wenders’ eponymous exhibition catalog to accompany the show, featuring over 160 plates and essays by Beat Wismer, Hubertus von Amelunxen, Laura Schmidt and Wim Wenders himself. Moreover, Wenders’ “classics” Written in the West Revisited (108 pages, 58 color plates) and Once: Pictures and Stories (272 pages, 225 illustrations) are now available “It must be some sort of once again in a (partially revised and extended) new edition. -
Nick's Film – Lightning Over Water
NICK’S FILM – LIGHTNING OVER WATER LIGHTNING OVER WATER is a film about the last months in the life of american director Nicholas Ray, who is probably best known for his cult film “Rebel Without a Cause”. Wenders and Ray got to know each other at the set of “The American Friend” and became friends. LIGHTNING OVER WATER was made in just a few weeks at a time when Wenders was free from his studio film HAMMETT. “Nick told me about his cancer. He knew he was terminally ill. He wanted to die working. Our collective film was a try to counter the cancer with something, a form of terminal care, which also resulted in a film. But all of us who made this last journey together with Nick would also have done this without film in the camera” says Wenders. For the first time Wenders and Ray also used Video for filming. (Ray had already experimented with all perceivable forms filming in “We Can’t Go Home Again”.) “But it was devastating to see how much more merciless and in the end more truthful these ugly and shaky VHS images showed the truth as opposed to our well lit 35mm shots.” The film finishes after Nick’s death. A chinese junk sails on the Hudson river towards the open sea. On board is an urn with Nick’s ashes and an old Moviola with waving film. Below deck the film crew says goodbye to Nick. In the tradition of an irish wake, stories about the deceased are being told and everybody gets drunk. -
Nick's Film – Lightning Over Water
NICK’S FILM – LIGHTNING OVER WATER LIGHTNING OVER WATER ist ein Film über die letzten Monate im Leben des amerikanischen Regisseurs Nicholas Ray, der wohl am meisten durch seinen Kultfilm REBEL WITHOUT A CAUSE bekannt ist. Wenders und Ray hatten sich bei den Dreharbeiten von DER AMERIKANISCHE FREUND kennen gelernt und waren Freunde geworden. LIGHTNING OVER WATER entstand in wenigen Wochen, in einer Zeit, in der Wenders von seinem Studiofilm HAMMETT befreit war. „Nick hat mir von seiner Krebserkrankung erzählt. Er wusste, dass er unheilbar krank war. Er wollte arbeitend sterben. Unser gemeinsamer Film war ein Versuch, dem Krebs etwas entgegen zu setzen, eine Sterbebegleitung, bei der auch ein Film entstanden ist. Aber wir alle, die diese letzte Reise mit Nick gemeinsam gemacht haben, hätten dies auch ohne Film in der Kamera getan“, sagt Wim Wenders. Wenders und Ray setzen bei ihrem Film auch zum ersten Mal Video ein. (Ray hatte schon in „We Can’t Go Home Again“ mit allen nur denkbaren Filmformen experimentiert.) „Aber es war erschütternd zu sehen, wie viel unbarmherziger und letzten Endes wahrheitsgemäßer diese hässlichen und wackligen VHS-Bilder die Wahrheit gezeigt haben, im Gegensatz zu unseren gut ausgeleuchteten 35mm-Film-Aufnahmen.“ Der Film endet nach Nicks Tod. Eine chinesische Dschunke segelt auf dem Hudson dem offenen Meer entgegen. An Bord eine Urne mit Nicks Asche und eine alte Moviola mit wehendem Film. Unter Deck nimmt das Filmteam Abschied von Nick. In bester Tradition eines irischen „Wake“ erzählt man sich Geschichten von -
Everything Will Be Fine : Sur Les Chemins Incertains De La Fiction]
Document generated on 09/25/2021 6:38 p.m. Séquences : la revue de cinéma Everything Will Be Fine Sur les chemins incertains de la fiction Sami Gnaba Cemetery of Splendour Number 301, March 2016 URI: https://id.erudit.org/iderudit/82402ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Gnaba, S. (2016). Review of [Everything Will Be Fine : sur les chemins incertains de la fiction]. Séquences : la revue de cinéma, (301), 23–23. Tous droits réservés © La revue Séquences Inc., 2016 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/ WIM WENDERS | 23 LES FILMS | CRITIQUES Everything Will Be Fine Sur les chemins incertains de la fiction Après une suite de beaux portraits documentaires (Pina, Soul of a Man, Salt of the Earth), Wim Wenders revient à la fiction avec un drame intimiste filmé en 3D, qui ne fait qu’accroître un peu plus notre admiration nostalgique pour ses mythiques Paris, Texas, Les ailes du désir ou même le mineur Lisbon Story. SAMI GNABA l est tentant de lire, dans ce titre (tout ira bien), une forme monde, -
Wim Wenders: a Legacy of Arthouse Classics”
PRESS RELEASE WHAT: Werner Fassbinder Retrospective Manila WHEN: April 27 to May 26, 2019 WHERE: Cinematheque Centre Manila “Wim Wenders: A Legacy of Arthouse Classics” After the successful Werner Herzog and Rainer Werner Fassbinder retrospectives IN PARTNERSHIP WITH: organized by the Goethe-Institut in Manila these past two years, the Goethe-Institut will now present the works of the well-acclaimed German filmmaker, Wim Wenders, who among Herzog and Fassbinder was a principal member of the New German Cinema of the 1970s. Nine award-winning Wim Wenders feature films and a documentary will be screened for free every weekend at 4 pm starting this April 27 to May 26 at the Cinematheque Centre Manila. 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. In addition to his many prize- winning feature films, his work as a scriptwriter, director, producer, photographer, and author also encompasses an abundance of innovative documentary films, international photo exhibitions and numerous monographs, film books and prose collections. He lives and works in Berlin, together with his wife Donata Wenders. Among Wim Wenders‘ awards are the Cannes Film Festival’s Palme d’Or in 1984 for his movie Paris, Texas, the Golden Lion at the 1982 Venice Film Festival for The State of Things, and won best director at the 1987 Cannes Film Festival for Wings of Desire. He has also been nominated three times for the Academy Awards for his films Buena Vista Social Club (2000), Pina (2012), and, most recently, The Salt of the Earth (2015).