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Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Iavivendia2000ieng.Pdf
As Ñled with the Securities and Exchange Commission on July 2, 2001 SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 20-F n REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ≤ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 for the Ñscal year ended December 31, 2000 OR n TRANSITION REPORT PURSUANT TO SECTION 13 or 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 for the transition period from to Commission File Number: VIVENDI UNIVERSAL (Exact name of Registrant as speciÑed in its charter) N/A 42, avenue de Friedland Republic of France (Translation of Registrant's75380 Paris Cedex 08 (Jurisdiction of incorporation name into English) France or organization) (Address of principal executive oÇces) Securities registered or to be registered pursuant to Section 12(b) of the Act: Title of Each Class: Name of Each Exchange on Which Registered: American Depositary Shares (as evidenced by American The New York Stock Exchange Depositary Receipts), each representing one ordinary share, nominal value 55.50 per share Ordinary shares, par value 55.50 per share* Securities registered or to be registered pursuant to Section 12(g) of the Act: None Securities for which there is a reporting obligation pursuant to Section 15(d) of the Act: None Indicate the number of outstanding shares of each of the issuer's classes of capital or common stock as of the close of the period covered by the annual report: American Depositary Shares ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ -
L'â Ge D 'Or« T Obia S Zielony Chicks on S
DER STACHEL DES SKORPIONS EIN CADAVREEXQUIS NACH LUIS BUÑUELS »L’ÂGE D’OR« TOBIAS ZIELONY CHICKS ON SPEED M+M KEREN CYTTER JULIAN ROSEFELDT JOHN BOCK RALF BEIL, MICHAEL BUHRS, M+M (HG.) Ermöglicht durch TOBIAS ZIELONY CHICKS ON SPEED M+M KEREN CYTTER JULIAN ROSEFELDT JOHN BOCK INHALT DER STACHEL DES SKORPIONS, 2014 Filmstills 3 1. Episode: TOBIAS ZIELONY 25 2. Episode: CHICKS ON SPEED 49 3. Episode: M+M 73 4. Episode: KEREN CYTTER 97 5. Episode: JULIAN ROSEFELDT 121 6. Episode: JOHN BOCK M+M Ralf Beil 147 Brief an Ugo Gregoretti / 178 Respektieren Sie nicht die Gedanken Interview Ugo Gregoretti – Tanja Lelgemann eines toten Autors: Machen Sie einen Film! 150 Brief an Michel Houellebecq Ein Gespräch mit Luis Buñuel 151 Brief an John Forbes Nash über Musik, Moral und Martini Dry 152 Brief an Peter Raue / Antwortschreiben von Peter Raue Michael Buhrs 182 Panzerknacker: 154 Grußworte Das Phänomen Künstlerkollektive 155 Vorwort und Dank Marcus Steinweg M+M 190 Ontologisches Fieber 156 Ein paar Stunden später Konzeption und Umsetzung von Ralf Beil Der Stachel des Skorpions 196 Der Stachel im Ohr Spuren von Bild und Ton in Buñuels Jean-Henri Fabre L’Âge d’or sowie in Der Stachel des Skorpions 162 Der Languedokische Skorpion Erinnerungen eines Insektenforschers, 203 Biografien und Credits 1905, IXte Lieferung 208 Impressum und Fotonachweis 165 Luis Buñuel L’Âge d’or, 1930, Filmstills DER STACHEL DES SKORPIONS, 2014 Filmskripte 210 1. Episode: TOBIAS ZIELONY 212 2. Episode: CHICKS ON SPEED 218 3. Episode: M+M 222 4. Episode: KEREN CYTTER 234 5. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
Bird People a Film by Pascale Ferran Archipel 35 Presents
ARCHIPEL 35 PRESENTS JOSH CHARLES ANAÏS DEMOUSTIER BIRD PEOPLE A FILM BY PASCALE FERRAN ARCHIPEL 35 PRESENTS BIRD PEOPLE a film byPascale FERRAN with Josh Charles, Anaïs Demoustier, Roschdy Zem, Camélia Jordana, Geoffrey Cantor, Clark Johnson, Taklyt Vongdara and Radha Mitchell France • 2014 • 128 min WORLD SALES INTERNATIONAL PRESS Films Distribution RENDEZ VOUS 36, Rue du Louvre 2 rue Turgot 75009 Paris 75001 Paris - France Viviana Andriani : +33 6 80 16 81 39 Ph : +33 1 53 10 33 99 Aurélie Dard : +33 6 77 04 52 20 www.filmsdistribution.com [email protected] Download Presskit and stills: www.rv-press.com SYNOPSIS In a Paris airport zone, two strangers try to make sense out of their lives: an American engineer under great professional and emotional pressure who decides to radically change the course of his existence, and a young hotel chambermaid who goes through a life-altering supernatural experience. CAST PASCALE FERRAN After graduating from IDHEC (former FEMIS) where she pursued cinema studies from 1980 to 1983, Pascale Ferran worked as an assistant in television and as a co-writer for Pierre Trividic, Arnaud Desplechin, Jean-Pierre Limosin and Philippe Venault. She directed six short films from 1979 to 1990, notably LE BAISER [The Kiss], which received awards in several international festivals. She directed her first feature film PETITS ARRANGEMENTS AVEC LES MORTS (Coming to Terms with the Dead) in 1993. The film, won the Caméra d’Or at Cannes Film Festival. Her second feature, L’ÂGE DES POSSIBLES (1996, The Age of Possibilities) received the FIPRESCI award at Venice Film festival. -
Staging the Urban Soundscape in Fiction Film
Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
It Started Friendship
2019 OCTOBER PHL declares Polio Outbreak The last known case from a wild strain of the virus in the Philippines was in 1993. The wild poliovirus type 2 was declared globally eradicated in 2015. MANILA, Philippines -- Philip- pine health officials declared a polio outbreak in the coun- try on September 19, nearly two decades after the World Health Organization declared it to be free of the highly con- tagious and potentially dead- ly disease. Health Secretary Francisco Duque III said at a news conference that authori- ties have confirmed at least one case of polio in a 3-year-old girl in southern Lanao del Sur province and detected the polio virus in sewage in Manila and in waterways in the southern Davao region. Those findings are enough to POLIO continued on page 11 Enrique Manila may be a & Terror Target It’s more populated and LIZA GIL cause more harm and victims in terrorizing the Soberano government MANILA - A Deputy Speaker in the It Started House of Representatives thinks it’s like- ly that terror groups might target Metro Manila next after launching a series of bombings in Mindanao. With As such, Surigao del Sur 2nd district Rep. Johnny Pimentel said that law en- forcement authorities should be on their toes regarding a possible spillover of the attacks from down south, adding it would Friendship be costly in terms of human life. “It is highly possible that their next MANILA TERROR continued on page 9 Spotlight ANTI-VACCINATION CAUSE POLIO COMEBACK Au Bon Vivant, 1970’S Coco Martin to continue Ang probinsiyano More Alden Richards is Truly Gifted Ivana Alawi, not an Escort Service Women Julia Montes to come home soon OFW’s Sharon-Gabby Movie is still Possible? Kylie Maxine Spitting issue is Gimmick? than Kim Molina Happy sa Jowable box-office LizQuen, KathNiel has new Teleserye Men PAGE 8 1 1 2 2 2016. -
MEMOIRS of a GEISHA John Williams, Composer Dreamworks SKG Ian Bryce, Lucy Fisher, Steven Spielberg, Douglas Wick, Prods
KENNETH WANNBERG MUSIC EDITOR MEMOIRS OF A GEISHA John Williams, Composer DreamWorks SKG Ian Bryce, Lucy Fisher, Steven Spielberg, Douglas Wick, prods. Rob Marshall, dir. STAR WARS: EPISODE 3-REVENGE John Williams, Composer OF THE SITH Lucas Film Rick McCallum, prod. George Lucas, dir. THE TERMINAL John Williams, Composer DreamWorks SKG Laurie MacDonald, Walter Parkes, Steven Spielberg, prods. Steven Spielberg, dir. HARRY POTTER AND THE PRISONER John Williams, Composer OF AZKABAN Warner Bros. David Heyman, prod. Alfonso Cuaron, dir. CATCH ME IF YOU CAN John Williams, Composer DreamWorks SKG Walter Parkes, Steven Spielberg, prods. Steven Spielberg, dir. MINORITY REPORT John Williams, Composer 20th Century Fox Walter Parkes, Jan De Bont, Gerald Molen, Bonnie Curtis, prods. Steven Spielberg, dir. STAR WARS: EPISODE 2-ATTACK OF John Williams, Composer THE CLONES LucasFilm / JAK Productions Rick McCallum, prod. George Lucas, dir. HARRY POTTER AND THE John Williams, Composer SORCERER’S STONE Warner Bros. David Heyman, prod. Chris Columbus, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 KENNETH WANNBERG MUSIC EDITOR A.I.: ARTIFICIAL INTELLIGENCE John Williams, Composer DreamWorks / Warner Bros. Kathleen Kennedy, Bonnie Curtis, Steven Spielberg, prods. Steven Spielberg, dir. THE PATRIOT John Williams, Composer Sony Pictures Dean Devlin, Mark Gordon (II), Gary Levinson, prods. Roland Emmerich, dir. ANGELA’S ASHES John Williams, Composer Paramount Pictures David Brown, Alan Parker, Scott Rudin, prods. Alan Parker, dir. STAR WARS: THE PHANTOM John Williams, Composer MENACE Lucas Film Rick McCallum, prod. George Lucas, dir. STEPMOM John Williams, Composer Sony Pictures Wendy Finerman, Mark Radcliffe, Michael Barnathan, prods. Chris Columbus, dir. SAVING PRIVATE RYAN John Williams, Composer DreamWorks SKG Steven Spielberg, Mark Gordon, Ian Bryce, Gary Levinson, prods. -
François Cluzet in 11.6
Pan-Européenne Presents In Association with Wild Bunch François Cluzet in 11.6 A film by Philippe Godeau Starring Bouli Lanners and Corinne Masiero Written by Agnès de Sacy and Philippe Godeau Loosely based on Alice Géraud "Toni 11.6 Histoire du convoyeur" 1h42 - Dolby SRD - Scope - Visa n°133.508 High definition pictures and press kit can be downloaded from www.wildbunch.biz SYNOPSIS Toni Musulin. Security guard. Porsche owner. Loner. Enigma. An ordinary man seeking revenge for humiliation at the hands of his bosses. A man with a slow-burning hatred of the system. And the man behind "the heist of the century". Q&A with Philippe Godeau After ONE FOR THE ROAD, how did you decide to make a film about this one-of-a-kind €11.6 million heist? From the very beginning, what mattered to me wasn't so much the heist as the story of that man who'd been an armoured car guard for ten years with no police record, and who one day decided to take action. How come this punctual, hard- working, seemingly perfect, lonely employee, who kept his distance from unions, ended up pulling off the heist of the century and went to the other side? With the screenwriter Agnès de Sacy, this was our driving force. What was it that drove him to take action? We did a lot of research, we visited the premises, and we met some of his co-workers, some of his acquaintances, his lawyers… What about the real Toni Musulin? Did you actually meet him? I didn't. -
Copyright by Sebastian Heiduschke 2006
Copyright by Sebastian Heiduschke 2006 The Dissertation Committee for Sebastian Heiduschke Certifies that this is the approved version of the following dissertation: The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy Committee: Kirsten Belgum, Supervisor Hans-Bernhard Moeller, Co-Supervisor Pascale Bos David Crew Janet Swaffar The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy by Sebastian Heiduschke, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Dedication Für meine Familie Acknowledgements First and foremost it is more than justified to thank my two dissertation advisers, Kit Belgum and Bernd Moeller, who did an outstanding job providing me with the right balance of feedback and room to breathe. Their encouragement, critical reading, and honest talks in the inevitable times of doubt helped me to complete this project. I would like to thank my committee, Pascale Bos, Janet Swaffar, and David Crew, for serving as readers of the dissertation. All three have been tremendous inspirations with their own outstanding scholarship and their kind words. My thanks also go to Zsuzsanna Abrams and Nina Warnke who always had an open ear and an open door. The time of my research in Berlin would not have been as efficient without Wolfgang Mackiewicz at the Freie Universität who freed up many hours by allowing me to work for the Sprachenzentrum at home. An invaluable help was the library staff at the Hochschule für Film und Fernsehen “Konrad Wolf” Babelsberg . -
Asians & Pacific Islanders Across 1300 Popular Films (2021)
The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films Dr. Nancy Wang Yuen, Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Kevin Yao & Dana Dinh with assistance from Connie Deng Wendy Liu Erin Ewalt Annaliese Schauer Stacy Gunarian Seeret Singh Eddie Jang Annie Nguyen Chanel Kaleo Brandon Tam Gloria Lee Grace Zhu May 2021 ASIANS & PACIFIC ISLANDERS ACROSS , POPULAR FILMS DR. NANCY WANG YUEN, DR. STACY L. SMITH & ANNENBERG INCLUSION INITIATIVE @NancyWangYuen @Inclusionists API CHARACTERS ARE ABSENT IN POPULAR FILMS API speaking characters across 1,300 top movies, 2007-2019, in percentages 9.6 Percentage of 8.4 API characters overall 5.9% 7.5 7.2 5.6 5.8 5.1 5.2 5.1 4.9 4.9 4.7 Ratio of API males to API females 3.5 1.7 : 1 Total number of speaking characters 51,159 ‘ ‘ ‘ ‘‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ A total of 3,034 API speaking characters appeared across 1,300 films API LEADS/CO LEADS ARE RARE IN FILM Of the 1,300 top films from 2007-2019... And of those 44 films*... Films had an Asian lead/co lead Films Depicted an API Lead 29 or Co Lead 44 Films had a Native Hawaiian/Pacific 21 Islander lead/co lead *Excludes films w/ensemble leads OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS WITH API WITH API WITH API WITH API LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS 6 0 0 14 WERE WERE WOMEN WERE WERE GIRLS/WOMEN 40+YEARS OF AGE LGBTQ DWAYNE JOHNSON © ANNENBERG INCLUSION INITIATIVE TOP FILMS CONSISTENTLY LACK API LEADS/CO LEADS Of the individual lead/co leads across 1,300 top-grossing films.. -
Film Front Weimar’ 30-10-2002 14:10 Pagina 1
* pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3