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January 2012 at BFI Southbank
PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival: -
Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 the FAN - Ed Bianchi
Domingo 9 17:00 THE SPY WHO CAME IN FROM THE COLD - Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 THE FAN - Ed Bianchi Lunes 10 CGAC 17:00 L’AVEU - Constantin Costa-Gavras 19:30 L’AMOUR À MORT - Alain Resnais 21:15 THE RAIN PEOPLE - Francis Ford Coppola Martes 11 17:00 A DANDY IN ASPIC - Anthony Mann, Laurence Harvey 19:00 THE DEADLY AFFAIR - Sidney Lumet 21:00 DER HIMMEL ÜBER BERLIN - Wim Wenders Miércoles 12 16:30 SECHSE KOMMEN DURCH DIE WELT - Rainer Simon 18:00 TILL EULENSPIEGEL - Rainer Simon 19:45 JADUP UND BOEL - Rainer Simon 21:30 DIE FRAU UND DER FREMDE - Rainer Simon Jueves 13 17:45 WENGLER & SÖHNE, EINE LEGENDE - Rainer Simon 19:30 DER FALL Ö - Rainer Simon 21:15 WORK IN PROGRESS: CORTOMETRAJES DE MARCOS NINE - Marcos Nine Viernes 14 16:00 FÜNF PATRONENHÜLSEN - Frank Beyer 17:30 NACKT UNTER WÖLFEN - Frank Beyer 19:45 KARBID UND SAUERAMPFER - Frank Beyer 21:15 JAKOB, DER LÜGNER - Frank Beyer 23:00 DER VERDACHT - Frank Beyer Miércoles 19 21:30 DER TUNNEL - Roland Suso Richter Jueves 20 16:00 CARLOS - Olivier Assayas 21:45 DIE STILLE NACH DEM SCHUSS - Volker Schlöndorff Venres 21 16:00 8MM-KO ERREPIDEA - Tximino Kolektiv (Ander Parody, Pablo Maraví, Itxaso Koto, Mikel Armendáriz) 17:00 PROXECTO NIMBOS (SELECCIÓN DE CORTOMETRAJES) - Varios autores 17:45 WORK IN PROGRESS: O LUGAR DOS AVÓS - Víctor Hugo Seoane 20:15 EL CORRAL Y EL VIENTO - Miguel Hilari 21:15 OUROBOROS - Carlos Rivero, Alonso Valbuena Sábado 22 17:00 VIDEOCREACIÓNS - Olalla Castro 18:30 A HISTÓRIA DE UM ERRO - Joana Barros 20:15 TRUE ROMANCE. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
WHY ARE YOU CREATIVE? Teilnehmerinnen Und Teilnehmer
Leipziger Straße 16 Telefon +49 (0)30 202 94 0 D-10117 Berlin Telefax +49 (0)30 202 94 111 E-Mail [email protected] www.museumsstiftung.de WHY ARE YOU CREATIVE? Teilnehmerinnen und Teilnehmer ARTISTS ACTORS Marina Abramovic – Amsterdam 2012 Johnny Depp – Berlin 1994 Christo & Jeanne-Claude – Berlin 2001 Mel Gibson – Los Angeles 2000 Damien Hirst – Berlin 1994 Dennis Hopper – Marrakesh 1995 David Hockney – Bonn 1999 Sean Penn – San Francisco 1999 Jeff Koons – Berlin 2000 Gérard Depardieu – Berlin 2012 Jonathan Meese – Berlin 2007 Ben Kingsley – London 1995 Georg Baselitz – Derneburg 2000 Till Schweiger – Los Angeles 2000 Mordillo – Frankfurt 1999 Sir Ian McKellen – Los Angeles 1995 Yoko Ono – Venice 2002 Forest Whittaker - Los Angeles 2002 Tracey Emin – London 1999 Armin Mueller-Stahl – Los Angeles 1998 Eva & Adele – Berlin 2001 Sir Peter Ustinov – London 1999 Tom Sachs – New York 2000 Gary Oldman – Los Angeles 2001 Kenny Scharf – Los Angeles 1999 Karl-Heinz Böhm - Frankfurt 1997 Douglas Gordon – Frankfurt 2012 Vadim Glowna – Berlin 1998 Okwui Enwezor - New York 2002 Anthony Quinn – New York 1995 Joe Coleman – New York 2003 Otto Sander - Berlin 1997 Mariscal - Barcelona 1999 Bruno Ganz – Berlin 2002 Olu Oguibe – London 2000 Bill Murray – Los Angeles 2004 Klaus Staeck – Frankfurt 1995 Michael Madsen – Los Angeles 2010 Roland Topor - Hamburg 1994 John Hurt – London 2013 George Lois – New York 1995 Stephen Dorff – Istanbul 2013 Ana Zarubica – Prague 2009 Michael Douglas - Berlin 2013 Sebastian Horsley – London 2008 Willem Dafoe – New York -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Zeughauskino
HANDS ON FASSBINDER DISKUSSIONEN.ASSOZIATIONEN.FILME IM KINO Rainer Werner Fassbinder (1945-1982) ist einer der bedeutendsten europäischen Regisseure deutscher Herkunft. Zusammen mit dem Collegium Hungaricum Berlin, dem Zeughauskino, der Rainer Werner Fassbinder Foundation und der Bundeszentrale für politische Bil- dung möchte die Filmzeitschrift Revolver Fassbinders Werk neu er- schließen und zur Quelle von politischen, historischen, kulturellen und filmischen Visionen machen. Im Rahmen von Konferenzen, die noch bis zum November im Collegium Hungaricum Berlin stattfinden werden, sollen Ansätze und Fragestellungen, die Fassbinders mittler- weile historischen Arbeiten zugrunde liegen, auf unsere Gegenwart bezogen werden – eine Einstellung, die Fassbinders Grundhaltung entspricht. Dafür werden Film- und Medienfachleute, Schauspieler, Kritiker, Philosophen und Wissenschaftler eingeladen, aus seinem Nachlass neue Energien zu gewinnen – für das Filmland Deutschland und darüber hinaus. Abgestimmt auf die Themen der Konferenzen lädt das Zeughauskino jeweils im Vorfeld der Veranstaltungen zur Wiederentdeckung der Filme von Rainer Werner Fassbinder ein. Eine aktualisierte Fassung des Veranstaltungsprogramms findet sich unter der Adresse: www.handsonfassbinder.de. Die Veranstaltungsreihe Hands on Fassbinder wird vom Hauptstadtkulturfonds gefördert. Lili Marleen HANDS ON FASSBINDER 7 HANDS ON FASSBINDER Lili Marleen BRD 1980, R: Rainer Werner Fassbinder, B: Manfred Purzer, K: Xaver Schwarzenberger, D: Hanna Schygulla, Giancarlo Giannini, Mel Ferrer, Hark Bohm, Karl-Heinz von Hassel, 120‘ | 35 mm Die Zusammenarbeit Rainer Werner Fassbinders mit dem Produzenten Luggi Waldleitner, der vor allem als Produzent von seichten Pornos bekannt war, stellte für viele eine Überraschung dar. Papas Kino traf hier sprichwörtlich auf den Neuen Deutschen Film. Basierend auf dem Leben der Lale Anderson erzählt Lili Marleen die Geschichte der jungen Sängerin Willie, die nach Ausbruch des Zweiten Weltkriegs mit ihrem Lied Lili Marleen zum Star der deutschen Soldaten avanciert. -
List of Films Set in Berlin
LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. -
Alain Resnais 21:00 the FAN - Ed Bianchi
Domingo 9 17:00 THE SPY WHO CAME IN FROM THE COLD - Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 THE FAN - Ed Bianchi Luns 10 CGAC 17:00 L’AVEU - Constantin Costa-Gavras 19:30 L’AMOUR À MORT - Alain Resnais 21:15 THE RAIN PEOPLE - Francis Ford Coppola Martes 11 17:00 A DANDY IN ASPIC - Anthony Mann, Laurence Harvey 19:00 THE DEADLY AFFAIR - Sidney Lumet 21:00 DER HIMMEL ÜBER BERLIN - Wim Wenders Mércores 12 16:30 SECHSE KOMMEN DURCH DIE WELT - Rainer Simon 18:00 TILL EULENSPIEGEL - Rainer Simon 19:45 JADUP UND BOEL - Rainer Simon 21:30 DIE FRAU UND DER FREMDE - Rainer Simon Xoves 13 17:45 WENGLER & SÖHNE, EINE LEGENDE - Rainer Simon 19:30 DER FALL Ö - Rainer Simon 21:15 WORK IN PROGRESS: CURTAMETRAXES DE MARCOS NINE - Marcos Nine Venres 14 16:00 FÜNF PATRONENHÜLSEN - Frank Beyer 17:30 NACKT UNTER WÖLFEN - Frank Beyer 19:45 KARBID UND SAUERAMPFER - Frank Beyer 21:15 JAKOB, DER LÜGNER - Frank Beyer 23:00 DER VERDACHT - Frank Beyer Mércores 19 21:30 DER TUNNEL - Roland Suso Richter Xoves 20 16:00 CARLOS - Olivier Assayas 21:45 DIE STILLE NACH DEM SCHUSS - Volker Schlöndorff Venres 21 16:00 8MM-KO ERREPIDEA - Tximino Kolektiv (Ander Parody, Pablo Maraví, Itxaso Koto, Mikel Armendáriz) 17:00 PROXECTO NIMBOS (ESCOLMA DE CURTAMETRAXES) - Varios autores 17:45 WORK IN PROGRESS: O LUGAR DOS AVÓS - Víctor Hugo Seoane 20:15 EL CORRAL Y EL VIENTO - Miguel Hilari 21:15 OUROBOROS - Carlos Rivero, Alonso Valbuena Sábado 22 17:00 VIDEOCREACIÓNS - Olalla Castro 18:30 A HISTÓRIA DE UM ERRO - Joana Barros 20:15 TRUE ROMANCE. -
And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Geschmackspolizei Kopie
Filmpolitischer Informationsdienst Beitritt oder Boykott? Von Ellen Wietstock Nun hat auch Deutschland eine Filmakademie - am 8. September 2003 wurde sie im Berliner Hotel Adlon ins Leben gerufen. Die Initiatorengruppe um Bernd Eichinger mobilisierte für die Gründungsversammlung rund 100 Filmleute aus allen Sparten, von denen etwa 70 anwe- send waren (siehe dazu die Liste der Gründungsmitglieder auf Seite 2). Diesem Kreis stan- den 400 Filmschaffende gegenüber, die sich in offenen Briefen vor allem gegen die Über- tragung der Prämiengelder des Deutschen Filmpreises an einen Verein aussprachen. In ihren Augen ist diese "Privatisierung" einer staatlichen Auszeichnung unzulässig. Die Unterzeichner der Protestbriefe sehen in der mangelnden Transparenz ein Symptom für die Family & Friends-Haltung des gesamten Unternehmens. Daß die Einladungsliste nach dem Zufallsprinzip zustande gekommen war, gab der gerade zum Akademie-Präsidenten berufene Günter Rohrbach auf der Gründungspressekonferenz denn auch freimütig zu. (Die sicher gut als Präsidentin geeignete Schauspielerin Senta Berger ist keine Filmpreisträgerin, das Gründungsmitglied Catharina Zwerenz weder Filmpreisträgerin noch aktv im Filmgeschäft tätig). Deshalb läßt diese Vorgehensweise nur einen Schluß zu: Bestimmte Kolleginnen und Kollegen wurden bewußt ausgegrenzt. Ohne sie geht es aber nicht. Die Existenz der Deutschen Filmakademie hängt davon ab, inwieweit es ihr gelingt, tatsächlich die Legitimation für die Vergabe der staatlichen Filmpreisgelder zu erwerben. Zwar begrüßte Kulturstaatsministerin Christina Weiss die Gründung, machte aber deutlich, daß eine solche Institution "ein wirklich repräsentatives Gremium" werden muß. "Alle müssen darin eingebunden sein." Um die von Seiten der Politik gestellten Bedingungen zu erfüllen, bleibt dem Verein kaum ein Jahr Zeit. (Die Vergabe des Deutschen Filmpreises 2004 erfolgt noch in der bisherigen Form durch das BKM).