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Titel Kino 1/2003 EXPORT-UNION OF GERMAN CINEMA 1/2003 AT BERLIN in Competition DER ALTE AFFE ANGST by Oskar Roehler GOOD BYE, LENIN! by Wolfgang Becker LICHTER by Hans-Christian Schmid RESISTANCE & PROVOCATION Directors’ Portraits of Helga Reidemeister & Rosa von Praunheim SHOOTING STAR Daniel Bruehl SPECIAL REPORT Children’s Film in Germany Kino (photo © Prokino) “ Distant Lights ” Zbigniew Zamachowski Zbigniew in GERMAN CINEMA KINO1/2003 4 focus on CHILDREN’S FILM IN GERMANY directors’ portraits 14 RESISTANCE IS THE ’SECRET OF JOY’... A portrait of Helga Reidemeister 15 THE IMPORTANCE OF BEING PROVOCATIVE A portrait of Rosa von Praunheim producer’s portrait 18 UBIQUITOUS IS HIS MIDDLE NAME A portrait of Peter Rommel Productions actor’s portrait 20 SHOOTING STAR A portrait of Daniel Bruehl 22 KINO news in production 26 BLINDGAENGER Bernd Sahling 26 FARLAND Michael Klier 27 HERR LEHMANN Leander Haussmann 28 HITLERS JUEDISCHE SOLDATEN Heike Mundzeck 28 LAUTLOS Mennan Yapo 29 NORTHERN STAR Felix Randau 30 PFARRER BRAUN Martin Gies 30 SCHATTEN DER ZEIT Florian Gallenberger 31 SCHUSSANGST Dito Tsintsadze 32 SECRETS OF SIBERIA Frank Mueller 32 SUPERTEX – EINE STUNDE IM PARADIES Jan Schuette 33 TAL DER AHNUNGSLOSEN Branwen Okpako the 100 most significant german films (part 8) 34 DER LETZTE MANN THE LAST LAUGH AT BERLIN F.W. MURNAU Friedrich Wilhelm Murnau RETROSPECTIVE 35 ROTATION Wolfgang Staudte 36 WIR WUNDERKINDER AREN’T WE WONDERFUL? Kurt Hoffmann 37 DAS WACHSFIGURENKABINETT WAXWORKS Paul Leni 38 MAEDCHEN IN UNIFORM GIRLS IN UNIFORM Leontine Sagan new german films 40 DER ALTE AFFE ANGST AT BERLIN ANGST IN COMPETITION Oskar Roehler 41 DEVOT AT BERLIN DEVOTED PANORAMA Igor Zaritzki 42 EPSTEINS NACHT EPSTEIN’S NIGHT Urs Egger 43 EROTIC TALES: NR. 23 Bernd Heiber 44 FASSBINDER IN HOLLYWOOD Robert Fischer 45 DAS FLIEGENDE KLASSENZIMMER THE FLYING CLASSROOM Tomy Wigand 46 GOFF IN DER WUESTE AT BERLIN GOFF IN THE DESERT FORUM Heinz Emigholz 47 GOOD BYE, LENIN! AT BERLIN Wolfgang Becker IN COMPETITION 48 HEIMATFILM! Daniel Krauss 49 HEIRATE MICH AT BERLIN MARRY ME FORUM Uli Gaulke, Jeanette Eggert 50 KILLER BARBYS VS. DRACULA Jess Franco 51 EIN LEBEN LANG KURZE HOSEN TRAGEN AT BERLIN THE CHILD I NEVER WAS GERMAN CINEMA Kai S. Pieck 52 LICHTER AT BERLIN DISTANT LIGHTS IN COMPETITION Hans-Christian Schmid 53 MEIN LETZTER FILM AT BERLIN MY LAST FILM GERMAN CINEMA Oliver Hirschbiegel 54 NEUFUNDLAND LOST AND FOUND Georg Maas 55 SCIENCE FICTION AT BERLIN PERSPECTIVES Franz Mueller GERMAN CINEMA 56 SIE HABEN KNUT AT BERLIN THEY’VE GOT KNUT PERSPECTIVES Stefan Krohmer GERMAN CINEMA 57 SOLOALBUM Gregor Schnitzler 58 STALINGRAD Sebastian Dehnhardt 59 SUNSET MOTEL Eckhart Schmidt 60 TILL EULENSPIEGEL JESTER TILL Eberhard Junkersdorf 61 WIR AT BERLIN WE PERSPECTIVES Martin Gypkens GERMAN CINEMA 62 DER ZEHNTE SOMMER AT BERLIN THE TENTH SUMMER CHILDREN’S FILM FEST Joerg Gruenler 65 film exporters 67 foreign representatives · imprint Franziska Buch’s Emil & the Detectives Franziska Buch’s CHILDREN’S FILM IN GERMANY The regulations concerning film promotion issued by the Federal extended definition, on the basis of target group, extends beyond Government Commissioner for Culture and the Media (BKM) de- the genre; for example, animal films and animated films with fanta- fine children’s films as ”films whose themes, plots and creative sy characters are very popular with children, meaning that these are structure are particularly aimed at children and are suitable for this also included in ”children’s films“. In both cases, children’s films dif- group“. In the film world, the term is understood to mean that fer from films about children and childhood which due to their con- these films are aimed at 6-12 year olds, although there are also films tent cannot be shown to children because of the existing laws for for pre-school children (certificate rating/FSK: ”no rec.“) and films the protection of children; these include horror films with children for older children (certificate rating/FSK: ”over 12“); the latter as protagonists, for example. overlapping with those made for young people in the 12-14 age group. THE HISTORY OF Children’s films may be defined by both genre and target group. In the case of genre, typical shared thematic or stylistic features are GERMAN FILMS FOR CHILDREN significant: children as protagonists and figures for identification, a dramatic concept suited to the emotional and cognitive abilities of During the early years of cinematography, film producers did not children, and the avoidance of severe psychological strain. The explicitly focus on children, but from the beginning – and with kino 1 focus on children’s film in germany 2003 4 The Adventures of Prince Achmed increasing enthusiasm – these formed a large part of the audience brothers, including Caliph Stork (Kalif Storch, 1931) and at show booths and tents. Here they remained under the observa- The Seven Ravens (Die sieben Raben, 1937), which have tion of the police force until educational specialists took note of the also established their place in film history. Gerhard Lamprecht’s "cinematic images" and suggested matinee performances for child- version of Emil and the Detectives (Emil und die De- ren showing selected films. At these screenings, children could view tektive, 1931) has also developed into a children’s film classic and films which included the versions of fairy-tales made by Paul has become a film which sets standards, that are still valid today, for Wegener from 1916 onwards, such as Rubezahl’s Marriage the filming of books by the popular German writer Erich Kaestner. (Ruebezahls Hochzeit, 1916) or Sleeping Beauty (Dornroeschen, 1917). In this context, the silhouette films by National Socialist film policy showed less interest in children as a Lotte Reiniger, dating from the twenties, should also be mentioned; target audience than in young people. The film medium served as a among these The Adventures of Prince Achmed (Die propagandist means of control, and the cinema became a place for Geschichte des Prinzen Achmed, 1926) is now considered military training. At the 2nd Film Festival (Reichsfilmtage) of the one of the first classics of children’s film. Hitler Youth in Vienna during 1938, the term ”jugendwert“ (useful, valuable for young people) was introduced. In the films labeled as During the years that followed, it is worth mentioning the cut-out such, stories were not told for their own sakes, but used as a means and puppet films produced in the thirties and forties by the Diehl to transport messages conveying aspects of the National Socialist Two Times Lotte Times Two kino 1 focus on children’s film in germany 2003 5 Tobias Totz and His Lion Totz Tobias world view and demonstrating the correctness of values estab- adults. This robbed German children’s film, which had concentra- lished by the National Socialists. These included Kurt Hoffmann’s ted on fairy-tales, of its financial basis. This decision, which arose Quax, the Crash Pilot (Quax, der Bruchpilot, 1941) and from an animosity towards the media quite typical of educational Alfred Weidenmann’s Young Eagles (Junge Adler, 1944), as specialists during those years, was revoked in 1985. At that time, well as Veit Harlan’s Jew Suess (Jud Suess, 1940) and faced by pre-school children’s unlimited consumption of television Burning Hearts (Kolberg, 1945). programs, such an attitude appeared neither up-to-date nor sensi- ble in economic terms, and it opposed the efforts being made As propaganda prevailed during the Second World War, some pro- towards an independent children’s culture. ducers and filmmakers could only take up their work again after the war. This explains the fact that fairy-tales dominated once again It was not until an innovative transition period from ”Young“ during the post-war period, although their poor quality means that German Cinema to ”New“ German Cinema during the late seven- most have been forgotten in the meantime. However, during the ties and early eighties that the stimulation - with financial assistance 50s – the era of "Grandpa’s cinema" – films based on Kaestner’s from committed initiatives in children’s television – of a creative books were again made, creating a positive improvement on the children’s film scene began. The treasure trove of German fairy- films available at the time: for example, Josef von Báky’s award-win- tales was no longer unearthed with such alarming regularity, and ning Two Times Lotte (Das doppelte Lottchen, 1950), instead quality material and a wide range of themes with a re- Thomas Engel’s Punktchen and Anton (Puenktchen und levance to children’s everyday reality developed and new aesthetic Anton, 1953) and Kurt Hoffmann’s Flying Classroom (Das approaches were explored. This step towards contemporary cine- fliegende Klassenzimmer, 1954). ma was supported by many actions and initiatives which took over the promotion of German films for children and the structures of The sixties, which were influenced by widespread closure of cine- their screening in both commercial and non-commercial fields. In mas, offered few opportunities for children’s film. The renewal of 1975, the Kommunales Kino Frankfurt organized a first Inter- the laws for the protection of children dating from 1957 no longer national Children’s Film Week, which gradually developed into the permitted children under six to visit cinemas, even accompanied by LUCAS Festival in the years that followed. Two years later, the Kinder- und Jugendfilmzentrum was founded in the Federal Republic of Germany. Financial support from the Federal Ministry for Young People meant that firstly foreign, and later an increasing number of German films for children and young people were introduced to the non-commercial market. This had deve- loped as an alternative to the non-existent screening structures of commercial cinemas. In addition, children’s film initiatives were The Fearless Four The Fearless supported by practical seminars and new working material.
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