Screeningstitles in Bold; Competition Films in Black Monday, February 15, 2010 “A Woman, a Gun and a Noodle Shop”

Total Page:16

File Type:pdf, Size:1020Kb

Screeningstitles in Bold; Competition Films in Black Monday, February 15, 2010 “A Woman, a Gun and a Noodle Shop” day5_p1,31 n1 b:001THRD5_n1 2/14/10 11:06 AM Page 1 Q&AS From the Arctic to L.A., Alexei Popogrebsky, left, and Noah Baumbach’s films had long roads the to the Berlinale. Berlin SEE PAGES 9 AND 29 Monday dailyFebruary 15, 2010 THR.com/berlin 5 ARRIzoomsinon Market’s got rhythm prod’n,salesbiz Musicthemes By Scott Roxborough makecomeback ilm services giant ARRI is focusing on co-financing at2010EFM Fmore German and interna- tional titles and boosting its By Borys Kit and world sales business. The Scott Roxborough company has brought on Tele- pool veteran Wolfram FM is hearing the Skowronnek as a consultant to music. facilitate contacts to national This year a and international producers number of Something and distributors. musical- about Ben ARRI is counting on its mar- themed movies are E Ben Stiller turns his ket might as the world’s lead- playing, and selling, in head to respond to a ing supplier of film cameras Berlin, though in ways fanonhiswaytothe and postproduction services to you might not expect. “Greenberg” presser on give it leverage as it expands In the time since the Sunday, while his co-star Greta Gerwig STILLER PHOTO: SEBASTIAN WILLNOW/AFP/GETTY IMAGESPASCAL LE SEGRETAIN/GETTY IMAGES into production. “High School Musical” just turned heads. “In film services we are phenomenon swept the already No. 1, there’s no room to U.S.and the world,with grow there,”said Antonio Exa- the third movie,“High coustos, head of ARRI Media School Musical 3: Senior World Sales. “We want to move Year,”making $252 million ‘Greenberg’ more strongly into all other worldwide,you’dthink areas of the business, particu- that a marching band continued on page 31 parade worth of movies REVIEW By Kirk Honeycutt with singing and dancing WHAT’S INSIDE high schoolers would have oah Baumbach seems intent on laying his own distinc- flooded the market. tive claim to a territory already overcrowded with That didn’t happen. developers, that of adults swamped in disabling neu- >Reviews PAGES6,8,25,26,27 N The U.K. did try to repli- roses, bad behavior and self-absorption. You can add Jewish >Festival Screening Guide cate something similar with angst as well in the case of “Greenberg.” PAGE 10 ITV’s “Britannia High,”but While winning no points for originality,Baumbach and his that show was quickly axed. co-conspirator in the script, Jennifer Jason Leigh — whom he >Market Screening Guide continued on page 30 continued on page 31 PAGE 19 SPECIAL FEATURES bounty hunter. APULIA ‘Wolf’men:Santanasmakedebut Viitala plays a New facilities, kidnapped prosti- incentives luring By Scott Roxborough Finnish actor Pihla Viitala, one tute on the run. filmmakers. PAGE 13 of the Shooting Stars at this German actor he British director/produc- year’s Berlinale. Vinzenz Kiefer SHOOTING STARS er team of brothers Based on true events, the film Viitala (“The Baader Berlin’s young star TDominic and Lee Santana is set in French Guyana in 1934. Meinhof Com- showcase’s profile will make their feature film A group of foreign prisoners plex”) will star as a prison “hus- grows. PAGE 17 debut with the action thriller escape from a penal colony only tler” also on the run from the “Man Is Wolf to Man” starring to be tracked down by a ruthless continued on page 31 day5_p2,30 n2 b:002THRD5_n2 2/14/10 11:08 AM Page 1 THR.com/berlin news Monday, February 15, 2010 Patience a virtue with studios shooting stars U.S.involvementkeyifsometimesfrustrating,panelistssay By Karsten Kastelan EFM Industry Debates. A view, one might add, not General consensus was that completely shared by his busi- he vagaries of the studio patience and a thick skin are a ness partner Ole Sondberg, system were at the fore- necessity for Europeans working who quipped about the planned Tfront of “Transatlantic with or within the studio system collaboration: “We’ll scream Drawl: Accents for Filmmak- since, as Constantin Films’ and shout and maybe they will ing,”a panel hosted by The Hol- Robert Kulzer pointed out: “It listen sometimes.” lywood Reporter as part of the takes them 10 years to not make Another important theme a film, and when they decide to was the impact of the worldwide Zrinka Cvitesic make one, they write the script recession on the interaction Nationality: Croatian during pre-production.” between American and Euro- A more optimistic tone was pean partners, most succinctly Who is the actor/actress ‘Sky’captains adopted by Yellow Bird Prods.’ put by German director Chris- you most admire and why? Soren Staermose, who is cur- tian Alvert, who said that, of the MerylStreep,becauseofher rently negotiating with Sony three projects he’s currently cir- Pictures on a U.S. version of the cling,“All three are asking: Can outstandingwork,thechoic- neartake-off Swedish company’s hugely we do it in Germany?” esshe’smadethroughouther successful Millennium trilogy. continued on page 30 career,provingthatanactress By Scott Roxborough canstaytruetoherself. After two years of Inter- What do you consider your net and guerilla marketing snapshot breakthrough role? stunts that Theroleof Lejla,inthe2003 included the 1930s-style film“Konjanik”(Horseman) newsboys by Branko Ivanda. shouting out- side the Euro- What part do you wish you Kier pean Film could have played (past market, Fin- or present)? land’sBlind Spot pictures is Edith Piaf –“La môme” about to close financing on “Iron Sky,”the “Nazis on (2007);Poppy –“Happy Go the moon” film that Lucky”(2008); ErikaKohut became an online sensation –“LaPianiste”(2001). continued on page 30 “Stammheim” Which director would you FEB. 25, 1986: Jury president Gina Lollobrigida attacks Golden Bear most like to work with? winner “Stammheim” Jim Sheridan,MikeLeigh, Everyone knew Reinhard Hauff’s “Stammheim” was going to be an explosive Pedro Almodovar,Clint Triowingway film. The docudrama, based on the trial of the notorious Baader Meinhof terrorists, touched a nerve. Half of Germany, probably half of Europe, saw Andreas Baader Eastwood. and Ulrike Meinhof as brutal murderers. Nearly as many viewed them as freedom to‘Flutter’cast fighters allegedly murdered in prison by the German police. Describe your next project. Security was tight ahead of the festival screening. Several members of the jury By Scott Roxborough had received anonymous death threats. A biographicalfilm,directed But the real drama was to come later. “Stammheim” split the jury much as it did by Branko Ivanda,basedon Brit director Giles Borg has the audience: right down the center. Five in favor, five against. The tie was finally broken when British director Lindsay Anderson, who had initially abstained from atruestory of LeaDauth and lined up acting talents Ricky the vote, cast his ballot for “Stammheim.” DarijaGasteiger,thetalented Tomlinson, Laura Fraser and At the press conference announcing the Golden Bear, jury president Gina stars of afamous childrens’ Mark Williams to star along- Lollobrigida, broke with protocol and condemned the film: “Myself, I was against side Joe Anderson in Borg’s this picture.” Later, it emerged that Lollobrigida had threatened to resign over showof theCroatian giving the Golden Bear to what she considered a “banal, vacuous and NationalTheatre (HNK) dur- sophomore effort “Flutter.” unimaginative” film. Anna Anissimova, in Berlin It would be nearly 20 years before another German film would win the top prize ingWWII.Thestory oftheir promoting Kevin Spacey star- in Berlin. And even longer before the “Stammheim” source material would be friendshipand rivalry isdes- rer “Father of Invention,”a reworked in Uli Edel’s Oscar-nominated “The Baader-Meinhof Complex.” — Scott Roxborough tinedtoendintragedy. continued on page 30 Los Angeles 323.525.2000 | New York 646.654.5000 | London +44.207.420.6139 | Beijing +86.139.1118.1756 | THR.com/berlin | day 5 2 MARKET SCREENING TODAY 4.30pm on 15th February at Cinestar 6 MARKET SCREENING TOMORROW 9.00am on 16th February at CinemaxX 15 MARKET SCREENING TOMORROW 4.30pm on 16th February at CinemaxX 14 THE MARRIOTT HOTEL, ROOMS 258 & 260 EFM BERLIN | TELEPHONE +49 30 22000 - 1131 EALING STUDIOS | EALING GREEN CONTACTS ATTENDING: LONDON | W5 5EP | UNITED KINGDOM NATALIE BRENNER, HEAD OF SALES, +49 1761 7368611 TELEPHONE +44 (0) 20 8567 6655 WILL MACHIN, HEAD OF DISTRIBUTION, +44 7899 796263 FAX +44 (0) 20 8758 8658 JOJO DYE, HEAD OF MARKETING, +49 1761 7368923 [email protected] NAOMI WEINER, SALES COORDINATOR, +49 1761 7368927 EalingStudios D5 021510.indd 1 2/10/10 10:27 AM day5_p4 n3 b:004THRD5__n3 2/14/10 9:44 AM Page 1 THR.com/berlin news Monday, February 15, 2010 Estevez shows ‘The Way’ shooting stars Pilgrimagetalehaditsownlongjourneytocompletion By Borys Kit people to step up together to sell internationally. initially,”Alexan- Shot in the Pyrenees and t’salmost like Emilio Estevez ian said. Galicia with a small cast and wants to make his life hard. “Way,”which almost all outdoors, the pic was I In 2008, Estevez was in the Estevez wrote, a far cry from his political drama middle of casting his follow-up directed and “Bobby,”with its sprawling all- to “Bobby,”a drama titled “The appears in,fol- star cast set inside the Ambas- Public,”when a company financ- Estevez lows Sheen as a sador Hotel in Los Angeles. ing the movie went bankrupt, father who,after “I felt freer,”Estevez said. Anders causing the project to fall apart. his son dies trying to make “There were certain constraints Christiansen Though heartbroken, he Spain’sCamino de Santiago pil- with ‘Bobby’ in terms of actors’ Nationality: Norwegian quickly teamed with his father, grimage,takes his son’sashes and schedules, and keeping all those Martin Sheen, and producer goes on the journey by himself.
Recommended publications
  • 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
    [Show full text]
  • Werkschau Volker Schlöndorff 03.04
    WERKSCHAU VOLKER SCHLÖNDORFF 03.04. bis 30.06.2019 Caligari FilmBühne und Murnau-Filmtheater, Wiesbaden Kino des DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt DEUTSCHES FILMINSTITUT FILMMUSEUM CALIGARI FILMBÜHNE, WIESBADEN Fr 05.04. 19:00 Ein Abend für Volker Schlöndorff mit Gästen, anschließend: DER PLÖTZLICHE REICHTUM DER ARMEN LEUTE Seite VON KOMBACH BRD 1971, 91 Min., FSK: ab 12 05 Im Frühling dieses Jahres feiert einer der bedeu- Mi 17.04 20:00 DER JUNGE TÖRLESS BRD/F 1966, 87 Min., FSK: ab 18 06 tendsten deutschen Regisseure seinen 80. Geburts- Sa 27.04. 17:30 STROHFEUER BRD/F 1972, 98 Min., FSK: ab 16 09 tag: Volker Schlöndorff. In über 50 Jahren hat sich Sa 04.05. 17:30 DEUTSCHLAND IM HERBST der gebürtige Wiesbadener einen herausragenden BRD 1978, 119 Min., FSK: ab 12 10 Platz in der Geschichte des internationalen Films Mi 08.05. 20:00 DIE BLECHTROMMEL BRD/F 1979, 142 Min., FSK: ab 16 11 Mi 22.05. 17:30 EINE LIEBE VON SWANN BRD/F 1984, 111 Min., FSK: ab 16 12 erarbeitet. Als erster deutscher Regisseur über- Mo 27.05. 17:30 TOD EINES HANDLUNGSREISENDEN haupt erhielt er einen Oscar in der Kategorie USA/BRD 1985, 136 Min., FSK: ab 12 07 „Bester fremdsprachiger Film“. Di 28.05. 18:00 EIN AUFSTAND ALTER MÄNNER USA/GB/BRD 1987, 91 Minuten: FSK: ab 12 12 Wir freuen uns sehr, Ihnen in einer Werkschau Mo 03.06. 17:30 HOMO FABER D/F/GRC 1991, 117 Min., FSK: ab 12 13 einen umfassenden Blick auf Schlöndorffs viel- Mi 05.06.
    [Show full text]
  • L'homme, Band 26,2 (2015)
    L’Homme. Z. F. G. 26, 2 (2015) Forum The Female Body of Jewish Suffering: The Cinematic Recreation of the Holocaust in the Bulgarian-East German Co-Production “Zvezdi/Sterne” (1959) Nadège Ragaru Distancing itself from earlier studies, recent scholarship on the cinematic representa- tion of the Holocaust has demonstrated that the portrayal of anti-Jewish persecution has not remained taboo throughout the socialist era in Eastern Europe.1 A segment of this scholarly literature has explored the gendered dimensions of the filmic rendering of Jewish victimhood and agency in Eastern Europe. In a recent contribution, for instance, Anke Pinkert has investigated the changing depictions of Jewish manhood in GDR cinema with a view to “re-examin[ing] discourses of victimisation and perpetration”.2 Focusing on the interpretation of womanhood in film, the present arti- cle aims to contribute to the growing body of literature by tracing the inception, mak- ing, and reception of “Zvezdi/Sterne” (Stars), a Bulgarian-East German co-production directed by Konrad Wolf. The film, which was awarded the Special Jury Prize at the Cannes Festival in 1959, tells the story of an impossible love between a German Unter- offizier and a Greek Jewish woman who was detained with other Jews from Bulgarian- occupied Western Thrace in a Bulgarian transit camp, pending deportation to Poland. 1 On the Soviet case cf. Jeremy Hicks, First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938–1946, Pittsburgh 2012; on the GDR, in an abundant literature, cf. Daniela Berghahn, Hollywood behind the Wall: The Cinema of East Germany, Manchester 2005; Christiane Mückenberger, The Anti-Fascist Past in DEFA Films, in: Seán Allan and John Sandford eds., DEFA: East German Cinema, 1946–1992, New York 2003, 58–76.
    [Show full text]
  • German Films Quarterly 2 · 2004
    German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS.
    [Show full text]
  • When the Wind Turns: Held for Questioning
    WHEN THE WIND TURNS: HELD FOR QUESTIONING By Frank Beyer Hermann Kant’s novel Der Aufenthalt is a memoir. Kant narrates his story in retrospect, after much time has passed. There are childhood memories and inner monologs, numerous anecdotal digressions, and—as is common in Kant’s works—linguistic artistry and a proliferation of words that sometimes obfuscate the core of the story. In 1978, both East German Television (DFF) and the DEFA Studio for Feature Films inquired as to whether I could imagine making a screen adaptation of Kant’s novel. The broadcasting corporation was prepared to produce a mini-series. I was not very keen on the types of television adaptations being produced at the time, however, which entailed slicing up thick books into several parts and subjecting viewers to individual parts on consecutive evenings. Later, I spoke with [scriptwriter] Wolfgang Kohlhaase, who knew the novel well. Eventually, he suggested that we should not be so ambitious as to try to make an adaptation encompassing the entire novel. Instead, we could pull the story of • A 2017 DVD Release by the DEFA Film Library • A 2017 DVD Release by the DEFA Mark Niebuhr in prison in Warsaw out of the novel and make that the center of a film. Changing the novel’s narrative perspective had an impact and changed the main character. In the novel, Mark Niebuhr is steadfast; he always has the last word and makes jokes even in the worst situations. In the film, however, he is a young man of few words, introverted—somebody who becomes weaker as the plot progresses, but whose will desperately clings to his threatened existence.
    [Show full text]
  • Quarterly 4 · 2004
    German Films Quarterly 4 · 2004 DOWNFALL by Oliver Hirschbiegel Competes for the OSCAR DIRECTORS’ PORTRAITS Dagmar Knoepfel & Oskar Roehler PRODUCERS' PORTRAIT Moneypenny Fosters New Talents SPECIAL REPORT German Films: Redefining the Role of Film Promotion Abroad german films quarterly 4/2004 focus on 4 GERMAN FILMS directors’ portraits 10 TRILOGY OF FEMININE STRENGTH A portrait of Dagmar Knoepfel 12 LEARNING TO LOVE LIFE A portrait of Oskar Roehler producers’ portrait 14 FOSTERING NEW TALENTS A portrait of Moneypenny Film actress’ portrait 16 TYPICAL GEMINI A portrait of Sibel Kekilli 18 news in production 22 CROSSING THE BRIDGE Fatih Akin 22 ERKAN & STEFAN III, FETTES MERCI FUER DIE LEICHE Michael Karen 23 GISELA Isabelle Stever 24 DIE HEXEN VOM PRENZLAUER BERG Diethard Kuester 24 ICH BIN EIN MOERDER Bernd Boehlich 25 KEIN HIMMEL UEBER AFRIKA Roland Suso Richter 26 MAX UND MORITZ Thomas Frydetzki 26 NVA Leander Haussmann 27 DER ROTE KAKADU Dominik Graf 28 DER SCHATZ DER WEISSEN FALKEN Christian Zuebert 28 SEHNSUCHT Valeska Grisebach 29 DIE WILDEN KERLE 2 Joachim Masannek new german films 30 24-7-365 Roland Reber 31 AUS DER TIEFE DES RAUMES Gil Mehmert 32 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 33 BIBI BLOCKSBERG UND DAS GEHEIMNIS DER BLAUEN EULEN BIBI BLOCKSBERG AND THE SECRET OF THE BLUE OWLS Franziska Buch 34 COWGIRL Mark Schlichter 35 ERBSEN AUF HALB 6 PEAS ON HALF PAST FIVE Lars Buechel 36 GOODBYE Steve Hudson 37 JENA PARADIES Marco Mittelstaedt 38 KAETHCHENS TRAUM Juergen Flimm 39 KATZE IM SACK LET THE CAT OUT OF THE BAG Florian
    [Show full text]
  • Journal Der DEFA-Stiftung | 3 2020 N Editorial: Leuchtkraft, Die Dritte!
    Journal der DEFA-Stiftung | 3 2020 n Editorial: Leuchtkraft, die Dritte! Trotz Gegenwart in die Zukunft: Fragen an den neuen Vorstand Stefanie, seit Juli bist Du Vorstand der DEFA-Chefdramaturgen Rudolf Jürschik«. Auch die um- DEFA-Stiftung und an dieser Stelle würde ich fangreiche DVD-Box mit Filmen von Wolfgang Kohlhaase fragen, welche neuen Perspektiven und Schwer- wird pünktlich zu seinem 90. Geburtstag im Vertrieb von punkte Du für die zukünftige Stiftungsarbeit ICESTORM erscheinen. Zahlreiche Filme konnten 2020 setzt. Da wir aber ein Jahr erlebt haben, in dem dank der Unterstützung des Bundesarchivs digitalisiert Hans Müllers DEFA-Klassiker 1-2-3 Corona werden, etwa Spielfilme der Wende-Jugend. Gefreut (1948) unverhoffte Aufmerksamkeit bekam, habe ich mich über die Bearbeitung des Dokumentar- stelle ich die Frage eher als eine nach den filmsGrenzland – eine Reise von Andreas Voigt (1992), besonderen Herausforderungen. und über die Dresdner Trickfilme der 1980er-Jahre, denen 1-2-3 Corona ist kein uninteressanter Film, wenn ich an die Marion Rasche als künstlerische Leiterin des Studios den erste Einstellung und den langsamen Schwenk auf den Zet- Weg bahnte. Ein besonderes Erlebnis war zudem die tel denke, der an eine Mauer gekleistert ist: »Die Schulen Retrospektive zu Filmen von Konrad Wolf in Bologna. bleiben bis auf weiteres geschlossen« – und schon sind wir im Jahr 2020! Ein Jahr, in dem sich die DEFA-Stiftung vielen Auf welche bisher zu wenig beachteten unvorhersehbaren Herausforderungen zu stellen hatte. Vie- Bereiche wird sich Deine Aufmerksamkeit le unserer geplanten Veranstaltungen mussten verschoben in Zukunft richten? und abgesagt werden. Und auch wir leiden unter dem Ein- Ich sehe die DEFA-Stiftung noch stärker als bisher in der nahmeverlust durch die Schließung der Kinos, durch den Rolle der Beraterin und Wegbegleiterin von Projekten Einbruch des DVD- und generell des Finanzmarktes.
    [Show full text]
  • Mazierska Final.Indd
    CHAPTER 3 The 1970s Seeking Change The time of fragmentation In the previous chapter I described the 1960s as a decade that was good for labour in Europe, with high levels of employment, relatively high wages and opportunities to move up the social ladder. This was reflected in European cinema through the focus on characters searching for self-fulfilment rather than the necessities of life. From the perspective of the economy and politics, the 1970s constitute a watershed. At the beginning of the decade, they conformed to the rules set out by Ford and Keynes. By its end they took a new direction; the values that informed the first thirty or so years of European postwar history gave way to a new set of ideas. This change was not immediately visible. Eric Hobsbawm observes that ‘The history of the twenty years after 1973 is that of a world which lost its bearings and slid into instability and crisis. And yet, until the 1980s it was not clear how irretrievably the foundations of the Golden Age had crumbled’ (Hobsbawm 1995: 403). Those who attempt to draw the line between the Golden Age and its aftermath point to 1973: the year of the oil embargo following the Arab-Israeli war, property crashes worldwide and the simultaneous collapse of several financial institutions, coupled with the unraveling of the international Bretton Woods financial arrangements, which established the American Dollar as a world currency (Hobsbawm 1995: 403; Harvey 2005: 5–24; Harvey 2006a: x). In contrast to the preceding decades of stability, since 1973 the European and world economy has been in a perpetual crisis (Harvey 2005; 2010b).
    [Show full text]
  • Berlinale 2000 Report
    Berlinale 2000 Report By Ron Holloway Spring 2000 Issue of KINEMA BERLINALE 2000 AT FIFTY FOR the first time in the history of the festival, the 50th Berlinale (9-20 February 2000) was openedbythe President of the Federal Republic of Germany, Johannes Rau. German Chancellor Gerhard Schroeder joined Berlin Mayor Eberhard Diepgen at the grand inauguration of the new festival location cum headquarters on the Potsdamer Platz. Cultural Minister Michael Naumann presented Jeanne Moreau with an honorary Golden Bear and chatted with her about co-founding a new German-French Film Academy. L’Oréal spon- sored the VIP lounge. The party for Danny ”Trainspotting” Boyle’s screen adaptation of Alex Garland’s The Beach (UK-USA), starring Leonardo DiCaprio, was voted the festival’s most lavish and exotic. Kenneth Branagh enlivened the press conference for his Love Labour’s Lost (UK) with a droll quote: ”Shakespeare has been an excellent meal ticket!” MPAA’s Marc Spiegel reminisced how the Berlinale became a major international festival event a half-century ago. Wolfgang Jacobsen’s splendid anniversary publication, 50 Years Berlinale -- Internationale Filmfestspiele Berlin is packed with nostalgic memorabilia for those who still miss the Zoo Palast, a proud flagship venue on the festival circuit. And Between Barricades and Ivory Tower, The History of Independent Cinema: 30 Years International Forum of Young Cinema, edited by Nicolaus Schröder for the ”Friends of the German Kinemathek,” also belongs on the shelf of every dedicated cinéaste. As for the innovations at the anniversary Berlinale, the Stella Musical Theatre on Marlene-Dietrich-Platz was re-christened the ”Berlinale Palast” for the duration of the festival.
    [Show full text]
  • Filmmusik Movie Soundtracks Was Ist Neu? a - Z Zum Filmmusik-Blog “Music Makes the Movies!”
    Die Perlen des Internets - Filmmusik, Filme, Fotos, Bücher, Musik - kostenlos! Filmmusik A - Z Movie Soundtracks “Music makes the movies!” John Barry, Elmer Bernstein, Georges Delerue, Alexandre Desplat, Michael Giacchino, Philip Glass, Jerry Goldsmith, Bernard Herrmann, James Horner, Maurice Jarre, Henry Mancini, Ennio Morricone, James Newton Howard, Nino Rota, Howard Shore, Max Steiner, John Williams, Hans Zimmer und viele mehr... and many more! 1230+ großartige Filmmusiken mit nur einem Klick. Komponisten, Filmtitel, Regie, Entstehungsjahr. “Original film soundtracks are truly the most amazing kinds of music.” Filmmusiken auf artunlimited.de - in einem einzigen PDF-Dokument [Kostenlos und ohne Anmeldung: direkter Download mit nur einem Klick.] ABCDEFGHIJKLMNOP Q RSTUVWX Y Z [HOME] [FILME] [BILDER] [BÜCHER] [MUSIK] [MEHR...] [IMPRESSUM] [SUCHEN] 0 VEVO Original Videoclips www.vevo.com/Videoclips Neue Musikvideoclips aus der Video- thek von VEVO: Jederzeit kostenlos! © 2012-13 sämtliche Rechte vorbehalten Dieter Müller Suchen www.artunlimited.de 1. "Music Makes the Movies!" 2. Inhaltsverzeichnis 3. A – Z Filmmusik/Movie Soundtracks | Die gelbe "lange Liste" 4. Filmkomponisten A 5. Filmkomponisten B 6. Filmkomponisten C 7. Filmkomponisten D 8. Filmkomponisten E 9. Filmkomponisten F 10. Filmkomponisten G 11. Filmkomponisten H 12. Filmkomponisten I 13. Filmkomponisten J 14. Filmkomponisten K 15. Filmkomponisten L 16. Filmkomponisten M 17. Filmkomponisten N 18. Filmkomponisten O 19. Filmkomponisten P 20. Filmkomponisten Q 21. Filmkomponisten
    [Show full text]
  • © Raymond Cauchetier. Per Gentile Concessione Dell'autore
    © Raymond Cauchetier. Per gentile concessione dell’autore © Raymond Cauchetier. MAIN SPONSOR SOSTENITORI La 34esima edizione o... Il Cinema Ritrovato anno zero. Contro ogni aspettativa il festival riapre le sue porte in un periodo insolito per il pubblico abituato a seguirci a fine giugno, ma non per questo meno invitante e sorprendente! L’esperienza della pandemia ci ha lasciato un desiderio fortissimo di ricongiungerci, con la vita e con l’arte. È stato l’arco di tempo più lungo dal 1895, dalla nascita della settima arte, in cui l’esperienza cinematografica che conosciamo – film proiettati su uno schermo, fruiti collettivamente – è stata sospesa. Ci siamo resi conto con sconcerto che il cinema può dav- vero scomparire. Nel mantenere immutato lo spirito del Cinema Ritrovato, questa edizione vuole anche celebrare un nuovo incontro con il cinema. Cinema anno zero. Sarà un’edizione più unica che mai: avendo a cuore prima di tutto la sicurezza di tutti, abbiamo dovuto ripensare il festi- val e trovare nuove soluzioni a nuovi problemi. Paradossalmente, per compensare la ridotta capienza delle sale, il festival è stato ampliato e non ridotto: la programmazione si svilupperà in dieci sale, tra le quali ben tre arene all’aperto. Il risultato è Il Cinema Ritrovato più grande di sempre. Se avete letto le nostre precedenti comunicazioni e trovate ora alcune rassegne mancanti, è perché purtroppo non è stato possibile confermare tutte le idee che avevamo in mente per Il Cinema Ritrovato 2020. Alcuni progetti sono semplicemente rimandati alle prossime edizioni e nuovi titoli e nuove rassegne vi aspetteranno a Bologna quest’anno.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES FILM STUDIES The Films of Peter Lilienthal. Homeless by Choice by Claudia Sandberg, M.A. Thesis for the degree of Doctor of Philosophy June 2011 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES FILM STUDIES Doctor of Philosophy THE FILMS OF PETER LILIENTHAL. HOMELESS BY CHOICE by Claudia Sandberg My thesis focuses on the German-Jewish-Uruguayan filmmaker Peter Lilienthal, whose experience of exile in Latin America during the Nazi period informed his subsequent career. Lilienthal’s films address issues of collective resistance to political oppression in Latin America and elsewhere. In depictions of individuals responding to outside threats, the filmmaker renders the perception of a protective and stable home as arbitrary and volatile. While Lilienthal is usually associated with the New German Cinema of the 1970s and early 1980s, my thesis explores his position as an author who is (dis)-located between national and ethnic borders.
    [Show full text]