DOCSLIB.ORG

Tristan Ferland Milewski Since 1993 Tristan Ferland

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tristan Ferland Milewski Since 1993 Tristan Ferland Tristan Ferland Milewski Author, Director, Producer and Founder of Übervater filmproduction Since 1993 Tristan Ferland Milewski works as a director and developer of documentary films, documentations and documentary broadcast formats. He likes best making portrait-like films about people, and immersing himself in microcosms. Revealing the fragile behind surfaces holds particular attraction for him. From 1991 to 1997 Tristan Ferland Milewski studied photo/film design at FH Dortmund. During his studies, from which he graduated with a documentary film that was shown at contemporary art galleries and on ARTE, he won several short movie awards, one ("Manchmal", 1993) nominated for by Christoph Schlingensief, and worked as a photographer in the editorial and reportage fields. Following his studies, Tristan Ferland Milewski moved to London where he worked as a freelance director and shot his documentary film "Da geht Einiges", that rendered a documentary depiction of the hip-hop scene’s sense of life. In 1998 Tristan Ferland Milewski started to work as a developer and director of documentary formats for MTV Networks Europe. In late 1999 he returned to Berlin to help shape MTV Networks Germany. He developed and directed many 30 to 90 minute documentary broadcast formats, music documentations, and artist’s portraits (MTV Access All Areas, Fett MTV, MTV Masters, MTV Diary, MTV Fanatic, MTV Rock am Ring, etc.). At the time he portrayed most contemporary class A musicians, while his focus was always on the authentic regard on the human being behind the public person. From 2005 to 2007, with the merger of MTV Networks and VIVA, Tristan Ferland Milewski set up the VIVA Factual Department. As head of the department he 1 conceived, developed, and was responsible for all self-produced VIVA/MTV network documentary formats. In 2008 Tristan Ferland Milewski founded his own production company Übervater Filmproduktion. Moreover, he loves sharing his knowledge in the departments of story development, dramaturgy, and documentary work regularly as a lecturer; in 2015 he was a jury member of Sehsüchte film festival of Filmuniversität Babelsberg Konrad Wolff. Since 2012 Tristan Ferland Milewski closely collaborates as a director and developer with Gebrüder Beetz Filmproduktion. Together with producer Christian Beetz, he developed the documentary series „Make Love – Liebe machen kann man lernen“ (ZDF/MDR/SWR) and is also responsible for the series’ script and direction. The series was nominated for the German TV Award 2017 and the Grimme Online Award, received over 200 favorable press reviews, and provided the participating networks with record ratings. Tristan Ferland Milewski lives with his husband, his two dogs and cats as well as with his llamas and alpacas in the Berlin region. 2 Filmography (Selection): 2015 - 2016 “Make Love – One can learn how to make love”, Season 3 and 4 documentary series, ZDF Written and directed by Tristan Ferland Milewski produced by: Gebrüder Beetz Filmproduktion 2012 – 2014 “Make Love – One can learn how to make love”, Season 1 and 2 documentary series, MDR und SWR Written and directed by Tristan Ferland Milewski development of the documentary broadcast format with Christian Beetz produced by: Gebrüder Beetz Filmproduktion 2013 “Beziehungskisten” 6 documentary short films as viral commercials client: ERGO insurances agency: Aimaq von Lobenstein production: Übervater Filmproduktion 2011 “Science of Doubt” documentary film for DVD, 60 mins produced by: Übervater Filmproduktion www.scienceofdoubt.com “Deine Waffe gegen Gewalt” commercial client: BVG ageny: Bransch Europe production: Übervater Filmproduktion 2005 - 2007 Head of Factual Department, developer, director of all inhouse produced 30 - 90 min. documentaries and documentary broadcast formats for VIVA / MTV Networks Germany 2002 - 2005 developer, director, editor in chief of varios 30 - 90 min documentaries and documentary broadcast formats for MTV Networks Germany MTV Access All Areas, MTV Masters, MTV Diary, MTV FANatic, MTV Rock am Ring, MTV Campus Invasion, MTV Weekend Stunt with (selection): Rihanna, Britney Spears, Robbie Williams, Christina Aguilera, Madonna, Pink, Gwen Stefani, Bon Jovi, Bryan Adams, Beastie Boys, Black Eyed Peas, Busta Rhymes, Pharrell Williams, Snoop Dogg, Robbie Williams, Marilyn Manson, Missy Elliott, Jan Delay, Die Ärzte, Die Fantastischen 3 Vier, Eminem, Fettes Brot, Fergie, Fünf Sterne Deluxe, Freundeskreis, Herbert Grönemeyer, Kool Savas, Ludacris, Mando Diao, Xavier Naidoo, Nelly, Dirk Nowitzki, Outkast, Peaches, Run DMC, Samy Deluxe, Sabrina Setlur, Silbermond, Xzibit a. o. 2004 Kool Savas feat. Lumidee – „Die Besten Tage Sind Gezählt“ music video, 35 mm client: Sony BMG Music Entertainment Produktion: Mindflash 2003 Kool Savas - "Optische Begebenheiten" documentary for DVD, 45 mins client: Sony BMG Music Entertainment production: Tristan Ferland Milewski Kool Savas – „Bitte Spitte“ music video, 35 mm client: Sony BMG Music Entertainment production: Tristan Ferland Milewski 2000 - 2002 developer, director, editor in chief of documentary broadcast formats MTV Access All Areas and Fett MTV for MTV Networks Germany with (selection): Eminem, Dr. DRE, Pharrell Williams, Busta Rhymes, Missy Elliott, Xzibit, Outkast, Deichkind, Jan Delay, Black Eyed Peas, Kool Savas, Fettes Brot, Samy Deluxe, Deichkind u.a. JUICE AWARD (Best broadcast format on HipHop) for Fett MTV 1998 - 1999: developer and director for MTV Networks Europe documentary series MTV Millenium Moments various image campaigns for MTV Networks Europe 1997 - 1998: „Da Geht Einiges“ documentary film, Super 16 mm und DV client: Deck8 Records/Century Media with Kool Savas, Freundeskreis, Die Fantastischen Vier, Fettes Brot, Fünf Sterne Deluxe, Massive Töne, Eins Zwo, Die Firma, Flying Steps and others production: Deck 8 Records (incompleted due to business liquidation of Deck8 Records) „Rock Christmas“ commercial, 16 mm production: Katze Productions, London 1997 Lee Buddah - „Manchmal Ist Sie Seltsam“ music video, Super 8 mm 4 client: Deck8 Records production: Tristan Ferland Milewski 1996 – 1997 „Felix" and "Fu“ documentary films, Betacam, Hi8, 45 mins shown on ARTE and various contemporary art galleries production: FH Dortmund 1994 „UFOs über Dortmund“ Mockumentary, Betacam, Hi8, 15 mins Screenings on international short film festivals production: FH Dortmund 1993 „Manchmal“ short fictional film 16 mm, 5 mins Lilo Wanders Award, 1995, awarded by Christoph Schlingensief Off Broadway Award, 1995 Ex-Ground On Screen Award, 1994 Screenings on international short film festivals production: FH Dortmund 1992 - 1996 photographer editorials, reportage portaits of: Arnold Schwarzenegger, Lori Petty, Mike D (Beastie Boys), Helge Schneider, Leander Haußmann, Jürgen Möllemann, Christoph Schlingensief, Willy Thomczyk, Friedrich Küppersbusch and others 5 .
Load more

Recommended publications
  • Press Release
    Press Release Waldbuehne Berlin: record season 2016 330.000 visitors | 18 events, ten of which sold out | Waldbuehne ranked third in worldwide 2016 half year-ranking | Many highlights announced for 2017 Berlin, 14. October 2016: the Waldbuehne Berlin reached new record numbers this year with 330.000 visitors and ten sold out events. With a total of 18 event days, Europe’s most beautiful open air amphitheatre offered a multi-faceted high class program. Top-Acts like Paul McCartney, Sting, Neil Young, Herbert Groenemeyer and rock legends Puhdys + City + Karat and many more afforded the visitors some unforgettable evenings at mostly dry summer weather. Especially for rock fans the Waldbuehne Berlin had major highlights to offer: heavy metal gods Iron Maiden excited more than 22.000 fans on 31 May in a unique setting at their 150th German concert. Followed by the sold-out concert of the final Black Sabbath Tour on 8 June, one of the most legendary bands of rock history, who fired up the audience. One of the highlights this season were the three sold-out gigs by Rammstein, who played the Waldbuehne for the first time ever and in their hometown Berlin excited more than 65.000 fans with a gigantic show. At the sold-out charity festival “PEACE x PEACE – Your Voice For Children!” on 5 June, German und international top-acts collected donations for children growing up amid war or as refugees. Bands included Seeed, Beatsteaks and Namika as well as the P x P Allstars band specially formed for the festival by Max Herre, Joy Denalane, Patrice, Clueso, Megaloh, Afrob and Samy Deluxe.
    [Show full text]
  • Johannes Oerding Linkin Park Rammstein Die Toten Hosen Astral Doors Diana Krall Paul Weller Mando Diao the Beatles Inhalt
    GRATIS | MAI 2017 Ausgabe 38 JOHANNES OERDING LINKIN PARK RAMMSTEIN DIE TOTEN HOSEN ASTRAL DOORS DIANA KRALL PAUL WELLER MANDO DIAO THE BEATLES INHALT INHALT EDITION – IMPRESSUM 03 BLONDIE HERAUSGEBER 04 JOHANNES OERDING AKTIV MUSIK MARKETING GMBH & CO. KG 05 RAMMSTEIN | DIE TOTEN HOSEN Steintorweg 8, 20099 Hamburg, UstID: DE 187995651 06 LINKIN PARK PERSÖNLICH HAFTENDE GESELLSCHAFTERIN: 07 MANDO DIAO | THE KOOKS | HELEN SCHNEIDER AKTIV MUSIK MARKETING 08 THE BEATLES | PAUL WELLER VERWALTUNGS GMBH & CO. KG 09 IRON MAIDEN | FOREIGNER | KRAFTWERK Steintorweg 8, 20099 Hamburg 10 HARRY STYLES | NATALIA AVELON | SITZ: Hamburg, HR B 100122 THOMAS AZIER GESCHÄFTSFÜHRER Marcus-Johannes Heinz 11 ÁSGEIR | FAYZEN | JAKE ISAAC FON: 040/468 99 28-0 Fax: 040/468 99 28-15 12 HELENE FISCHER | ALEJANDRA RIBERA | E-MAIL: [email protected] MIA AEGERTER 13 GUARDIANS OF THE GALAXY | ELIF | REDAKTIONS- UND ANZEIGENLEITUNG THE BOSSHOSS Daniel Ahrweiler (da) (verantwortlich für den Inhalt) 14 DIANA KRALL | LESLIE CLIO 15 JOHN MAYER | KENDRICK LAMAR | THE WHOLLS MITARBEITER DIESER AUSGABE 16 ASTRAL DOORS | DIE NEGATION | Marcel Anders (ma), Kai Florian Becker (kfb), WHILE SHE SLEEPS Helmut Blecher (hb), Dagmar Leischow (dl), 17 ALBUM-TIPPS Steffen Rüth (sr), Anja Wegner, Nadine Wenzlick (nw) 21 DAS LÄUFT IM LADEN 22 PLATTENLADEN DES MONATS | PLATTENLÄDEN FOTOGRAFEN DIESER AUSGABE 23 TOP 20 VINYL-CHARTS Kristina Wagenbauer (2 Alejandra Ribera), Alexander Thompson (3 Blondie), Marcel Schaar Bleibe auf dem Laufenden und bestelle unseren Newsletter auf (4 Johannes Oerding),
    [Show full text]
  • Austrian Rap Music and Sonic Reproducibility by Edward
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Poetic Loop: Austrian Rap Music and Sonic Reproducibility By Edward C. Dawson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German May 11, 2018 Nashville, Tennessee Approved: Christoph M. Zeller, Ph.D. Lutz P. Koepnick, Ph.D. Philip J. McFarland, Ph.D. Joy H. Calico, Ph.D. Copyright © 2018 by Edward Clark Dawson All Rights Reserved ii For Abby, who has loved “the old boom bap” from birth, and whose favorite song is discussed on pages 109-121, and For Margaret, who will surely express a similar appreciation once she learns to speak. iii ACKNOWLEDGEMENTS This work would not have been possible without an Ernst Mach Fellowship from the Austrian Exchange Service (OeAD), which allowed me to spend the 2015-16 year conducting research in Vienna. I would like to thank Annagret Pelz for her support, as well as all the participants in the 2015-2016 Franz Werfel Seminar, whose feedback and suggestions were invaluable, especially Caroline Kita and organizers Michael Rohrwasser and Constanze Fliedl. During my time in Vienna, I had the opportunity to learn about Austrian rap from a number of artists and practitioners, and would like to thank Flip and Huckey of Texta, Millionen Keys, and DJ Taekwondo. A special thank you to Tibor Valyi-Nagy for attending shows with me and drawing my attention to connections I otherwise would have missed.
    [Show full text]
  • Inhalt - Teil 1
    Inhalt - Teil 1 Vorwort (Gottfried Heinzmann) 8 Herzlichen Dank (Katja Heimann und Nicole Hauser) , 10 Praktische Tipps - Wie halte ich am besten die Liedandacht? 11 Die Songandachten 13 Ich+Ich: Universum 14 Freiheit; Nähe; Geborgenheit Udo Lindenberg feat. Jan Delay: Ganz anders 16 Identität Curse: Freiheit 18 Freiheit; Zuhause L Train: Marry me 20 Mut; Entscheidungen; Beziehung zu Jesus Jessie J: Price tag 22 Liebe Gottes; Selbstwert Laith Al-Deen: Sicher sein 24 Sicherheit; Vertrauen; Zukunft Kings of Leon: Use somebody 26 Vorbilder; Anerkennung Ich+Ich: Pflaster 28 Wunde Punkte; Heilung Andreas Bourani: Nur in meinem Kopf 30 Positives Denken; Negatives Denken; Neustart Unheilig: Geboren, um zu leben 32 Leben; Veränderung Lenny Kravitz: If you want it 34 Leben; Freiheit Bushido: Wärst du immer noch hier? 36 Liebe; Treue; Anerkennung 1 http://d-nb.info/1018131043 Curse: Und was jetzt? 38 Beziehung; Trennung; Vergebung; Liebe Philipp Poisel: Froh, dabei zu sein 40 Tod; Sterben; Hoffnung Blumentopf: Mehr 42 Unzufriedenheit; Veränderung Greenday: Boulevard of broken dreams 44 Lebensweg; Sinn des Lebens Laith Al-Deen: Alles an dir 46 Freiheit; Selbstbestimmung; Fremdbestimmung Jupiter Jones: Still 48 Vermissen; Zweifel Clueso: Zu schnell vorbei 50 Zeit; Veränderung Tim Bendzko: Nur noch kurz die Welt retten 52 Jesus; Nachfolge Revolverheld: Spinner 54 Berufung; Begleitung; Beziehung Die Toten Hosen: Ich bin die Sehnsucht in dir 56 Angst; Rettung; Sehnsucht Die Ärzte: Lasse reden 58 Ansehen; Lästern; Selbstwert Revolverheld: Halt dich an
    [Show full text]
  • Santos MA Final Draft
    FROM GHETTO TO GOETHE: GERMAN RAPPERS OF COLOR CLAIMING THEIR SPACE IN THE NATION By Krsna Santos A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of German Studies — Master of Arts 2016 ABSTRACT FROM GHETTO TO GOETHE: GERMAN RAPPERS OF COLOR CLAIMING THEIR SPACE IN THE NATION By Krsna Santos This thesis examines how contemporary German rappers of color offer decolonial critiques of definitions of nation, the cultural canon and German identity. Finding the traditional definitions insufficient for their multiracial, multiethnic and multinational identities, they propose more inclusive definitions of nation, canon and Germanness. Despite being marginalized, these rappers claim aspects of a Germany that resists them, and carve out a place in the national narrative. This movement from marginalization to speaking for the nation is the unique turn the subaltern in German hip-hop makes. The study analyzes songs, music videos and interviews with Samy Deluxe, Eko Fresh and Blumio to show how they use three distinct strategies — contesting constructions of canon and national identity through verse, practicing decolonial and sarcastic love and mapping hyperlocality — to accomplish the aims of critiquing and offering new definitions. With these strategies the rappers demonstrate that hip-hop not only is a poetic force that gives voice to Germans of color, but also has a place as an art form in canonical German culture. Hip-hop in Germany does the singular work of giving voice to Germans of color and elevates these voices to places of cultural authority. Copyright by KRSNA SANTOS 2016 This thesis is dedicated to my mother Maria Lena, my colleagues in the German department at MSU and my friends Max and Liz, for supporting me and nurturing me with their empathy and love.
    [Show full text]
  • Dokument 1.Pdf
    »DAS LEBEN EINES GS« — AKTUELLE SCHNITTMUSTER IM DEUTSCHEN HIPHOP Dietmar Elflein Die wissenschaftliche Beschäftigung mit bundesdeutschem HipHop kreist um mehrere thematische Schwerpunkte: Erstens ist deutscher HipHop eine Straßen- und Jugendkultur mit einem hohen Anteil von Migranten unter den Aktiven und Konsumenten und einer eigenen, mindestens zwanzigjährigen Geschichte. Deutscher HipHop in allen seinen Facetten wird zweitens greif- bar als künstlerischer Ausdruck (nicht nur) dieser Kultur. Diese beiden Aspekte werden häufig mit Hilfe von Begriffen wie »Reterritorialisierung« (z.B. Androutsopoulos 2003; Solomon 2005) verhandelt, verstanden als eine Art lokale und/oder nationale Gegenbewegung zur globalisierten Populär- kultur, oder der Fokus der Beobachtung liegt auf der Ausbildung hybrider migrantischer Identitäten der Aktiven unter den gesellschaftlichen Bedin- gungen der Bundesrepublik Deutschland, die mit Begriffen wie »Diaspora« (z.B. Kaya 2001) fassbar gemacht werden sollen. Drittens wird deutscher HipHop über kommerzielle Veröffentlichungen, deren Vermarktung sowie eine Szene-Infrastruktur, die (potentielle) Teil- haber der Kultur mit den notwendigen Accessoires versorgt, zum Geschäft und oszilliert hier zwischen Untergrund-Kleinunternehmertum und den glo- balen Konzernen der Musikindustrie. Die DVD Rap City Berlin (Gumpert et al. 2005) versammelt beispielsweise allein für Berlin 40 HipHop-orientierte, unabhängige Plattenfirmen und ist dabei nicht einmal vollständig. Viertens schließlich scheint deutscher HipHop nicht denkbar ohne den Blick nach Übersee. »African-derived aesthetics, social norms, standards, and sensibilities are deeply embedded in the form, even when it is being performed by individuals who are not themselves of African descent« (Schloss 2004: 3). Als Teil des glokalen Phänomens HipHop ist dessen deut- scher Ableger also immer auch Kopie und/oder Aneignung US-amerikani- scher Genre-Archetypen.
    [Show full text]
  • Press Release
    Press Release ‘Waldbuehne Berlin’ arena kicks off a summer of rock ’n roll Great open-air season with 18 events / Three Rammstein shows sold out / New service and catering concept Berlin, 27 May 2016: Next weekend marks the start of the 2016 ‘Waldbuehne’ season, with a total of 18 events. A bevy of top German and international acts will grace Europe’s most beautiful open-air amphitheatre for many sold out shows. The programme for the summer months ahead contains a mixed bag of rock, pop, heavy metal, beat and classical music. The series starts on 28 May 2016 with rock legends PUHDYS + CITY + KARAT, followed on 31 May by Iron Maiden with their exclusive headline open-air show. One of the highlights this season are the three sold-out gigs by Rammstein, who will be playing Waldbuehne Berlin for the first time ever. On three days in July (8th, 9th and 11th), more than 60,000 Rammstein fans can look forward to three home appearances and a fantastic open-air atmosphere. A month before that, on 8 June, Black Sabbath will be giving their sold-out concert in this natural-ravine-turned-amphitheatre. On their farewell world tour, ‘THE END’, Ozzy Osbourne, Tony Iommi and Geezer Butler will close the book on the greatest metal band of all time. Another sold-out highlight on the Waldbuehne Berlin is the charity festival ‘PEACE x PEACE – Your Voice For Children!’ on 5 June. Top German and international acts will be collecting donations for children growing up amid war, or as refugees.
    [Show full text]
  • Das Bandtagebuch Mit EINSHOCH6 Folge 1: WILLKOMMEN BEI EINSHOCH6
    Das Bandtagebuch mit EINSHOCH6 Folge 1: WILLKOMMEN BEI EINSHOCH6 HINTERGRUNDINFOS FÜR LEHRER Der Hip-Hop Die Hip-Hop-Kultur hat vier Hauptelemente: Auf der musikalischen Ebene sind das der Sprechgesang, auch Rap genannt, und das Mischen von Livemusik mit Musik von Schallplatten, das sogenannte DJ-ing. Zum Hip-Hop gehören ebenfalls ein bestimmter Tanzstil (z. B. der Breakdance) und das Sprühen von Graffiti, wobei mit Farbe Bilder und Schriftzüge – meist an Mauern – gesprüht werden. Entstanden ist die Hip-Hop-Kultur in den 70er-Jahren als Die Band Fettes Brot ist seit den 90er Jahren eine Subkultur auf den Straßen der sozial der erfolgreichsten deutschen Hip Hop-Bands benachteiligten Viertel von New York. Die schwarzen Bewohner nutzten die Musik dazu, sich selbst neu zu definieren und ihr Lebensgefühl nach außen zu tragen. Die Texte handeln meist von Kriminalität, Diskriminierung und Armut, aber es gibt auch Nonsens-Texte oder witzige Themen. Andere Rapper fallen durch homophobe oder sexistische Texte negativ auf. In den 90er Jahren hat sich Hip-Hop auf der ganzen Welt verbreitet. In Deutschland machten Bands wie Die Fantastischen Vier und das Rödelheim Hartreim Projekt schon Die Fantastischen Vier sind auch heute noch populär in den Achtzigern Hip-Hop. Damals bewegte sich dieser Musikstil aber noch im Untergrund und wurde nur von wenigen Leuten gehört. Populär wurde er dann in den 90er-Jahren mit Bands wie Fettes Brot, Absolute Beginner, Samy Deluxe und Fünf Sterne Deluxe. Seite 1/3 Deutsch zum Mitnehmen www.dw.com/bandtagebuch Deutsche Welle Das Bandtagebuch mit EINSHOCH6 Folge 1: WILLKOMMEN BEI EINSHOCH6 Klassische Musik Mit der Bezeichnung „klassische Musik“ grenzt sich der Musikstil von anderen, zum Beispiel von der Popmusik, ab.
    [Show full text]
  • <Title of Work, Centered
    Der Unterricht für die Unterschicht: Voices from the Margins in German Gangster Rap by Alexandra Smith, BA A Thesis In GERMAN Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Anita McChesney Chair of Committee Stefanie Borst Charles Grair Dominick Casadonte Interim Dean of the Graduate School May, 2013 Copyright 2013, Alexandra Smith Texas Tech University, Alexandra Smith, May 2013 ACKNOWLEDGMENTS This thesis would not have been possible without the guidance and assistance of several individuals who have contributed their time and support in the preparation and completion of this project. First and foremost, I would like to express my deepest gratitude to my thesis advisor and chair of my committee, Dr. Anita McChesney. Her unwavering support, guidance, and encouragement have been utterly invaluable to me throughout my time in the Texas Tech University German program. Moreover, her invaluable wisdom, insight, and unwavering patience have aided me on every level throughout the creation of this work in particular. Her example will continue to serve as a source of inspiration for me as I further my education and professional development. I would also like to thank my committee members, Dr. Charles Grair and Dr. Stefanie Borst, for sharing their vast knowledge with me, both in- and outside of class, and especially for contributing their invaluable feedback to this project. I would also like to thank Dr. Marlene Selker for helping me to develop my knowledge of German literature and culture via courses on both the undergraduate and graduate level, as well as in person.
    [Show full text]
  • Marissa K. Munderloh Phd Thesis
    The Emergence of Post-Hybrid Identities: a Comparative Analysis of National Identity Formations in Germany’s Contemporary Hip-Hop Culture Marissa Kristina Munderloh This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 3 October 2014 Abstract This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg. In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture.
    [Show full text]
  • Aesthetics of the Anthropocene: an Analysis of Ger- Man Rap’S Critique on the Surveillance System of Time
    AESTHETICS OF THE ANTHROPOCENE: AN ANALYSIS OF GER- MAN RAP’S CRITIQUE ON THE SURVEILLANCE SYSTEM OF TIME. Dissertation submitted to Universidade Católica Portuguesa to obtain a Master’s Degree in Culture Studies (Specialization: Performance and Creativity) By Lukas Maximilian Friedrich Faculty of Human Sciences September 2019 AESTHETICS OF THE ANTHROPOCENE: AN ANALYSIS OF GERMAN RAP’S CRITIQUE ON THE SURVEILLANCE SYSTEM OF TIME. Dissertation submitted to Universidade Católica Portuguesa to obtain a Master’s Degree in Culture Studies (Specialization: Performance and Creativity) By Lukas Maximilian Friedrich Faculty of Human Sciences Under the supervision of Professor Joana Moura and Professor Peter Hanenberg September 2019 ABSTRACT Post-modernity is thought of as an era of contradictions. Mass media, the Web 3.0, and cor- porate governance cause an increasing level of insecurity regarding the validity of infor- mation. Furthermore, liberty is renamed into freedom to legitimize polluting and exploitive actions which appear altogether grounded on managerial interests. In Marcusian thought, this dissertation contributes to the function of the arts as means of knowledge production, while focusing on German rap as one of the most consumed forms of post-modern popular culture. The work at hand argues that to keep society under control, the metaphysical element of time has been gradually turned into a tool of surveillance. Drawing on Kutschera’s con- cept of aesthetics, a critical, textual analysis of eight contemporary German rap lyrics is conducted. The two-sided argumentation firstly focuses on a vertical time axis of post-in- dustrial society, in which time has become the object of a trade-off calculation between physical and digital control and one’s individual material wealth.
    [Show full text]
  • Analyse Deutschsprachiger Rap-Titel 1990 - 2014
    MASTERARBEIT Titel der Masterarbeit „HipHop als Instrument politischer Partizipation – Rap als Sprache derer, denen keiner zuhört“ Verfasser Maximilian Hecke BA angestrebter akademischer Grad Master of Arts (MA) Wien, 2015 Studienkennzahl lt. Studienblatt: A 066 824 Studienrichtung lt. Studienblatt: Masterstudium Politikwissenschaft Betreut von: Univ.-Prof. Dr. Roman Horak Masterarbeit Politikwissenschaft Maximilian Hecke „HipHop ist nichts Ethnisches, Geographisches oder Öknomisches. Es ist deine eigene Entscheidung, ob du die Kultur erforschst, bevor du Teil davon wirst. (…) Gibst du dich aber als HipHopper aus, mußt du auch die Kultur anerkennen, seine Geschichte kennen, die Gegenwart verstehen und kämpfen, daß seine Zukunft besser wird.“ (Iriscience in Klein, Friedrich 2011, S. 52) 2 Masterarbeit Politikwissenschaft Maximilian Hecke Inhaltsverzeichnis Abbildungsverzeichnis...........................................................................................................5 Einleitung................................................................................................................................6 Forschungsfragen und Hypothesen.....................................................................................10 These:..........................................................................................................................10 Forschungsfrage:.........................................................................................................10 Methode: .....................................................................................................................11
    [Show full text]