Herbert Selpin Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

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Herbert Selpin ç”µå½± ä¸²è¡Œ (å¤§å…¨) The Love Contract https://zh.listvote.com/lists/film/movies/the-love-contract-12125874/actors Die Reiter von Deutsch- https://zh.listvote.com/lists/film/movies/die-reiter-von-deutsch-ostafrika-1215740/actors Ostafrika Water for Canitoga https://zh.listvote.com/lists/film/movies/water-for-canitoga-1301617/actors Alarm in Peking https://zh.listvote.com/lists/film/movies/alarm-in-peking-1334224/actors Scandal at the Fledermaus https://zh.listvote.com/lists/film/movies/scandal-at-the-fledermaus-14952548/actors Game on Board https://zh.listvote.com/lists/film/movies/game-on-board-1713241/actors Sergeant Berry https://zh.listvote.com/lists/film/movies/sergeant-berry-1723325/actors The Champion of Pontresina https://zh.listvote.com/lists/film/movies/the-champion-of-pontresina-20814471/actors Ich liebe Dich https://zh.listvote.com/lists/film/movies/ich-liebe-dich-20851084/actors The Dream of the Rhine https://zh.listvote.com/lists/film/movies/the-dream-of-the-rhine-20983748/actors Romance https://zh.listvote.com/lists/film/movies/romance-27121324/actors The Green Domino https://zh.listvote.com/lists/film/movies/the-green-domino-3222391/actors An Ideal Husband https://zh.listvote.com/lists/film/movies/an-ideal-husband-4750030/actors Geheimakte W.B.1 https://zh.listvote.com/lists/film/movies/geheimakte-w.b.1-5530063/actors The Way of Lost Souls https://zh.listvote.com/lists/film/movies/the-way-of-lost-souls-600525/actors Die Abenteuer eines https://zh.listvote.com/lists/film/movies/die-abenteuer-eines-zehnmarkscheines-751113/actors Zehnmarkscheines The Marriage Swindler https://zh.listvote.com/lists/film/movies/the-marriage-swindler-7750410/actors Carl Peters https://zh.listvote.com/lists/film/movies/carl-peters-820835/actors https://zh.listvote.com/lists/film/movies/%E9%90%B5%E9%81%94%E5%B0%BC%E8%99%9F- éµ é” å°¼è™Ÿ 679670/actors.

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PRESSEMAPPE Titel: Bring ‘em Back Alive, USA 1932, Clyde E. Elliott, Design: Pentagram BRANDSPUREN - FILMPLAKATE AUS DEM SALZSTOCK 28. NOVEMBER 2019 BIS 31. MAI 2020 DEUTSCHE KINEMATHEK – MUSEUM FÜR FILM UND FERNSEHEN www.deutsche-kinemathek.de Brandspuren – Filmplakate aus dem Salzstock 28. November 2019 bis 31. Mai 2020 Fakten Titel Brandspuren – Filmplakate aus dem Salzstock Laufzeit 28. November 2019 - 31. Mai 2020 Ort Museum für Film und Fernsehen im Filmhaus am Potsdamer Platz Potsdamer Straße 2, 10785 Berlin Öffnungszeiten Mittwoch bis Montag 10 bis 18 Uhr, Donnerstag 10 bis 20 Uhr Dienstag geschlossen Feiertage siehe: www.deutsche-kinemathek.de Tagesticket 8 € regulär, 5 € ermäßigt, 2 € Schüler, 8 € kl. und 16 € gr. Familienticket 5 € Gruppenticket, freier Eintritt donnerstags ab 16 Uhr Fahrverbindungen S-/U-Bahn Potsdamer Platz, Bus M48, M85, 200, 300 Varian-Fry-Straße Informationen T +49 (0)30 300903-0, F +49 (0)30 300903-13 E-Mail: [email protected] www.deutsche-kinemathek.de/besuch/ausstellungen www.facebook.com/MuseumfuerFilmundFernsehen www.twitter.com/de_kinemathek www.instagram.com/deutsche_kinemathek Fläche Etage 4, Filmhaus Führungen Öffentliche, mit den Kuratoren, „Zu Gast!“, siehe S. 4 Ausstellung Thematische Gliederung: Geschichte des Reichsfilmarchivs, Sicherung von Kulturgut / Filmaufnahmen von der Einfahrt in das Bergwerk Grasleben (Blackbox) / Restaurierte Filmplakate und Zensurmaterialien Exponate Plakate: 24 restaurierte Filmplakate von 22 Titeln internationaler und nationaler Produktionen aus den
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S.O.S. – the Titanic Centenary at BFI Southbank in April 2012
PRESS RELEASE February 2012 12/14 S.O.S. – The Titanic Centenary At BFI Southbank in April 2012 April 2012 marks the centenary of the tragic sinking of the Titanic along with the loss of 1,517 passengers. The intervening years and countless tales of heroism to emerge from the disaster have caused the event to gain near mythical status in film and television; the distinct lack of footage from either the disaster and of the ship prior to its departure only fuelling the intrigue. BFI Southbank gathers together many of the filmed dramatisations of the disaster for a commemorative season that spans interpretations of the event from Britain, (Atlantic 1929, A Night to Remember 1958) and the US (Titanic 1953) via a unique take on the disaster from the propaganda machine of Nazi era Germany (Titanic 1943). Other highlights of the centenary are set to include an exclusive preview of ITV’s upcoming series, Titanic (2012), written by Julian Fellowes followed by a Q&A with the writer, director and cast members that will kick of BFI’s celebrations on 20 March, the newly re mastered version of James Cameron’s Blockbuster Titanic 3D (2012) opening at BFI IMAX on April 5, an illustrated lecture from author Join Charles Barr on Alfred Hitchcock’s abandoned Titanic Project, a specially curated Mediateque collection and a Mezzanine display marking the event. Shortly before midnight on 14 April 1912, the maiden voyage of the White Star Line’s beacon of luxury and progress, RMS Titanic, ended in tragedy when she struck an iceberg and sank in the early hours of 15 April.
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The Boxers on the Silver Screen: the Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)*
Thoralf Klein Thoralf Klein The Boxers on the Silver Screen ˙176˙ The Boxers on the Silver Screen: The Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)* The first ‘Western’ narratives of the Boxer War appeared well before the fight- ing was actually over.1 Although this should caution us against assuming a clear-cut transition from event to memory, it was firstly the relief of Beijing on 14 August 1900 and, more importantly, the formal conclusion of the war through the Boxer Protocol of 7 September 1901 that allowed the retelling of the calamitous and harrowing occurrences. Novels, popular histories and short films repackaged an event that had been experienced as open and ongoing into coherent plots, complete from beginning to end. In so doing, they created a mainstream that increasingly (and narrowly) identified the Boxer War with * I wish to thank Stef Franck (Vlaamse Dienst voor Filmcultuur, Brussels, Belgium) for drawing my attention to The Red Lantern and generously providing me with a copy of the film and the accompanying volume; the Friedrich Wilhelm Murnau Stiftung (Wiesbaden, Germany) for lending me VHS and DVD copies of Alarm in Peking at various stages of my research; and the Margaret Herrick Library (Beverly Hills, CA) for its support. Thanks also to Christina Till for her critical reading of an earlier draft. 1 Arguably the first book-length fictional treatment that takes the diplomatic and -mil itary conflict into account (though not the first on the Boxers) is Julian Croskey, The S. G.: A Romance of Peking (Brooklyn, NY: Mason, 1900), published even before the siege of the Legations Quarter ended.
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Request a printed copy SKU Title 100 DAYS BEFORE THE COMMAND (Sto Dney do Prikaza) (1991) * with switchable 5989 English and German subtitles * 1858 12 MINUTEN NACH 12 (1939) 590 13 MANN UND EINE KANONE (1938) 3098 1860 (1934) * with switchable English subtitles * 776 1914 - DIE LETZTEN TAGE VOR DEM WELTBRAND (1931) * improved picture quality * 5290 1922 (1978) * with switchable English subtitles * 2554 24 STUNDEN AUS DEM LEBEN EINER FRAU (1931) * with switchable English subtitles * 1864 4 TREPPEN RECHTS (1945) 5697 491 (1964) * with switchable English and German subtitles * 356 5 FINGERS (1952) 681 A.D. – THE GLORY OF THE KHAN (1984) * with hard-encoded Bulgarian 2453 subtitles * 1857 7 OHRFEIGEN (1937) 4878 80 HUSZAR (80 Hussars) (1978) * with switchable English subtitles * 5505 A BAD JOKE (Skvernyy anekdot) (1966) * with switchable English subtitles * A BRIVELE DER MAMEN (A LETTER TO MAMA) (1938) *Hard-Encoded English 786 subtitles* 3056 A CANTERBURY TALE (1944) 5040 A CARRIAGE TO VIENNA (1966) * with switchable English subtitles * 4163 A COTTAGE ON DARTMOOR (1929) 3066 A DEADLY INVENTION (Vynález zkázy) (1958) 5575 A DREAM (1964) * with switchable English subtitles * 2769 A FIRE HAS BEEN ARRANGED (1935) 319 A FOREIGN AFFAIR (1948) * with or without hard-encoded German subtitles * 2919 A GIRL IN BLACK (To koritsi me ta mavra) (1956) * with switchable English subtitles * 2590 A HISTORY OF MILITARY PARADES ON RED SQUARE (1918 – 2010) (2013) 312 A JOURNEY THROUGH OLD EAST PRUSSIA *with switchable English subtitles* 313 A JOURNEY THROUGH
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Selling Genocide I: the Earlier Films
Reason Papers Vol. 38, no. 1 Selling Genocide I: The Earlier Films Gary James Jason California State University, Fullerton 1. Introduction In an earlier article in this journal,1 I began an inquiry into the role of cinema as an instrument of propaganda. The questions that frame this research program are easy to raise, but not necessarily easy to answer. They include: What is propaganda? Is it inherently immoral or at least morally suspect, and if so, why? What use has historically been made of film for propaganda? If film is effective as a propaganda vehicle, by what psychological mechanisms does it work? Is film the medium best suited for propaganda, and if so, why? I suggested in that article that a good place to start this research program is with the Nazi film industry, but I omitted an explanation of why. Let me correct that mistake here. It seems to me that there are several reasons why the Nazi film industry is a natural starting point. First, the Nazis explicitly praised the power of film as a tool for propagandizing. In this, they unabashedly emulated the Bolsheviks, a group they otherwise despised—indeed, regarded as their mortal enemies. This allows us to understand how they thought they could use the medium as part of their propaganda campaign. Second, the Nazis (like the Bolsheviks) early on in their reign of power took control of—and then completely nationalized—the country’s film industry. This insured that only movies that promoted the regime’s agenda were produced, so we can see precisely how they tailored their films to promote that agenda.
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Klassiker Der Deutschen Filme
Klassiker der deutschen Filme Die Konferenz der Tiere (1969) ..................................................................................................3 Zwei blaue Vergißmeinnicht (1963)............................................................................................4 So liebt und küsst man in Tirol (1961) ........................................................................................5 Am Sonntag will mein Süsser… (1961) ......................................................................................5 Allotria in Zell am See (1963).....................................................................................................6 Freddy und das Lied der Südsee (1962).......................................................................................7 Lady Windermeres Fächer (1935)...............................................................................................7 Fridericus - Der Alte Fritz (1963)................................................................................................8 Paradies Paradies der Junggesellen (1939) ..................................................................................9 Der Kaiser von Kalifornien (1935/36).........................................................................................9 Amphitryon (1935) ...................................................................................................................10 Der Jugendrichter (1959) ..........................................................................................................11
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Copyright by Christelle Georgette Le Faucheur 2012
Copyright by Christelle Georgette Le Faucheur 2012 The Dissertation Committee for Christelle Georgette Le Faucheur Certifies that this is the approved version of the following dissertation: Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 Committee: David Crew, Supervisor Sabine Hake, Co-Supervisor Judith Coffin Joan Neuberger Janet Staiger Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 by Christelle Georgette Le Faucheur, Magister Artium 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 May 2012 Acknowledgements Though the writing of the dissertation is often a solitary endeavor, I could not have completed it without the support of a number of institutions and individuals. I am grateful to the Department of History at the University of Texas at Austin, for its consistent support of my graduate studies. Years of Teaching Assistantships followed by Assistant Instructor positions have allowed me to remain financially afloat, a vital condition for the completion of any dissertation. Grants from the Dora Bonham Memorial Fund and the Centennial Graduate Student Support Fund enabled me to travel to conferences and present the preliminary results of my work, leading to fruitful discussions and great improvements. The Continuing Fellowship supported a year of dissertation writing. Without the help of Marilyn Lehman, Graduate Coordinator, most of this would not have been possible and I am grateful for her help. I must also thank the German Academic Exchange Service, DAAD, for granting me two extensive scholarships which allowed me to travel to Germany.
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Presentación El Cine De Propaganda Nazi En América
PRESENTACIÓN EL CINE DE PROPAGANDA NAZI EN AMÉRICA LATINA. APORTES PARA EL ANÁLISIS DE LA DIPLOMACIA CULTURAL ALEMANA DURANTE EL TERCER REICH EN LA REGIÓN Nazi Cinema in Latin America. Contributions to the Analysis of German Cultural Diplomacy During the Third Reich i the Area María Valeria Galvána CONICET / IIP-Universidad Nacional de San Martin Marina Moguillanskyb CONICET / IDAES-Universidad Nacional de San Martin DOI: 10.15366/secuencias2020.52 El cine ocupó un lugar central en la Alemania del nacionalsocialismo. Tanto para Adolf Hitler como para su Ministro de Propaganda, Joseph Goebbels, la propaganda en gene- ral y el cine en particular eran recursos muy relevantes no sólo para producir consenso y exaltar ideas afines al régimen, sino también para el entretenimiento y la ilustración populares. Desde el comienzo del Tercer Reich, el cine sería regulado por nuevas insti- tuciones, con la creación de la Cámara del Cine del Reich (Reichsfilmkammer); también era regulado por una división específica del partido Nazi y asimismo tenía incumbencia el Ministerio de Propaganda. Según la mirada de Goebbels, el cine alemán necesitaba nuevos talentos provenientes del propio pueblo alemán y nuevas ideas para conver- tirse en un poder mundial, compitiendo en igualdad de condiciones con Hollywood1. Según un discurso que pronunció el 28 de marzo de 1933 frente a representantes de la industria del cine, Goebbels consideraba que el cine nacionalsocialista debía ser de alta calidad, con un sentido de las formas cinematográficas, proveyendo al pueblo de entretenimiento y formación, con un compromiso directo con el régimen, pero sin que ello implicase que las películas se centrasen siempre en la ideología política.
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La Guerra De Celuloide: Goebbels Vs. Hollywood, 1939-1941 RAFAEL DE ESPAÑA
La guerra de celuloide: Goebbels vs. Hollywood, 1939-1941 RAFAEL DE ESPAÑA EL CINE COMO ARMA El cine comenzó muy pronto a ser vehículo de propaganda bélica: ya en abril de 1898, cuando Estados Unidos acababa de declarar la guerra a España, el incipiente público cinematográfico americano pudo entusiasmarse viendo como la odiada bandera española era arriada violentamente y sustituida por su Old Glory en un plano totalmente prefabricado de contundente simbolismo patriótico 1. Cuando en 1917 el país que ya era hegemónico en el continente americano decidió intervenir en las disputas europeas, el cine ya no era un espectáculo de barraca de feria sino una auténtica industria, cada vez más floreciente y, por consiguiente, tan ligada a los intereses económicos de la nación como la de armamento o cualquier otra; no es de extrañar, pues, que apoyara con gran ahínco el esfuerzo bélico, exaltando las virtudes propias y las miserias ajenas. Si algún ciudadano de los Estados Unidos no veía clara la razón que le llevaba a combatir a los llamados «imperios centrales» (de los que probablemente no había oído hablar en su vida), nada mejor que enseñarle una película donde unos hunos brutales de bigote retorcido osaban atentar contra la virtud de «la novia de América» 2; si no sabía quién era el jefe del bando enemigo, se le informaba de que era un tal Kaiser, más conocido como «la bestia de Berlín» 3, y si se le pasaba por la cabeza que el enemigo tuviera alguna pasibilidad de vencer, en esa misma sala podía comprobar como Charles Chaplin, a pesar de su triste figura, deshacía sin grandes dificultades las tropas prusianas en una «versión Münchhausen» de las hazañas del sargento York 4.
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Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939
Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939. by William Gregory Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by William Gregory, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939” by William Gregory in partial fulfilment of the requirements for the degree of Master of Arts. Dated: 25 August 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: 25 August 2011 AUTHOR: William Gregory TITLE: Breaking the Rules: Hollywood and the Limits of Propaganda in Nazi Germany, 1933-1939 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission
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REINER BOLLER WILDER WESTEN MADE IN GERMANY Reiner Boller Wilder Westen made in Germany Reiner Boller Wilder Westen made in Germany Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2018 Mühlbeyer Filmbuchverlag Inh. Harald Mühlbeyer Frankenstraße 21a 67227 Frankenthal www.muehlbeyer-verlag.de Lektorat, Layout: Harald Mühlbeyer Umschlaggestaltung: Steven Löttgers, Löttgers-Design / Harald Mühlbeyer Umschlagabbildung: © Rialto Film, mit freundlicher Genehmigung von Matthias Wendlandt ISBN: 978-3-945378-44-1 (PDF) 978-3-945378-41-0 (Print) 978-3-945378-42-7 (Epub) 978-3-945378-43-4 (Mobipocket) Das Werk, einschließlich seiner Teile, ist urheberrechtlich geschützt. Jede Verwertung ist ohne Zustimmung des Verlages und des Autors unzulässig. Dies gilt insbesondere für die elektronische oder sonstige Vervielfältigung, Übersetzung, Verbreitung und öffentliche Zugänglichmachung. Inhalt Wildwest ohne Knallerei: Stumme Colt-Duelle an Rhein, Neckar und Isar.............................11 Wilder Westen im Dritten Reich...................................................................................................................16 DER KAISER VON KALIFORNIEN......................................................................................................................17 SERGEANT BERRY.............................................................................................................................................23
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Space and Gender in Post-War German Film
The Misogyny of the Trümmerfilm - Space and Gender in Post-War German film A thesis submitted to the University of Reading For the degree of Doctor of Philosophy Department of Modern Languages and European Studies Richard M. McKenzie January 2017 1 | Page Acknowledgements I would like to express my thanks to my supervisors Dr Ute Wölfel and Prof. John Sandford for their support, guidance and supervision whilst my thesis was developing and being written. It has been a pleasure to discuss the complexities of the Trümmerfilm with you both over multiple coffees during the last few years. I am also grateful for the financial support provided by the Reading University Modern Foreign Languages Department at the beginning of my PhD study. My thanks must also go to Kathryn, Sophie and Isabelle McKenzie, with my parents and sister, for their forbearance whilst I concentrated on my thesis. In addition to my supervisors and family, I would like to record my thanks to my friends; Prof. Paul Francis, Dr Peter Lowman, Dr Daniela La Penna, Dr Simon Mortimer, Dr J.L. Moys and D.M. Pursglove for their vital encouragement at different points over the last few years. Finally, I would like to acknowledge the debt that I owe to two people. Firstly, Herr Wilfred Muscheid of the Frankfurt International School who introduced me to the intricacies of the German language ultimately making my PhD study possible. Secondly, I would like to acknowledge the influence of the late Prof. Lindsey Hughes, lecturer in the former Reading University Russian Department, who, with her departmental colleagues, taught me many of the basic academic tools and determination that I have needed to complete my PhD.
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