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ECFA 1-2019.Indd
INTERVIEW Claus Räfl e about THE INVISIBLES “He said: Now make something good out of it” vive in a climate of fear, insecurity and ill-founded hope. With fake identity papers, without food rations or safe accommodations, relying on their bra- ve aides, whom Räfle commemorates with this film. Four Jewish survivors learned that sometimes the best place to hide is in plain sight, thus dodging the Gestapo and their network of inform- and Count Ciano, who were system- schlag, who snitched on many of her ants, knowing that death was just one atically spied on. Janson’s story gave fellows to the Gestapo. mistake away. Living so recklessly in me and my wife, co-author Alejandra the middle of Berlin, they became Lopez, the idea of searching for more Then how did you find your intervie- practically invisible to the Nazi re- ‘invisibles’ and tell their inherently ex- wees? gime. THE INVISIBLES mixes dramatic citing survival adventures. Räfle: Historians Barbara Schieb and reenactment with interviews with the Beate Kosmala of the ‘German Resist- real survivors whose lives inspired the How did you further develop that ance/ Silent Heroes’ Memorial were film. idea? of great help. After we had convinced Räfle: We started reading biographies, them of our project, they provided us Claus Räfle: In 2004, I made a TV doc- most of which had been written by the with information, recommendations Claus Räfle’s docu-drama tells about umentary about a Nazi brothel, in persons concerned or by their (grand) and addresses. The first one we called four young Jews, two women and two which the young Jewish Rosalie Jan- children. -
Italienischer Faschismus Und Deutscher Nationalsozialismus Im Italienischen Genrefilm Peter Scheinpflug Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2010 Italienischer Faschismus und deutscher Nationalsozialismus im italienischen Genrefilm Peter Scheinpflug Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Scheinpflug, Peter, "Italienischer Faschismus und deutscher Nationalsozialismus im italienischen Genrefilm" (2010). All Theses and Dissertations (ETDs). 494. https://openscholarship.wustl.edu/etd/494 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department for Germanic Languages and Literatures ITALIENISCHER FASCHISMUS UND DEUTSCHER NATIONALSOZIALISMUS IM ITALIENISCHEN GENREFILM by Peter Scheinpflug A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements of the degree of Master of Arts May 2010 Saint Louis, Missouri INHALTSVERZEICHNIS: Kapitel Seite 1 Was die Deutschen schauten, als ihre neuen Klassiker filmten..................... 1 1.1 Papas Kino vs. Gramsci’s Cinema: populäre Genres in Deutschland und Italien..................................................................................9 1.2 Die historische Signifikanz von Genrezyklen............................................... -
Specimen Book by Fantasiaa Type S
BR BRASS THE TYPEFACE A specimen book by FantasiaA Type S BRASS THE FILM DIRECTOR A concise filmography by Fantasia Type S 1958 → P. 02 1971 → P. 22 1992 → P. 42 1963 → P. 04 1971 → P. 24 1994 → P. 44 1964 → P. 06 1976 → P. 26 1995 → P. 46 1964 → P. 08 1979 → P. 28 1998 → P. 48 1964 → P. 10 1980 → P.30 2000 → P. 50 1966 → P. 12 1983 → P. 32 2002 → P. 52 BRASS Light 768 pt 1967 → P. 14 1985 → P. 34 2003 → P. 14 1968 → P. 16 1987 → P. 36 2006 → P. 56 BRASS (1966). He was approached in 1976 to direct a only credited for “Principal Photography”. Despite THE FILM DIRECTOR sexploitation quickie, “Salon Kitty” (1976), but he this, the film remains his most widely viewed work wisely chose to have the script rewritten, turning it (and the highest-grossing Italian film released in Giovanni Brass was born on 26 March 1933 into the into a dark, political satire. the United States). family of a famous artist, Italico Brass, who was his 1968 → P. 18 1988 → P. 38 2008 → P. 58 grandfather. Italico gave his grandson a nickname The success of “Salon Kitty” lead Penthouse mag- Other notable works of Brass’s later period in- “Tintoretto” which Giovanni later adapted into his azine publisher Bob Guccione to choose Brass to clude “The Key” (1983), “Miranda” (1985), “Pa- cinematic name, Tinto Brass. helm “Caligola” (1979), the big-budget adaption prika” (1991), “Così fan tutte” (released under the Tinto inherited his grandfather’s artistic skills, but of Gore Vidal’s novel “Caligula”.“Caligola” was English title “All Ladies Do It”) (1992), “Monella” he applied them to film instead of canvas. -
Genocide, Memory and History
AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH AFTERMATH AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH Aftermath: Genocide, Memory and History © Copyright 2015 Copyright of the individual chapters is held by the chapter’s author/s. Copyright of this edited collection is held by Karen Auerbach. All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria, 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/agmh-9781922235633.html Design: Les Thomas ISBN: 978-1-922235-63-3 (paperback) ISBN: 978-1-922235-64-0 (PDF) ISBN: 978-1-876924-84-3 (epub) National Library of Australia Cataloguing-in-Publication entry: Title: Aftermath : genocide, memory and history / editor Karen Auerbach ISBN 9781922235633 (paperback) Series: History Subjects: Genocide. Genocide--Political aspects. Collective memory--Political aspects. Memorialization--Political aspects. Other Creators/Contributors: Auerbach, Karen, editor. Dewey Number: 304.663 CONTENTS Introduction ............................................... -
Queer Lion Award Venice Gays
65. Mostra Internazionale d’Arte Cinematografica Queer Lion Award Lido di Venezia 30 agosto / 6 settembre 2008 4. Giornate di Cinema Omosessuale Venice Gays Mestre 17 × 18 × 19 ottobre 2008 CinemArte presenta Organizzazione - Organization Indice 03 Staff / Ringraziamenti Queer Lion Award 04 La giuria 05 Festa di apertura: 30 agosto Coordinamento Generale Cerimonia di premiazione: 6 settembre General Management Daniel N. Casagrande Venice Market 06 Ciao: proiezione 31 agosto Traduzioni - Translations 07 The Lost Coast: proiezione 1 settembre Marco Busato 08 Antarctica: proiezione 2 settembre 09 Esprit es-tu là?: proiezione 3 settembre Grafica - Graphic design Marika Vettori Giornate di Cinema Omosessuale 10 Venice Gays: proiezioni 17 ottobre Sito - Website CinemArte.net 11 Venice Gays: proiezioni 18 ottobre Durica Nikolic 13 Venice Gays: proiezioni 19 ottobre Proiezioni - Projectionist David N. Casagrande Sigla - Opening short Fabio Fiandrini Foto di copertina - Cover photo “Ciao” di Yen Tan Contributo - Contribution Index Sostegno - Support 03 Staff / Acknowledgments Queer Lion Award 04 The jury 05 Opening party: August 30th Patrocinio - Patronage Award Ceremony: September 6th Venice Market 06 Ciao: screening August 31st 07 The Lost Coast: screening September 1st 08 Antarctica: screening September 2nd Media partner 09 Esprit es-tu là?: screening September 3rd Giornate di Cinema Omosessuale 10 Venice Gays: screenings October 17th 11 Venice Gays: screenings October 18th 13 Venice Gays: screenings October 19th Collaborazione - Collaboration Centro Sperimentale Cinematografia Silverscreen Cinemare Venezia Spiagge Aurora Street 3. LA GIURIA Queer Lion Award THE JURY TINTO BRASS MASSIMO BENVEGNÙ BOYD VAN HOEIJ DANIEL N. CASAGRANDE Tinto Brass Presidente di giuria / President of jury Nato a Milano, assistente di Rossellini, esordì alla re- Born in Milan, assistant for Roberto Rossellini, debu- gia nel ’63 con Chi lavora è perduto, opera influenza- ted as a director in ’63 with Who Works Is Lost, a movie ta dalla Nouvelle Vague. -
Rape As a Weapon of War: the Ed Mystification of the German Wehrmacht During the Second World War Alisse Baumgarten Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2013 Rape as a Weapon of War: The eD mystification of the German Wehrmacht During the Second World War Alisse Baumgarten Claremont McKenna College Recommended Citation Baumgarten, Alisse, "Rape as a Weapon of War: The eD mystification of the German Wehrmacht During the Second World War" (2013). CMC Senior Theses. Paper 586. http://scholarship.claremont.edu/cmc_theses/586 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT McKENNA COLLEGE RAPE AS A WEAPON OF WAR: THE DEMYSTIFICATION OF THE GERMAN WEHRMACHT DURING THE SECOND WORLD WAR SUBMITTED TO PROFESSOR JONATHAN PETROPOULOS AND DEAN GREGORY HESS BY ALISSE BAUMGARTEN FOR SENIOR THESIS ACADEMIC YEAR 2012-2013 APRIL 29, 2013 2 Contents Introduction ......................................................................................................................... 1 Chapter 1: Sex and the Nazis .............................................................................................. 9 The Rules of the Early Reich .......................................................................................... 9 The Ideal Woman .......................................................................................................... 12 The Advent of War ...................................................................................................... -
Appunti Di Degustazione
Tiratura: 25.092 “enonauti”, opinion leader e professionisti del vino - n. 48 - Ottobre 2009 - Info: [email protected] www.winenews.it - Registrazione Tribunale di Siena n. 709 del 31 Marzo 2001 - A cura di Franco Pallini e Antonio Boco Vendemmia: 2005 Vendemmia: 2007 Editoriale Proprietà: Tenuta Valdipiatta Proprietà: Ambrogio e Giovanni Pinot Nero toscano Uvaggio: Pinot Nero Folonari Bottiglie prodotte: 1.200 Uvaggio: Pinot Nero Ai più maliziosi la produzione di Enologo: Mauro Monicchi Bottiglie prodotte: 6.000 Pinot Nero in Toscana susciterà in Prezzo allo scaffale: Enologo: Marco Cervellara prima battuta la domanda “ma non € 23,00-25,00 Prezzo allo scaffale: gli bastava il Sangiovese?”, visto € 22,00-24,00 che nelle colline del Chianti piuttosto che di Montalcino l'impegno a “combattere” con un vitigno molto difficile da allevare già esiste da lungo tempo. Allora, i Valdipiatta Tenute A. e G. Folonari motivi per affrontare una difficoltà Pinot Nero Igt Toscana Pinot Nero Igt Toscana Cabreo Black di questo genere staranno nella Quella di Miriam Caporali è una delle aziende E’ sempre affascinante quando una storia che sempre più affannosa ricerca di più affascinanti di Montepulciano, capace di parte da lontano, come quella della storica una ulteriore differenziazione di imprimere ai suoi vini uno stile identitario e famiglia Folonari, impegnata nelle cose vinicole prodotto. Ma anche questa molto ben riconoscibile fatto di finezza ed fin dal ‘700, si dimostra capace di intraprendere ragione, se pure molto valida e di eleganza più che di concentrazione e rotondità. nuove sfide con tanta caparbietà ed sicuro tenuta in debito conto, non Con una filosofia produttiva di questo tipo, era entusiasmo. -
A Definition of an Employee and the Legal Protection of Sex Workers in the Workplace: a Comparative Study Between South Africa a -.:University of Limpopo
A definition of an employee and the legal protection of sex workers in the workplace: a comparative study between South Africa and Germany By PODU MDHLULI A mini-dissertation submitted in fulfillment of the requirements for the degree of Masters of laws (LLM) in Labour Law In the Faculty of Management & Law University of Limpopo (Turfloop campus) Supervisor: Adv. LT Nevondwe 2014 ABSTRACT The discussion looks at the history of commercial sex and how it has evolved in South Africa. The discussion evaluates the challenges that commercial sex workers face in South Africa and argues that the dignity of sex workers as citizens of South Africa are infringed and it would seem that less is being done to protect these workers due to nature of their work. It is argued that sex workers are still entitled to the rights enshrined in the Constitution despite the illegality of sex work. This discussion argues further that sex work continues to exist in South Africa despite its illegality and it would be prudent to address the challenges that encourage sex work because the criminalization of this type of work does not seem to minimize sex work. The discussion further looks at the case of Kylie v CCMA which has been subject to much debate recently. The discussion also makes a comparative study with Germany and determines the lessons which South Africa can learn from this country regarding decriminalization of sex work. i DECLARATION BY STUDENT I, Mrs Podu Mdhluli, declare that this mini-dissertation submitted to the University of Limpopo (Turfloop Campus) for the degree of Masters of Laws in Labour Law, has not been previously submitted by me for a degree at this or any other university, and that this is my own work in design and execution and all material contained herein has been duly acknowledged. -
The Sex Pistols and the London Mob
The Sex Pistols and the London Mob Michael Ewen Kitson Doctor of Philosophy University of Western Sydney, 2008 From my point of view it’s got nothing to do with music. And you could build up a whole thesis just on that thing. Marcus Lipton MP Johnny Rotten? Sid Vicious? Aren’t they characters from a Dickens novel? Kenny Rogers, country music singer1 1 Barry Cain, 77 Sulphate Strip, Ovolo, Cornwall 2007: p.101. Thank you to my brother Max for your hospitality in London and generous assistance (financial and intellectual); to my father Michael for unstinting encouragement and for our regular Tuesday meets; to my mother Jill for your support and excellent editorial advice; thank you to Sally Joy for her many gifts; to Dr Linda Hawryluk for your friendship; to David Brazil, Tyswan Slater, daughter, Kahlila, and Briana McLean who all welcomed me into your extraordinary lives and kept me from loneliness in the mountains’ Blue. Finally, thank you to Gary Scott and Eva Kahans, Michael Francis and especially you, Joe – who never failed to remind me that a PhD was a very boring subject for discussion with a five-year old. For the punks I’ve known: Cressida, Josh, Ken, Sean and Matt, John and Shane, and A.J. I wish to warmly acknowledge the invaluable assistance of Dr Jane Goodall, whose wit and humour combined with infinite patience, transformed my ideas and tested my theories, while Dr Glen McGillivray’s eye for the whole, combined with his detailed editorial advice, saw this thesis become the thing it is. -
Impotenti Esistenziali
Pressbook ________________________________________________ Impotenti Esistenziali ELITE GROUP INTERNATIONAL Presenta “Una commedia atipica, sulle ipocrisie dell’Italietta di oggi” IMPOTENTI ESISTENZIALI Opera Prima di Giuseppe Cirillo Uscita Italiana sale Venerdì 13 marzo 2008. Pressbook ________________________________________________ Impotenti Esistenziali INTERPRETI PRINCIPALI Giuseppe Cirillo…………….nel ruolo di Giuseppe Antonella Ponziani…………nel ruolo di Francesca Alvaro Vitali…………………nel ruolo di Amilcare Angela Melillo………………nel ruolo di Angela Gianni Nazzaro…………….nel ruolo di Sandra Milo…………………nel ruolo di Zia Elisabetta Don Backy………………….nel ruolo di Tinto Brass………………….nel ruolo dell’editore De Fortis Pressbook ________________________________________________ Impotenti Esistenziali IMPOTENTI ESISTENZIALI: IL FILM Cirillo racchiude attraverso cinque episodi il suo punto di vista esistenziale su temi che toccano la società e la vita d ogni singola persona, temi universali come l’amore, la capacità di essere coppia, la paura del diverso. S’intrecciano così storie d'amore e di vita, punti di vista e incapacità di essere padroni del proprio destino. Luoghi e personaggi s’intessono e danno vita ad un senso passionale ed emotivo di situazioni talvolta imbarazzanti, talvolta stimolanti per lo spettatore. Filo conduttore della storia è il personaggio interpretato dallo stesso Cirillo psicologo e presidente di un’ associazione sui diritti civili il quale, con coraggio porta avanti iniziative finalizzate a sovvertire o criticare l'eccessivo perbenismo della società. Giuseppe Cirillo, al primo incontro con il mezzo cinematografico, si cimenta con passione, dedicando anima e corpo a quest’opera prima e mettendo in scena se stesso senza nemmeno ricorrere ad uno pseudonimo, complice l'urgenza di criticare gli eccessi di perbenismo e l'ipocrisia che osserva attorno a sé. -
1 'Forget About All Your Taboos': Transgressive Memory And
‘Forget about all your taboos’: transgressive memory and Nazisploitation At the conclusion of Sergio Garrone’s (1976) SS Lager 5: L’inferno Delle Donne (SS Camp 5: Women’s Hell), as smoke from the climactic gun battle drifts across a concentration camp, on-screen text implores the audience to ‘remember those who cried, those who suffered…’. Following 96 minutes of medical experiments, forced prostitution, rape, torture and murder, this is, perhaps, a little disingenuous. However, it is the appeal to memory amidst the Grand Guignol-cum-grindhouse grotesquery that is of interest to us here. The appeal to an historical reality demands to be unpacked. Much has been written on the inability of the Holocaust to be represented (cf. Friedlander 1993). Simply put, it is argued that neither the scale nor horror can be fully or truly captured. As Friedlander (1993, 25) puts it, any such representation inevitably becomes “kitsch”. It becomes folded into the “order of things”. As Howe (1988 cited in Geuens 1995/6, 115) suggests, it becomes domesticated, somehow familiar and ‘in some sense even tolerable’. What then to make of films that embrace the distasteful and excess, that push far beyond the ‘voluptuous anguish and ravishing images’ of the kitsch (Friedlander 1993, 21)? For Herzog (2005, 14), the broad ‘pornographization of Nazism indisputably functions to trivialize Nazism’s horrors and thereby to ward off serious confrontation with those horrors’. There is, however, a visceral appeal to the Nazisploitation genre: the skein of films that direct a lurid focus towards Nazism and its associated imagery. They speak to what Bourdieu (1994, cited in Lowenstein, 2005) frames as a “pure pleasure” of the body. -
Un' Estate Italiana
STYLE WARS …avere un look… “UN’ ESTATE ITALIANA” Numero 23 Giugno 2012 e-mail:[email protected], http://www.dressersroma.com/stylewars.html, facebook: stile wars L’INDICE . non si punta! PREMESSA PAG.03 INTERVISTA PAG.04 DALLE GRADINATE PAG.07 SATURDAY’S BEST PAG.09 JACKIE’O PAG.15 L’ARTICOLO PAG.16 CONFRONTATION STATION PAG.18 SE FOTOGRAFANDO PAG.20 LE CREW PAG.25 MOVIES PAG.27 LIBRI PAG.28 HISTORY BRAND PAG.29 MY RADIO PAG.30 STORIE PAG.35 L’IDIOTA PAG.37 SPECIAL CAKE PAG.40 STRANGE PEOPLE PAG.41 DON’T BUY THE SUN PAG.42 AROUND THE WORLD PAG.44 CALLING CARDS PAG.47 80 VOGLIA PAG.54 PREMESSA Ci siamo, inizia il campionato europeo più discusso di tutti i tempi, so che in verità sarebbe da boicottare visto come quei bastardi hanno ucciso centinaia di cani randagi e gli auguro il massimo dolore in questa vita, sia agli autori materiali di questa carneficina che ai mandanti. Purtroppo però so che non riuscirò a farne a meno, anzi tiferò per la nostra nazionale, ovviamente tiferò anche perché qualcuno gli rovini questi campionati alla nostra cara vecchia maniera… d’altronde noi siamo cosi, mentre tutti scommettono e parlano di formazione noi ci interroghiamo si chi sarà la migliore tifoseria: i croati e la loro fama? I tubolenti russi? L’incognita olandese? Gli inglesi e la loro spocchiosità? I locali a difesa del territorio? Oppure noi italiani?? Le partite calde le sappiamo già, le altre le scopriremmo dopo la fine della fase a gironi. Auguro un buon europeo a chi lo vive fuori dagli schemi… Non auguro nulla a chi si dipingerà la faccia e ai vari clown… Auguro il peggio agli steward e simili..