DOCSLIB.ORG

Filmographies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Filmographies Filmographies All dates here and in the body of the text refer to premiers. Wim Wenders Locations (Schauplätze), FRG, 1967, 10 mins, b/w (lost) Same Player Shoots Again, FRG, 1968, 12 mins, b/w Silver City Revisited, FRG, 1969, 25 mins, colour. Screenplay: Wenders; Director of Photography: Wenders; Editor: Wenders Police Film (Polizeifilm), FRG, 1969, 12 mins, b/w Alabama: 2000 Light Years, FRG, 1969, 22 mins, b/w 3 American LPs (3 amerikanische LP’s), FRG, 1969, 12 mins, colour. Screenplay: Wenders, Handke; Director of Photography: Wenders; Editor: Wenders; With: Wenders, Handke Summer in the City, FRG, 1970, 116 mins, b/w The Goalkeeper’s Fear of the Penalty (Die Angst des Tormanns beim Elfmeter), FRG/Austria, 1972, 100 mins, colour. Screenplay: Wenders, based on the novel by Handke; Director of Photography: Robby Müller; Editor: Peter Przygodda; Original Music: Jürgen Knieper; Leading Players: Arthur Brauss (Josef Bloch), Kai Fischer (Hertha Gabler), Erika Pluhar (Gloria), Libgart Schwarz (Anna, Chambermaid) The Scarlet Letter (Der scharlachrote Buchstabe), FRG/Spain, 1973, 90 mins, colour Alice in the Cities (Alice in den Städten), FRG, 1974, 110 mins, b/w. Screenplay: Wenders, Veith von Fürstenberg; Director of Photography: Robby Müller; Editor: Peter Przygodda; Original Music: Can; Leading Players: Rüdiger Vogler (Philip Winter), Yella Rottländer (Alice), Lisa Kreuzer (Lisa, Alice‟s Mother), Edda Köchl (Ex-Girlfriend in New York) The Island and From the Family of Reptiles (Die Insel and Aus der Familie der Panzerechsen), FRG, 1974, 2 x 25 mins, colour Wrong Move (Falsche Bewegung), FRG, 1975, 104 mins, colour. Screenplay: Handke, based on Johann Wolfgang von Goethe, Wilhelm Meister’s Apprenticeship (Wilhelm Meisters Lehrjahre); Director of Photography: Robby Müller; Editor: Peter Przygodda; Original Music: Jürgen Knieper; Leading Players: Rüdiger Vogler (Wilhelm), Hanna Schygulla (Therese), Hans Christian Blech (Laertes), Nastassja Nakszynski (Kinski) (Mignon), Peter Kern (Bernhard), Ivan Desny (Industrialist), Marianne Hoppe (Wilhelm‟s Mother) Kings of the Road (Im Lauf der Zeit), FRG, 1976, 175 mins, b/w 290 Wenders and Handke: Collaboration, Adaptation, Recomposition The American Friend (Der amerikanische Freund), FRG/France, 1977, 126 mins, colour Lightning Over Water, FRG/Sweden, 1980, 90 mins, colour Hammett, USA, 1982, 128 mins, colour Chambre 666, France/USA, 1982, 50 mins, colour Reverse Angle, USA/France/FRG, 1982, 16 mins, colour. Screenplay: Wenders; Director of Photography: Lisa Rinzler; Editor: Jon Neuburger; With: Wenders, Francis Ford Coppola The State of Things (Der Stand der Dinge), FRG/Portugal/USA, 1982, 121 mins, b/w Paris, Texas, FRG/France, 1984, 148 mins, colour Tokyo-Ga, FRG/USA, 1985, 92 mins, colour Wings of Desire (Der Himmel über Berlin), France/FRG, 1987, 128 mins, b/w and colour. Screenplay: Wenders, Handke; Director of Photography: Henri Alekan; Editor: Peter Przygodda; Original Music: Jürgen Knieper; Leading Players: Bruno Ganz (Damiel), Solveig Dommartin (Marion), Otto Sander (Cassiel), Curt Bois (Homer), Peter Falk (Himself) Notebook on Cities and Clothes (Aufzeichnungen zu Kleidern und Städten), FRG, 1989, 79 mins, colour Until the End of the World (Bis ans Ende der Welt), Germany/ France/Australia, 1991, 179 mins and 270 mins (director‟s cut), colour Arisha, The Bear, and The Stone Ring (Arisha, der Bär und der steinerne Ring), Germany, 1992, 29 mins, colour Faraway, So Close! (In weiter Ferne, so nah!), Germany, 1993, 146 mins, b/w and colour Lisbon Story, Germany/Portugal, 1994, 100 mins, colour A Trick of the Light (Die Gebrüder Skladanowsky), Germany, 1995, 79 mins, b/w and colour Beyond the Clouds (Al di là delle nuvole), France/Germany/Italy, 1995, linking episodes for the film by Michelangelo Antonioni (112 mins, colour) The End of Violence, France/Germany/USA, 1997, 122 mins, colour Buena Vista Social Club, Germany/USA/UK/France/Cuba, 1999, 105 mins, colour The Million Dollar Hotel, Germany/UK/USA, 2000, 132 mins, colour Ode to Cologne: A Rock ‘n’ Roll Film (Viel passiert: Der BAP Film), Germany, 2002, 101 mins, colour Ten Minutes Older – The Trumpet, Spain/UK/Germany/Finland/China, 2002, 11 mins, colour (episode in compilation film) The Soul of a Man, Germany/USA, 2003, 103 mins, b/w and colour .
Load more

Recommended publications
  • The Million Dollar Hotel
    Wettbewerb/IFB 2000 THE MILLION DOLLAR HOTEL THE MILLION DOLLAR HOTEL THE MILLION DOLLAR HOTEL Regie: Wim Wenders Deutschland/USA 1999 Darsteller Tom Tom Jeremy Davies Länge 122 Min. Eloise Milla Jovovich Format 35 mm, Skinner Mel Gibson Cinemascope Dixie Peter Stormare Farbe Geronimo Jimmy Smits Jessica Gloria Stuart Stabliste Best Donal Logue Buch Nicholas Klein,nach Shorty Bud Cort einer Idee von Bono Vivien Amanda Plummer und Nicholas Klein Stanley Goldkiss Harris Yulin Kamera Phedon Papamichael Stix Conrad Roberts Schnitt Tatiana S.Riegel Hector Tom Bower Schnittassistenz Lin Coleman Joc Richard Edson Ton Lee Orloff Jean Swift Charlayne Woodard Mischung Jeffrey Perkins Izzy Goldkiss Tim Roth Sound Supervisor Elmo Weber Terence Scopcy Julian Sands Musik Bono Brian Eno U2 Production Design Robbie Freed Ausstattung Bella Serrell Milla Jovovich, Mel Gibson Tiffany Payne Kostüm Nancy Steiner Haar Styling DJ Plumb THE MILLION DOLLAR HOTEL Maske Debbie Zoller Los Angeles im Frühjahr 2001. Im Schatten der Bürotürme der multinatio- Spezialeffekte Thomas Tannen- nalen Konzerne liegt das Million Dollar Hotel, Zufluchtsort für schräge berger Gestalten und Außenseiter, die am American Dream nicht teilhaben. Einer Aufnahmeltg. Jeremy Alter Regieassistenz Christine Larson von ihnen ist der liebeskranke und leicht verhuschte Tom Tom,der sein Herz Produzenten Deepak Nayar an das Straßenmädchen Eloise verloren hat. Doch ehe er ihr überhaupt Bono seine Zuneigung offenbaren kann, wird dem Million Dollar Hotel unge- Nicholas Klein wöhnliche Aufmerksamkeit zuteil: Einer seiner Bewohner, der Junkie und Wim Wenders Künstler Izzy,ist unter ungeklärten Umständen vom Hoteldach gefallen.War Bruce Davey Executive Producer Ulrich Felsberg es ein Unfall, Selbstmord, oder wurde er hinuntergestoßen? Normalerweise Co-Produktion Kintop Pictures, würde sich in Downtown LA keine Menschenseele um so ein Schicksal Los Angeles kümmern, doch Izzys Tod wird binnen kürzester Zeit zur Nachrichtensensa- tion.
    [Show full text]
  • Interview with Claude Chamberlan of Montréal's Festival Du Nouveau Cinéma
    Document generated on 09/30/2021 11:16 p.m. ETC Claude Chamberlan in New York Interview with Claude Chamberlan of Montréal's Festival du Nouveau Cinéma. New York. June 1996 Steven Kaplan Art et mondialisation 2 : les frontières Number 35, September–October–November 1996 URI: https://id.erudit.org/iderudit/36022ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this document Kaplan, S. (1996). Claude Chamberlan in New York: Interview with Claude Chamberlan of Montréal's Festival du Nouveau Cinéma. New York. June 1996. ETC, (35), 22–26. Tous droits réservés © Revue d'art contemporain ETC inc., 1996 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nil/Uf-TIIH NEW YORK CLAUDE CHAMBERLAN IN NEW YORK Interview with Claude Chamberlan of Monttéal's Festival du Nouveau CinémaMevi York. June 1996 Claude Chamberlan ontréal's Festival du Nouveau Cinéma has charmed This interview is the product of two conversations we audiences on its home turf for 25 years, making it the had in the " Lina Wertmuller " studio and the " Orson longest running film and video festival in Canada.
    [Show full text]
  • Wenders Has Had Monumental Influence on Cinema
    “WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film.
    [Show full text]
  • Our Little Differences a Film by Sylvie Michel World Sales
    Our littlE DifferEnces A Film by SylviE michEl world sales The Match Factory GmbH Balthasarstrasse 79-81 | D-50670 Cologne Tel.: + 49 221 539 70 90 | Fax: + 49 221 53 97 09 10 E-Mail: [email protected] www.the-matchfactory.de synopsis 03 Sebastian is a successful doctor who lives the good life. He has an easy-going relationship with his son Arthur. At least, that’s how he sees it. His cleaner Jana takes a very different approach. To the doctor’s amusement, she’s a control freak when it comes to her daughter Vera. And Jana, for her part, can only shake her head at how much freedom Arthur enjoys. One evening the youngsters go out together. Without Jana’s consent. The following morning when Jana finds out and realises that Arthur and Vera haven’t come home, she panics. Sebastian’s attempts to calm her have Presskit | our little differences the opposite effect. Beside herself, and provoked by Sebastian’s indifference, Jana can hold back no longer and all their differences erupt. Things come to a head. But their children’s disappearance remains a mystery that has to be solved. Sylvie Michel’s direction is sensitive and delicate. She shows the- se two people whom so much unites, but who are unable to reach out to each other. Carefully observed and told with great feeling Our Little Differences is a tense psychological drama about a de- eply riven community. 4 the story 05 A specialist in the field of IVF, Sebastian is very much in demand.
    [Show full text]
  • FM 271 the Films of Wim Wenders
    FM 271 The Films of Wim Wenders Seminar Leader: Matthias Hurst Email: [email protected] Office Hours (P 98, Room 003): Tuesday, 13.30 – 15.00, or by appointment Course Times: Friday, 14.00 – 17.15; Wednesday, 19.30 – 22.00 (weekly film screening) Course Description Wim Wenders is one of Germany’s best known and most prolific filmmakers. He was a major representative of New German Cinema and the so-called Autorenfilm in the 1970s and 1980s, and an important artistic voice for the post-war generation. In addition, he became a celebrated figure in international cinema, making films in locations all over the world, and contributing to the genre of documentary as well as the development of the feature film. As film historians have noted, Wenders is notoriously difficult to classify in terms of cultural traditions or cinematic movements; thus exploring Wenders’s development as filmmaker implies looking at different aesthetic and narrative approaches to cinema, from auteur cinema to modern and postmodern film. His two most famous works Paris, Texas (1984), set in the desolate American West, and Wings of Desire (1987), a gripping portrait of the divided city of Berlin, encapsulate his wide-ranging scope and experimental power. We will consider these two works within Wim Wenders’s career, which includes Alice in the Cities (1974), Kings of the Road (1976), The American Friend (1977), The End of Violence (1997), Buena Vista Social Club (1999), The Million Dollar Hotel (2000), Land of Plenty (2004), Don’t Come Knocking (2005), Every Thing Will Be Fine (2015), Submergence (2017).
    [Show full text]
  • Nick's Film – Lightning Over Water
    NICK’S FILM – LIGHTNING OVER WATER LIGHTNING OVER WATER is a film about the last months in the life of american director Nicholas Ray, who is probably best known for his cult film “Rebel Without a Cause”. Wenders and Ray got to know each other at the set of “The American Friend” and became friends. LIGHTNING OVER WATER was made in just a few weeks at a time when Wenders was free from his studio film HAMMETT. “Nick told me about his cancer. He knew he was terminally ill. He wanted to die working. Our collective film was a try to counter the cancer with something, a form of terminal care, which also resulted in a film. But all of us who made this last journey together with Nick would also have done this without film in the camera” says Wenders. For the first time Wenders and Ray also used Video for filming. (Ray had already experimented with all perceivable forms filming in “We Can’t Go Home Again”.) “But it was devastating to see how much more merciless and in the end more truthful these ugly and shaky VHS images showed the truth as opposed to our well lit 35mm shots.” The film finishes after Nick’s death. A chinese junk sails on the Hudson river towards the open sea. On board is an urn with Nick’s ashes and an old Moviola with waving film. Below deck the film crew says goodbye to Nick. In the tradition of an irish wake, stories about the deceased are being told and everybody gets drunk.
    [Show full text]
  • Nick's Film – Lightning Over Water
    NICK’S FILM – LIGHTNING OVER WATER LIGHTNING OVER WATER ist ein Film über die letzten Monate im Leben des amerikanischen Regisseurs Nicholas Ray, der wohl am meisten durch seinen Kultfilm REBEL WITHOUT A CAUSE bekannt ist. Wenders und Ray hatten sich bei den Dreharbeiten von DER AMERIKANISCHE FREUND kennen gelernt und waren Freunde geworden. LIGHTNING OVER WATER entstand in wenigen Wochen, in einer Zeit, in der Wenders von seinem Studiofilm HAMMETT befreit war. „Nick hat mir von seiner Krebserkrankung erzählt. Er wusste, dass er unheilbar krank war. Er wollte arbeitend sterben. Unser gemeinsamer Film war ein Versuch, dem Krebs etwas entgegen zu setzen, eine Sterbebegleitung, bei der auch ein Film entstanden ist. Aber wir alle, die diese letzte Reise mit Nick gemeinsam gemacht haben, hätten dies auch ohne Film in der Kamera getan“, sagt Wim Wenders. Wenders und Ray setzen bei ihrem Film auch zum ersten Mal Video ein. (Ray hatte schon in „We Can’t Go Home Again“ mit allen nur denkbaren Filmformen experimentiert.) „Aber es war erschütternd zu sehen, wie viel unbarmherziger und letzten Endes wahrheitsgemäßer diese hässlichen und wackligen VHS-Bilder die Wahrheit gezeigt haben, im Gegensatz zu unseren gut ausgeleuchteten 35mm-Film-Aufnahmen.“ Der Film endet nach Nicks Tod. Eine chinesische Dschunke segelt auf dem Hudson dem offenen Meer entgegen. An Bord eine Urne mit Nicks Asche und eine alte Moviola mit wehendem Film. Unter Deck nimmt das Filmteam Abschied von Nick. In bester Tradition eines irischen „Wake“ erzählt man sich Geschichten von
    [Show full text]
  • Wim Wenders: a Legacy of Arthouse Classics”
    PRESS RELEASE WHAT: Werner Fassbinder Retrospective Manila WHEN: April 27 to May 26, 2019 WHERE: Cinematheque Centre Manila “Wim Wenders: A Legacy of Arthouse Classics” After the successful Werner Herzog and Rainer Werner Fassbinder retrospectives IN PARTNERSHIP WITH: organized by the Goethe-Institut in Manila these past two years, the Goethe-Institut will now present the works of the well-acclaimed German filmmaker, Wim Wenders, who among Herzog and Fassbinder was a principal member of the New German Cinema of the 1970s. Nine award-winning Wim Wenders feature films and a documentary will be screened for free every weekend at 4 pm starting this April 27 to May 26 at the Cinematheque Centre Manila. Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film. In addition to his many prize- winning feature films, his work as a scriptwriter, director, producer, photographer, and author also encompasses an abundance of innovative documentary films, international photo exhibitions and numerous monographs, film books and prose collections. He lives and works in Berlin, together with his wife Donata Wenders. Among Wim Wenders‘ awards are the Cannes Film Festival’s Palme d’Or in 1984 for his movie Paris, Texas, the Golden Lion at the 1982 Venice Film Festival for The State of Things, and won best director at the 1987 Cannes Film Festival for Wings of Desire. He has also been nominated three times for the Academy Awards for his films Buena Vista Social Club (2000), Pina (2012), and, most recently, The Salt of the Earth (2015).
    [Show full text]
  • XXI:11) Wim Wenders, WINGS of DESIRE/DER HIMMEL ÜBER BERLIN (1987, 128 Min
    November 9, 2010 (XXI:11) Wim Wenders, WINGS OF DESIRE/DER HIMMEL ÜBER BERLIN (1987, 128 min) Directed by Wim Wenders Written by Wim Wenders, Peter Handke and Richard Reitinger Produced by Anatole Dauman and Wim Wenders Music by Laurie Anderson, Jürgen Knieper, Laurent Petitgand, Nick Cave Cinematography by Henri Alekan Film Editing by Peter Przygodda Dedicatees: Yasujiro Ozu, François Truffaut, and Andrzei Tarkovsky as Andrzej Bruno Ganz....Damiel Solveig Dommartin....Marion Otto Sander....Cassiel Curt Bois....Homer, the aged poet Peter Falk....Der Filmstar WIM WENDERS (14 August 1945,Düsseldorf, North Rhine- Westphalia, Germany) has directed 45 films, among them Don't Come Knocking 2005, Land of Plenty 2004, “The Soul of a Man” Maudits/The Damned 1947, La Belle et la bête/Beauty and the episode in the PBS series “The Blues” 2003, Buena Vista Social Beast 1946, Vénus aveugle/Blind Venus 1941 and La Vie est à Club 1999, Willie Nelson at the Teatro 1998, The End of nous/The People of France. Violence 1997, Lumière et compagnie/Lumière and Company 1996, Lisbon Story 1994, Bis ans Ende der Welt/Until the End of BRUNO GANZ (22 March 1941, Zürich-Seebach, Switzerland) the World 1991, Wings of Desire/Hummel über Berlin (1987), has acted in 86 films, the most recent of them The Great Farrell Paris, Texas 1984, Hammett 1982, Lightning Over Water/Nick’s 2006 (in production). Some of the others are Der Untergang Film 1980, Der Amerikanische Freund/The American Friend 2004, The Manchurian Candidate 2004, Mia aioniotita kai mia 1977, Der Scharlachrote Buchstabe/The Scarlet Letter 1973, Die mera/Eternity and a Day 1998, Prague 1992, Strapless 1989, Angst des Tormanns beim Elfmeter/The Goalie's Anxiety at the The Legendary Life of Ernest Hemingway 1988, Killer aus Penalty Kick 1972, Alabama: 2000 Light Years from Home 1969, Forida 1983, Rece do gory/Hands Up! 1981, Nosferatu: and Schauplätze 1967.
    [Show full text]
  • PALERMO SHOOTING a WIM WENDERS Film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER
    HanWay Films presents PALERMO SHOOTING A WIM WENDERS film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER A Neue Road Movies production in coproduction with P.O.R. Sicilia – REGIONE SICILIANA, AAPIT - Provincia Regionale di Palermo ARTE France Cinéma, ZDF/ARTE in association with Pictorion Pictures, Rectangle, Reverse Angle and Deutscher Filmförderfonds, German Federal Film Board, Filmstiftung Nordrhein-Westfalen, Medienboard Berlin-Brandenburg, MEDIA Program Cast Finn Campino Flavia Giovanna Mezzogiorno Frank Dennis Hopper (in order of apperance) Carla Inga Busch Student Jana Pallaske Hans Axel Sichrovsky Gerhard Gerhard Gutberlet Manager Sebastian Blomberg Erwin Wolfgang Michael Lou Reed lui-même Banker Udo Samel Giovanni Sollima Giovanni Sollima Doctor Alessandro Dieli Crew Written, directed and Wim Wenders produced by Producer Gian-Piero Ringel Executive Producers Jeremy Thomas Peter Schwartzkopff Line Producers Marco Mehlitz Gianfranco Barbagallo Director of Photography Franz Lustig Production Designer Sebastian Soukup Editors Peter Przygodda Oli Weiss Costume Designer Sabina Maglia Original Filmscore by Irmin Schmidt Music Supervisors Milena Fessmann & Beckmann Screenplay co-written by Norman Ohler PALERMO SHOOTING is Wim Wenders most personal film for a long time. Intimate, adventurous and full of surprises. A road movie starring Campino, Giovanna Mezzogiorno and Dennis Hopper. A roman- tic thriller dealing with life and death and the ultimate salvation through love. After 12 years in which Wim Wenders made all his feature
    [Show full text]
  • Hliebing Dissertation Revised 05092012 3
    Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. 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 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.
    [Show full text]
  • 1 Wim Wenders / Biographie
    WIM WENDERS / BIOGRAPHIE Wim Wenders (geb. 1945) ist als wichtiger Vorreiter des Neuen Deutschen Films der 1970er Jahre international bekannt geworden und gilt als einer der bedeutendsten Vertreter des deutschen Kinos der Gegenwart. Neben vielfach preisgekrönten Spielfilmen umfasst sein Werk als Drehbuchautor, Regisseur, Produzent, Photograph und Autor auch zahlreiche innovative Dokumentarfilme, weltweite Photoausstellungen und zahlreiche Bildbände, Filmbücher und Textsammlungen. Er lebt und arbeitet zusammen mit seiner Frau Donata Wenders in Berlin. Wim Wenders studierte Medizin und Philosophie, bevor er 1966 nach Paris ging, um dort Malerei zu studieren. Neben seiner Lehrzeit im Studio des Grafikers und Kupferstechers Johnny Friedlaender verbrachte er die Nachmittage und Abende in der Cinémathèque Francaise. Dieser „Crash-Kurs in der Geschichte des Kinos“ wurde zur wichtigen Bildungsphase und Wenders begann, über Film als „Fortführung der Malerei mit anderen Mitteln“ nachzudenken. Seine Laufbahn als Filmemacher begann 1967, als Wenders sich an der neu gegründeten Hochschule für Film und Fernsehen in München einschrieb. Parallel zu seinen Studien an der HFF arbeitete er von 1967 bis 1970 als Filmkritiker. Zu dieser Zeit hatte er schon verschiedene Kurzfilme gedreht. Unmittelbar nach seinem Hochschulabschluss gründete er zusammen mit fünfzehn anderen Regisseuren und Autoren 1971 den Filmverlag der Autoren, ein Filmverleih des deutschen Autorenfilms, der Produktion, Rechteverwaltung und Vertrieb eigener Filme organisierte. Nach seinem Erstlingsfilm außerhalb der Hochschule DIE ANGST DES TORMANNS BEIM ELFMETER (1971) drehte Wenders die Roadmovie-Trilogie ALICE IN DEN STÄDTEN (1973), FALSCHE BEWEGUNG (1974) und IM LAUF DER ZEIT (1975), in der sich die Protagonisten unter anderem mit ihrer Wurzellosigkeit im Nachkriegs-Deutschland auseinandersetzen. Den internationalen Durchbruch brachte ihm DER AMERIKANISCHE FREUND (1977).
    [Show full text]