Special Topics: the East German Cinema, Crossing German Borders: Postwar, Postwall, Postcommunist
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Der Neue Werther Im Kontext
Der neue Werther im Kontext Hauptwerk: Ulrich Plenzdorf: “Die neuen Leiden des jungen W.“ nächsteWerke: Johann Wolfgang von Goethe: “Die Leiden des jungen Werthers“ Jerome D. Salinger: „Der Fänger im Roggen“ Untertitel : Ein Vergleich Vedoucí bakalářské práce – prof. PhDr. Jiří Munzar, CSc. Vypracovala: Jana Santariusová Fachrichtung : Německý jazyk a literatura e – mail : Jana Santariusová <[email protected] > Datum : 24. September (WS 2006/2007) Annotation: Thisstudyisbased on Plenzdorf’snovel: „Die neuen Leiden des jungen W.”. There ismethod „Intertextualita“ used. It isbased on three novels: „Die neuen Leiden des jungen W.“ from Ulrich Plenzdorf, „Die Leiden desjungen Werthers“ from Johann Wolfgang von Goethe and from „The Catcher in the Rye“ from Jerom D. Salinger. Plenzdorf’smain character (in written form) meetsGeothe’sWerther, likesBeat- Music, J. D. Salinger’s novel and jeans. Following studyisanalyzing Plenzdorf’snovel in compare with the others mentioned novels. It is trying to trackGoethe’sand Salinger influence to Plenzdorf’s „Die neuen Leiden desjungen Werthers.” It examinesnot onlyown text, e.g. quotationsfunctionality, but also style of writing or levelsof story. Keywords: Intertextualität, Vergleich – Plenzdorf: „Die neuen Leiden desjungen W.“ , Goethe: „Die Leiden desjungen Werthers“ , Salinger: „Der Fänger im Roggen“ , Übereinstimmende und unterschiedliche Zeichen der Helden von Plenzdorf und Goethe 4 Einführung Ein paar Worte zur Intertextualität In dieser Studie wird die Methode der Intertextualität gebraucht. Am Anfang braucht man die Texte, an denen man arbeitet, gründlich durchlesen. In diesem Fall hat man drei grundlegende Ausgangstexte, genau : „ Die neuen Leiden desjungen W. “ von Ulrich Plenzdorf, Goethes „ Die Leiden desjungen Werthers“ und Salingers „ Der Fänger im Roggen “. Den bekannten Stoff von Goethes „ Die Leiden des jungen Werthers“ hat Plenzdorf alsVorlage für die in der Ost-Berliner Gegenwart spielende Handlung benützt. -
Die Neuen Leiden Des Jungen W. – Ein Vergleich
UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA Katedra německého jazyka Diplomová práce Bc. Zuzana Sassiková Johann Wolfgang Goethe: Die Leiden des jungen Werther, Ulrich Plenzdorf: Die neuen Leiden des jungen W. – ein Vergleich Olomouc 2015 vedoucí práce: Mgr. Jan Kubica, Ph.D. Erklärung Ich erkläre, dass ich die Diplomarbeit selbstständig ausgearbeitet habe, wobei ich die angegebene Literatur und Quellen benutzt habe. Olomouc, 13. April 2015 __________________________ Zuzana Sassiková Ich danke meinem Leiter Mgr. Jan Kubica, Ph.D. für seine Zeit, die er mir während des Verfassens meiner Arbeit gewidmet hat. Besonders möchte ich ihm für seine Bereitschaft, Entgegenkommen und wertvolle fachliche Ratschläge herzlich danken. Obsah Einleitung .............................................................................................................................. 6 1 Die Epoche des Sturm und Drang ................................................................................... 7 1.1 Zeitspanne und Charakteristik der Epoche................................................................ 7 1.2 Die Empfindsamkeit und Genie ............................................................................... 8 1.3 Die wichtigsten Gattungen ....................................................................................... 9 2 Die Leiden des jungen Werther ..................................................................................... 11 2.1 Kurze Beschreibung des Werkes ........................................................................... -
Jewish Identity and German Landscapes in Konrad Wolf's I Was Nineteen
Religions 2012, 3, 130–150; doi:10.3390/rel3010130 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Homecoming as a National Founding Myth: Jewish Identity and German Landscapes in Konrad Wolf’s I was Nineteen Ofer Ashkenazi History Department, University of Minnesota, 1110 Heller Hall, 271 19th Ave S, Minneapolis, MN 55455, USA; E-Mail: [email protected]; Tel.: 1-651-442-3030 Received: 5 January 2012; in revised form: 13 March 2012 / Accepted: 14 March 2012 / Published: 22 March 2012 Abstract: Konrad Wolf was one of the most enigmatic intellectuals of East Germany. The son of the Jewish Communist playwright Friedrich Wolf and the brother of Markus Wolf— the head of the GDR‘s Foreign Intelligence Agency—Konrad Wolf was exiled in Moscow during the Nazi era and returned to Germany as a Red Army soldier by the end of World War Two. This article examines Wolf‘s 1968 autobiographical film I was Nineteen (Ich war Neunzehn), which narrates the final days of World War II—and the initial formation of postwar reality—from the point of view of an exiled German volunteer in the Soviet Army. In analyzing Wolf‘s portrayals of the German landscape, I argue that he used the audio- visual clichés of Heimat-symbolism in order to undermine the sense of a homogenous and apolitical community commonly associated with this concept. Thrown out of their original contexts, his displaced Heimat images negotiate a sense of a heterogeneous community, which assumes multi-layered identities and highlights the shared ideology rather than the shared origins of the members of the national community. -
Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 the FAN - Ed Bianchi
Domingo 9 17:00 THE SPY WHO CAME IN FROM THE COLD - Martin Ritt 19:00 PROVIDENCE - Alain Resnais 21:00 THE FAN - Ed Bianchi Lunes 10 CGAC 17:00 L’AVEU - Constantin Costa-Gavras 19:30 L’AMOUR À MORT - Alain Resnais 21:15 THE RAIN PEOPLE - Francis Ford Coppola Martes 11 17:00 A DANDY IN ASPIC - Anthony Mann, Laurence Harvey 19:00 THE DEADLY AFFAIR - Sidney Lumet 21:00 DER HIMMEL ÜBER BERLIN - Wim Wenders Miércoles 12 16:30 SECHSE KOMMEN DURCH DIE WELT - Rainer Simon 18:00 TILL EULENSPIEGEL - Rainer Simon 19:45 JADUP UND BOEL - Rainer Simon 21:30 DIE FRAU UND DER FREMDE - Rainer Simon Jueves 13 17:45 WENGLER & SÖHNE, EINE LEGENDE - Rainer Simon 19:30 DER FALL Ö - Rainer Simon 21:15 WORK IN PROGRESS: CORTOMETRAJES DE MARCOS NINE - Marcos Nine Viernes 14 16:00 FÜNF PATRONENHÜLSEN - Frank Beyer 17:30 NACKT UNTER WÖLFEN - Frank Beyer 19:45 KARBID UND SAUERAMPFER - Frank Beyer 21:15 JAKOB, DER LÜGNER - Frank Beyer 23:00 DER VERDACHT - Frank Beyer Miércoles 19 21:30 DER TUNNEL - Roland Suso Richter Jueves 20 16:00 CARLOS - Olivier Assayas 21:45 DIE STILLE NACH DEM SCHUSS - Volker Schlöndorff Venres 21 16:00 8MM-KO ERREPIDEA - Tximino Kolektiv (Ander Parody, Pablo Maraví, Itxaso Koto, Mikel Armendáriz) 17:00 PROXECTO NIMBOS (SELECCIÓN DE CORTOMETRAJES) - Varios autores 17:45 WORK IN PROGRESS: O LUGAR DOS AVÓS - Víctor Hugo Seoane 20:15 EL CORRAL Y EL VIENTO - Miguel Hilari 21:15 OUROBOROS - Carlos Rivero, Alonso Valbuena Sábado 22 17:00 VIDEOCREACIÓNS - Olalla Castro 18:30 A HISTÓRIA DE UM ERRO - Joana Barros 20:15 TRUE ROMANCE. -
Trauma and Memory: an Artist in Turmoil
TRAUMA AND MEMORY: AN ARTIST IN TURMOIL By Angelos Koutsourakis Konrad Wolf’s Artist Films Der nackte Mann auf dem Sportplatz (The Naked Man on the Sports Field, 1973) is one of Konrad Wolf’s four artist films. Like Goya (1971), Solo Sunny (1978), and Busch singt (Busch Sings, 1982)—his six-part documentary about the German singer and actor Ernst Busch, The Naked Man on the Sports Field focuses on the relationship between art and power. In Goya, Wolf looks at the life of the renowned Spanish painter—who initially benefited from the protection of the Spanish king and the Catholic church—in order to explore the role of the artist in society, as well as issues of artistic independence from political powers. In Solo Sunny, he describes a woman’s struggle for artistic expression and self-realization in a stultifying world that is tainted by patriarchal values; Sunny’s search is simultaneously a search for independence and a more fulfilling social role. Both films can Film Library • A 2017 DVD Release by the DEFA be understood as a camouflaged critique of the official and social pressures faced by East German artists. The Naked Man on the Sports Field can be seen this way as well, and simultaneously explores questions of trauma and memory. The film tells the story of Herbert Kemmel (played by Kurt Böwe), an artist uncomfortable with the dominant understanding of art in his country. Kemmel is a sculptor in turmoil, insofar as he seems to feel alienated from his social environment, in which people do not understand his artistic works. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
GDR Films Various Authors
GDR Bulletin Volume 2 Issue 2 April Article 2 1976 GDR Films various authors Follow this and additional works at: https://newprairiepress.org/gdr This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. Recommended Citation authors, various (1976) "GDR Films," GDR Bulletin: Vol. 2: Iss. 2. https://doi.org/10.4148/gdrb.v2i2.334 This Announcement is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in GDR Bulletin by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. authors: GDR Films GDR BULLETIN NEWSLETTER FOR LITERATURE AND CULTURE N THE GERMAN DEMOCRATIC REPUBLIC Vol. II, No. 2 April, 1976 GDR BULLETIN minority movements in the USA today are Published four times a year. Correspon• examples in this area. Finally, one may dence should be addressed to: Patricia choose to deal with the pedagogical prob• Herminghouse, editor, Dept. of Germanic lem of teaching literature dealing with revolution or teaching revolutionary thought. Languages and Literatures, Box 11C4, Washington University, St. Louis, Mo. Papers should be no more than 8 pages single- or to spaced and should be submitted by the begin• Regional Contributing Editors: ning of May to the coordinators for this Helen Fehervary, Ohio State University Forum: Ileana Rodriguez and Marc Zimmerman, Louis Helbig, Indiana University Sixth St., Minneapolis, Minn. i or Frank Hirschbach, University of Minnesota 1020 55'+1+, 3ob Holub, University of Wisconsin-Madison, H.G. Huettich, University of Southern German Department, Linden Drive, California 1220 8th Floor Van Hise Hall, Madison, Wise. -
List of Films Set in Berlin
LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. -
Plenzdorf's Die Neuen Leiden Des Jungen W. and Vater, Mutter, Mörderkind
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2012-12-12 In Search of Real Fathers: Plenzdorf's Die neuen Leiden des jungen W. and Vater, Mutter, Mörderkind Michelle Schwoebel Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the German Language and Literature Commons, and the Slavic Languages and Societies Commons BYU ScholarsArchive Citation Schwoebel, Michelle, "In Search of Real Fathers: Plenzdorf's Die neuen Leiden des jungen W. and Vater, Mutter, Mörderkind" (2012). Theses and Dissertations. 3544. https://scholarsarchive.byu.edu/etd/3544 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. In Search of Real Fathers: Plenzdorf's Die neuen Leiden des jungen W. and Vater, Mutter, Mörderkind Michelle Schwoebel A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Thomas Spencer, Chair Hans-Wilhelm Kelling Christian Clement Department of Germanic and Slavic Languages Brigham Young University December 2012 Copyright © 2012 Michelle Schwoebel All Rights Reserved i ABSTRACT In Search of Real Fathers: Plenzdorf's Die neuen Leiden des jungen W. and Vater, Mutter, Mörderkind Michelle Schwoebel Department of Germanic and Slavic Languages, BYU Master of Arts Plenzdorf’s works, one written before the fall of socialism in the German Democratic Republic (hereafter referred to as the DDR), and one after, portray relationships between fathers and sons, which act as a metaphor to express a personal perspective of the state, revealing that the DDR was neither as repressive or as omnipresent for the average citizen as outsiders are often given to believe. -
Film Und Politik: Porträt Konrad Wolf Konrad Wolf
Film und Politik: Porträt Konrad Wolf Stiftung / Dieter Lück - efa D © SOLO SUNNY Konrad Wolf 24 olfgang Kohlhaase und Konrad Wolf bei den Dreharbeiten zu Wolf olfgang Kohlhaase und Konrad W Den ersten intensiven Kontakt mit Konrad Wolf hatte te, notierte: »Ich habe diesen Mann bewundert wegen ich, nachdem er gestorben war. Damals, im Frühjahr seiner Ruhe, die er ausstrahlte, wegen seiner Beson- 1982, war ich Redakteur der Ost-Berliner Zeitschrift nenheit und Beherrschtheit in allen Lagen, die immer Film und Fernsehen, und es war uns ein Bedürfnis, zur von einem leisen, selbstironischen Humor umspielt war. Erinnerung an ihn ein Sonderheft über ihn und seine Überhaupt herrschte Ruhe, wie ich sie weder vorher Filme herauszubringen. Wir baten Freunde, Verwandte noch nachher bei Dreharbeiten erlebt habe.« Der und Kollegen, über Wolfs Arbeit, seine Wurzeln, seine Schriftsteller Stephan Hermlin sagte über Wolfs viel- Biografie zu reflektieren. Wir holten Stimmen von Re- leicht wichtigsten Film ICH WAR NEUNZEHN, mit dem gisseuren aus Ost und West ein. Uns gelang es sogar, sich der Regisseur der Zeit am Ende des Zweiten Welt- ein Gespräch mit seinem Bruder zu bekommen, dem krieges genähert hatte: »Dieses merkwürdige, ergrei- geheimnisumwitterten Markus Wolf, der seit Jahrzehn- fende Werk war unter allen Kriegsfilmen der am meis- ten als Chef des DDR-Auslandsgeheimdienstes fun- ten beredte und der verschwiegenste.« Und Wolfs gierte und nun über die Jugendjahre in Moskau sprach. West-Berliner Regiekollege Peter Lilienthal ergänzte: Wolfgang Kohlhaase schrieb damals über Konrad »Es gibt Filme, die von der Macht angesteckt werden, Wolf: »Er war groß, dunkel, schweigsam, viele hielten von den Visionen der Herrschenden, infiziert von Ruhm, ihn für schwer zugänglich, aber fast alle nannten ihn Sieg und Größe. -
Copyright by Sebastian Heiduschke 2006
Copyright by Sebastian Heiduschke 2006 The Dissertation Committee for Sebastian Heiduschke Certifies that this is the approved version of the following dissertation: The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy Committee: Kirsten Belgum, Supervisor Hans-Bernhard Moeller, Co-Supervisor Pascale Bos David Crew Janet Swaffar The Afterlife of DEFA in Post-Unification Germany: Characteristics, Traditions and Cultural Legacy by Sebastian Heiduschke, M.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 December, 2006 Dedication Für meine Familie Acknowledgements First and foremost it is more than justified to thank my two dissertation advisers, Kit Belgum and Bernd Moeller, who did an outstanding job providing me with the right balance of feedback and room to breathe. Their encouragement, critical reading, and honest talks in the inevitable times of doubt helped me to complete this project. I would like to thank my committee, Pascale Bos, Janet Swaffar, and David Crew, for serving as readers of the dissertation. All three have been tremendous inspirations with their own outstanding scholarship and their kind words. My thanks also go to Zsuzsanna Abrams and Nina Warnke who always had an open ear and an open door. The time of my research in Berlin would not have been as efficient without Wolfgang Mackiewicz at the Freie Universität who freed up many hours by allowing me to work for the Sprachenzentrum at home. An invaluable help was the library staff at the Hochschule für Film und Fernsehen “Konrad Wolf” Babelsberg . -
DEFA Directors and Their Criticism of the Berlin Wall
«Das ist die Mauer, die quer durchgeht. Dahinter liegt die Stadt und das Glück.» DEFA Directors and their Criticism of the Berlin Wall SEBASTIAN HEIDUSCHKE MONTANA STATE UNIVERSITY This article examines the strategies used by directors of the East German film monopoly Deutsche Film-Aktiengesellschaft (DEFA) to voice their disap- proval of the Berlin Wall.1 My aim is to show how it was possible, despite universal censorship in East Germany, to create films that addressed the wall as an inhumane means to imprison the East German people. Although many DEFA films adhered to socialist law and reiterated the official doctrine of the «antifascist protection rampart» on the silver screen, an analysis of three DEFA films will demonstrate how the representation of human crisis was used as a means to criticize the wall.2 The films Das Kleid (Konrad Petzold, 1961), Der geteilte Himmel (Konrad Wolf, 1964), and Die Architekten (Peter Kahane, 1990) address walls in a variety of functions and appearances as rep- resentations, symbols, and metaphors of the barrier between East and West Germany. Interest in DEFA has certainly increased during the last decade, and many scholars have introduced a meaningful variety of topics regarding the history of East Germany’s film company and its films. In addition to book-length works that deal exclusively with the cinema of East Germany, many articles have looked at DEFA’s film genres, provided case studies of single DEFA films, and engaged in sociological or historical analyses of East German so- ciety and its films.3 In order to expand the current discussion of DEFA, this article applies a sociocultural reading to the three DEFA films Das Kleid, Der geteilte Himmel, and Die Architekten with the goal of introducing the new subtopic of roles and functions of the Berlin Wall in East German film to the field of DEFA studies.