Awarded! Films from Behind the Wall
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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
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. -
MR X - a Vision of Leos Carax a Film by Tessa Louise-Salomé
A PERSONAL, UNIQUE DOCUMENTARY ABOUT CULT FILMMAKER LEOS CARAX Following the releases of MAUVAIS SANG and BOY MEETS GIRL Carlotta Films US is proud to present : MR X - A Vision of Leos Carax A film by Tessa Louise-Salomé IN THEATERS AUGUST 15 2014 Director of Sales: Calantha Mansfield [email protected]/ 917.573.1851 A CARLOTTA FILMS US RELEASE carlottafilms-us.com “Leos Carax is a satellite that revolves around the sun, the moon, the solar system. He’s a shooting star of French cinema, yet he has this particularity of never burning out.” GILLES JACOB, president of the Cannes Film Festival In France, Leos Carax has long been branded as a mysterious, solitary filmmaker with an aversion to both the media and the public at large. Yet outside of his home country, his work takes precedence over this public image, and he is recognized as an icon of world cinema. Mr X tackles this complex artist—a cult figure from his first feature—by plunging the spectator into the poetic and visionary world of his films. By means of exclusive archival materials, interviews with his closest collaborators (such as Denis Lavant), and excerpts from his favorite films, this documentary attempts to put together a few pieces of the Carax puzzle. What emerges is an immersive and dreamlike portrait inspired by his singular artistic vision. Sit back and let yourself drift into the world of this unparalleled visual poet… “Tessa Louise-Salomé's documentary is an alluring if not especially illuminating tribute to singular filmmaker Leos Carax.” Guy LODGE TESSA LOUISE-SALOMÉ Tessa Louise-Salomé is a French producer, director, and editor born in 1980. -
Making Icons
Making Icons Repetition and the Female Image in Japanese Cinema, 1945–1964 Jennifer Coates Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2016 Hong Kong University Press ISBN 978-988-8208-99-9 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents List of Illustrations vii Acknowledgements viii Notes on the Romanization of Japanese Words x Introduction 1 Aff ect and the Spectator 4 From Emotion, through Aff ect, to Fantasy 12 Communal Fantasies: Making Meaning and Memory through Film 17 Women in Post-war Japan 21 Reading the Female Image: An Iconographic Approach 22 Chapter Outline 30 Chapter 1 Post-war Stars and the Japanese Studio System 33 Stars and the Studios 44 Compliance and Confl ict in the Studios: Th e Tōhō Strikes 49 Aff ect and Aspiration: Th e Star Persona of Hara Setsuko 54 Misora Hibari, Yamaguchi Yoshiko, and the ‘New Faces’ 62 Chapter 2 Th e Suff ering Mother Trope 68 Suff ering Mothers versus Modern Housewives 68 Historical Contexts: Changing Japan from the Family Level Up 70 From Victim to Victimizer: Changes in the Mother -
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. -
Masaki Kobayashi: HARAKIRI (1962, 133M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 8, 2019 (XXXIX: 7) Masaki Kobayashi: HARAKIRI (1962, 133m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Masaki Kobayashi WRITING Shinobu Hashimoto wrote the screenplay from a novel by Yasuhiko Takiguchi. PRODUCER Tatsuo Hosoya MUSIC Tôru Takemitsu CINEMATOGRAPHY Yoshio Miyajima EDITING Hisashi Sagara The film was the winter of the Jury Special Prize and nominated for the Palm d’Or at the 1963 Cannes Film Festival. CAST Tatsuya Nakadai...Tsugumo Hanshirō (1979), Tokyo Trial* (Documentary) (1983), and Rentarō Mikuni...Saitō Kageyu Shokutaku no nai ie* (1985). He also wrote the screenplays Akira Ishihama...Chijiiwa Motome for A Broken Drum (1949) and The Yotsuda Phantom Shima Iwashita...Tsugumo Miho (1949). Tetsurō Tamba...Omodaka Hikokuro *Also wrote Ichiro Nakatani...Yazaki Hayato Masao Mishima...Inaba Tango SHINOBU HASHIMOTO (b. April 18, 1918 in Hyogo Kei Satō...Fukushima Masakatsu Prefecture, Japan—d. July 19, 2018 (age 100) in Tokyo, Yoshio Inaba...Chijiiwa Jinai Japan) was a Japanese screenwriter (71 credits). A frequent Yoshiro Aoki...Kawabe Umenosuke collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon (1950) MASAKI KOBAYASHI (b. February 14, 1916 in and Seven Samurai (1954). These are some of the other Hokkaido, Japan—d. October 4, 1996 (age 80) in Tokyo, films he wrote for: Ikiru (1952), -
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 . -
The Insect Woman – Contextualising Imamura (And The
University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways. -
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. -
MAUVAIS SANG Un Film Deleos CARAX
TAMASA présente MAUVAIS SANG Un film deLEOS CARAX en version restaurée ö SORTIE LE 28 SEPTEMBRE 2016 ö France - 1986 - 2h05 ö Distribution TAMASA 5 rue de Charonne - 75011 Paris [email protected] - T. 01 43 59 01 01 www.tamasadiffusion.com Relations Presse Frédérique Giezendanner [email protected] - T. 06 10 37 16 00 Sous l’accablante chaleur dégagée par la comète de Halley, la population parisienne est frappée par un virus tuant ceux qui font l’amour sans s’aimer. Dès lors, deux bandes rivales vont se disputer le germe de ce virus qui devrait permettre de créer un vaccin et sauver la population ... UNE DÉFLAGRATION Qui a été adolescent et curieux de cinéma en 1986 se souvient forcément de la déflagration provoquée par Mauvais Sang, réalisé par un jeune homme à peine plus âgé, et qui ne ressemblait à aucun autre film français de l’époque, véritable antidote à l’académisme officiel, à « une certaine tendance » du cinéma réaliste et psychologique, tout autant qu’à l’esthétisme publicitaire de cette première moitié des années 80, qui voulait se faire passer pour une révolution audiovisuelle mais croulait déjà sous le ridicule. Mauvais Sang devint un signe de ralliement pour une nouvelle génération de cinéphiles, et pas seulement en France si on juge la postérité et l’influence quasi immédiate de Carax – son cinéma en général et Mauvais Sang en particulier – sur les quelques cinéastes du monde entier qui allaient éclairer la décennie suivante, de Wong Kar Wai à Hong Kong à Harmony Korine aux Etats- Unis. Dans un Paris imaginaire et caniculaire (le passage de la comète de Halley provoque une chaleur insupportable), au milieu d’un complot visant la possession d’un vaccin capable de vaincre un mystérieux virus (qui tue ceux qui font l’amour sans s’aimer, allusion ambiguë au sida), Boy meets girl (titre du premier long métrage de Carax). -
Spectral Cinema from a Phantom State: Film Aesthetics and the Politics of Identity in Divided Heaven and Solo Sunny
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online Spectral cinema from a phantom state: film aesthetics and the politics of identity in Divided Heaven and Solo Sunny Article (Accepted Version) Austin, Thomas (2016) Spectral cinema from a phantom state: film aesthetics and the politics of identity in Divided Heaven and Solo Sunny. Studies in Eastern European Cinema, 7 (3). pp. 274- 286. ISSN 2040-350X This version is available from Sussex Research Online: http://sro.sussex.ac.uk/61760/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. -
Leos Carax Chapter 2 116
Leos Carax Chapter 2 116 [This is a pre-publication version of chapter 2 of Leos Carax, by Fergus Daly and Garin Dowd] 2 Feux d’artifice: Les Amants du Pont-Neuf or the spectacle of vagrancy [D]o not allegory and the uncanny bring into play the same procedures: ambivalence, the double, the organic and non-organic, living/artificial body, fixation on sight and the anxiety of losing it, and above all dread of the fragmented body? (Buci-Glucksmann 1994: 166)1 Et n’oublions pas que si Carax donne parfois l’impression de faire un peu trop de cinéma dans ces films, c’est sans doute qu’il doit en faire à la place de tous les réalisateurs de sa génération qui n’en font pas assez. (Sabouraud 1991: 14)2 Between the completion of Mauvais Sang and the start of his next project Carax appeared in his second screen role, this time in the part of Edgar in Godard’s King Lear (1987). The circumstances whereby Godard came to sign a contract with the film’s Hollywood producers, Golan and Globus of Cannon, have become the stuff of legend, as has the story of how Norman Mailer stormed off the shoot and the part of Woody Allen as the Fool became limited to a few minutes of footage in the final cut. Of the roles taken by well-known non-actors (Mailer) or of actors also associated with other directorial projects (Allen) in the film, and whose names were deemed crucial by the producers, the role of Carax as Edgar is, paradoxically, the most integral.