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Bibliografie Die Bibliografie listet alle zitierten Quellen auf, darunter neben wissenschaftlicher Literatur auch Internetseiten, Datenbankeinträge, Online-Videoclips und E-Mails sowie die als Epitexte analysierten (Archiv-)Materialien. Bei mehreren Beiträgen des gleichen Autors erfolgt die Listung aufsteigend nach Erscheinungsdatum oder gegebenenfalls aufsteigend nach dem Datum der ursprünglichen Veröffentlichung und zusätzlich nach dem Erscheinungsdatum des Sammelbandes, aus dem zitiert wurde. Die Bibliografie enthält zahlreiche Beiträge ohne einen namentlich genannten Autor beziehungsweise eine namentlich genannte Autorin ([O.V.:]). Diese Quellen werden jeweils zuletzt angegeben und durch eine Leerzeile von den übrigen Bei- trägen abgesetzt sowie aufsteigend nach Jahreszahl der Veröffentlichung geord- net. In seltenen Fällen wurden Ausschnitte aus Zeitungsarchiven ohne vollständige Quellenangaben genutzt. Wenn diese nicht endgültig zugeordnet werden konnten, wurden die entsprechenden Beiträge unter dem Archiv aufgelistet, in dem das Ma- terial gefunden wurde. Monografien und Monografien in Schriftenreihen ABEL, RICHARD: The Red Rooster Scare. Making Cinema American 1900–1910, Berkeley/Los An- geles: University of California Press, 1999. ARNHEIM, RUDOLF: Film als Kunst, Frankfurt a.M.: Fischer, 1979. BALÁZS, BÉLA: Der Geist des Films [1930]. Mit einem Nachwort von Hanno Loewy und zeitgenös- sischen Rezensionen von Siegfried Kracauer und Rudolf Arnheim, Frankfurt a.M.: Suhrkamp, 2001. BALÁZS, BÉLA: Der sichtbare Mensch oder: die Kultur des Films [1924], Frankfurt a.M.: Suhrkamp, 2001. BARON, CYNTHIA/CARNICKE, SHARON MARIE: Reframing Screen Performance, Ann Arbor: University of Michigan Press, 2008. BENJAMIN, WALTER: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit [1936], Frankfurt a.M.: Suhrkamp, 1977. BERMINGHAM, ANN: Learning to Draw. Studies in the Cultural History of a Polite and Useful Art, New Haven [u.a.]: Yale University Press, 2000. © Springer Fachmedien Wiesbaden GmbH, ein Teil von Springer Nature 2019 A. L. Kiss, Topografie des Laiendarsteller-Diskurses, Film, Fernsehen, Medienkultur, https://doi.org/10.1007/978-3-658-25757-6 490 Bibliografie BLANCHET, ROBERT: Blockbuster. Ästhetik, Ökonomie und Geschichte des postklassischen Holly- woodkinos, Marburg: Schüren, 2003. BLANK, RICHARD: Schauspielkunst in Theater und Film. Strasberg, Brecht, Stanislawski, 2., korr. Aufl., Berlin: Alexander Verlag, 2005. BLOEM, WALTER: Seele des Lichtspiels. Ein Bekenntnis zum Film, Leipzig/Zürich: Grethlein, 1922. BÖHNKE, ALEXANDER: Paratexte des Films. Über die Grenzen des filmischen Universums, Biele- feld: Transcript, 2007. BORDWELL, DAVID/STAIGER, JANET/THOMPSON, KRISTIN: The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, New York/London: Routledge, 1988. BORDWELL, DAVID/THOMPSON, KRISTIN/SMITH, JEFF: Film Art. An introduction, New York: McGraw-Hill Education, 2017. BOWSER, EILEEN: The Transformation of Cinema 1907–1915, Berkeley [u.a.]: University of Califor- nia Press, 1990. BRAUERHOCH, ANNETTE: Acting is a Person? Überlegungen zum Autorschaftsstatus von Schau- spielern und ein Interview mit Maren Kroymann, Siegen: Universität GH-Siegen, 1993. BRESSON, ROBERT: Notizen zum Kinematographen. Aus dem Französischen von Andrea Spinger und Robert Fischer, 2. Aufl., Berlin/Köln: Alexander Verlag, 2013. BYG, BARTON: Landscapes of resistance. The German films of Danièle Huillet and Jean-Marie Straub, Berkeley [u.a.]: University of California Press, 1995. CAMPBELL, JOPSEPH: Der Heros in tausend Gestalten, Frankfurt a.M./Leipzig: Insel Verlag, 1999. CARDULLO, R. J.: André Bazin, the Critic as Thinker. American Cinema from Early Chaplin to the Late 1950s, Rotterdam/Boston/Taipei: Sense Publishers, 2017. CARNICKE, SHARON MARIE: Stanislavsky in Focus. An Acting Master for the twenty-first century, 2. Aufl., London [u.a.]: Routledge, 2009. CHURCHER, MEL: Acting for film. Truth 24 times a second, London: Virgin, 2003. CLARK, DANAE: Negotiating Hollywood. The cultural politics of actors’ labor, Minneapolis: Uni- versity of Minnesota Press, 1995. CREECH, JENNIFER L.: Mothers, Comrades, and Outcasts in East German Women’s Films, Blooming- ton: Indiana University Press, 2016. CUNNEEN, JOSEPH: Robert Bresson. A Spiritual Style in Film, New York/London: Continuum, 2003. DE CORDOVA, RICHARD: Picture personalities. The emergence of the star system in America, Chicago: University of Illinois Press, 2001. DELEUZE, GILLES: Das Zeit-Bild. Kino 2, Frankfurt a.M.: Suhrkamp, 1991. DELEUZE, GILLES: Das Bewegungs-Bild. Kino 1, Frankfurt a.M.: Suhrkamp, 1990. DIEDERICHS, HELMUT H.: Frühgeschichte deutscher Filmtheorie. Ihre Entstehung und Entwick- lung bis zum Ersten Weltkrieg [Habilitationsschrift], Frankfurt a.M., 1996. DOORNS, N.A.J.M. VAN: Digital Spaces, Material Traces: Investigating the Performance of Gender, Sexuality, and Embodiement on Internet Platforms that feature User-Generated Content, Amster- dam School of Communication Research [Dissertation], 2010, S. 99–122, online: https://pure.uva. nl/ws/files/1041657/72912_thesis.pdf [Zugriff am 9.3.2018]. DYER, RICHARD: Stars [1979], London: BFI, 1998. EAGAN, DANIEL: America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, New York/London: Continuum, 2010. EDER, JENS: Die Figur im Film. Grundlagen der Figurenanalyse, 2. Aufl., Marburg: Schüren, 2014. EISENSTEIN, SERGEJ: Eine nicht gleichmütige Natur, herausgegeben von Rosemarie Heise, Berlin: Henschel, 1980. EISENSTEIN, SERGEI: Stationen. Autobiographische Aufzeichnungen. Mit einer Einführung von Sergei Jutkewitsch, Berlin: Henschel, 1967. ELSAESSER, THOMAS: Filmgeschichte und frühes Kino. Archäologie eines Medienwandels, München: Edition Text und Kritik, 2002. FINLER, JOEL W: Hollywood Movie Stills. Art and Technique in the Golden Age of the Studios, 2. Aufl., London: Reynolds und Heran, 2008. Bibliografie 491 FISCHINGER, TIMO: Zur Psychologie des Rhythmus. Präzision und Synchronisation bei Schlagzeu- gern, Kassel: Kassel University Press, 2009. FLEMMING, IRENE: Theater ohne Rollenbuch: Handbuch für kreatives Laienspiel, Mainz: Matthias- Grünewald Verlag, 1994. FOUCAULT, MICHEL: Die Ordnung des Diskurses [L’ordre du discours, 1972]. Mit einem Essay von Ralf Konersmann, 13. Aufl., Frankfurt a.M.: Fischer, 2014. FOUCAULT, MICHEL: Archäologie des Wissens [L’archéologie du savoir, 1969], 8. Aufl., Frankfurt a.M.: Suhrkamp, 1981. FRITZ, ELISABETH: Authentizität, Partizipation, Spektakel. Mediale Experimente mit „echten Men- schen“ in der zeitgenössischen Kunst, Köln/Weimar/Wien: Böhlau, 2014. GARNCARZ, JOSEPH: Filmfassungen. Eine Theorie signifikanter Filmvariation, Frankfurt a.M.: Peter Lang, 1992. GENETTE, GÉRARD: Paratexte. Das Buch vom Beiwerk des Buches, Frankfurt a.M./New York: Campus Verlag, 1992. GESÙ, SEBASTIANO (Hg.): La terra trema. Un film di Luchino Visconti dal romanzo I Malavoglia di Giovanni Verga, Comiso: Salarchi immagini; Lipari: Edizioni del Centro studi, 2006. GLÄSER, JOCHEN/LAUDEL, GRIT: Experteninterviews und Qualitative Inhaltsanalyse, Wiesbaden: Springer VS, 2010. GMÜR, LEONHARD: Ivan Aleksandrovich Pyrjev. Ein Regisseur zwischen Kolchose-Musical und Dostojevskij-Dämonen. Materialien zu seinem Leben und seinen Filmen, Berlin: Epubli, 2012. GOETHE, JOHANN WOLFGANG VON: Wilhelm Meisters Lehrjahre. Goethes Werke, Bd. 10, kritisch durchges. und erläuterte Ausg., herausgegeben von Karl Heinemann, Leipzig/Wien: Bibliographisches Institut, 1904. GOFFMAN, ERVING: Wir alle spielen Theater. Die Selbstdarstellung im Alltag [1956], 14. Aufl., München/Zürich: Piper, 2014. HATCH, KRISTEN: Shirley Temple and the Performance of Girlhood, New Brunswick, NJ [u.a.]: Rutgers University Press, 2015. HEDIGER, VINZENZ: Verführung zum Film. Der amerikanische Kinotrailer 1912–1998, Marburg: Schüren, 2001. HEINZLMEIER, ADOLF/SCHULZ, BERNDT/WITTE, KARSTEN: Die Unsterblichen des Kinos. 2, Glanz und Mythos der Stars der 40er und 50er Jahre, Frankfurt a.M.: Fischer, 1980. HESSE, CHRISTOPH [u.a.]: Filmstile, Wiesbaden: Springer VS, 2016. HICKETHIER, KNUT: Film- und Fernsehanalyse, 5., aktualisierte u. erweiterte Aufl., Stuttgart/Wei- mar: Metzler, 2012. HICKETHIER, KNUT: Geschichte des deutschen Fernsehens. Unter Mitarbeit von Peter Hoff, Stuttgart/Weimar: Metzler, 1998. HICKETHIER, KNUT: Schauspieler und Massenmedien. Ein Forschungsbericht, Frankfurt a.M.: Deutsche Akademie der Darstellenden Künste; Berlin: Institut für Kommunikations-, Medien- und Musikwissenschaft der TU, 1980. HILLER, JENS: Die Leben der Anderen oder die Legitimation ziviler Opfer. Eine Analyse des Kriegs- diskurses in den USA von 2003 bis 2011, Wiesbaden: Springer VS, 2017. HOERNING, H. KONRAD: Repertoireführer für das Laientheater, Leipzig: Zentralhaus für Kultur- arbeit, 1964. ISKIN, RUTH E.: The Poster. Art, Advertising, Design, and Collecting, 1860s–1900s, Hanover, NH: Dartmouth College Press, 2014. JACKSON, LYNNE KATHERINE: Tangled Up in James Blue. A Committed Filmmaker’s Journey Through Independent and Commercial Filmmaking, Propaganda, Documentary, Observational Cinema and Alternative Media, Doktorarbeit am Department of Cinema Studies [Dissertation], New York: New York University, 1992. JENISCH, JAKOB: Handbuch Amateurtheater, Leipzig: Henschel, 2005. JOSSÉ, HARALD: Die Entstehung des Tonfilms. Beitrag zu einer faktenorientierten Mediengeschichts- schreibung, Freiburg [u.a.]: Alber Verlag, 1984. 492 Bibliografie KEEN, ANDREW: Die Stunde der Stümper. Wie wir im Internet unsere Kultur zerstören, München:
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    Rediscovering Hallelujah (1929), Director King Vidor's Sensitive Film with All-Black Cast

    World Socialist Web Site wsws.org 70th Berlin International Film Festival—Part 6 Rediscovering Hallelujah (1929), director King Vidor’s sensitive film with all-black cast By Bernd Reinhardt 7 April 2020 This is the sixth and final part in a series on the Berlin International life. She and Zeke eventually get married, and he goes to work in a Film Festival, the Berlinale, which took place February 20–March 1. lumber mill. Chick, unable to fulfil her commitment or sustain her Part 1 was posted on February 28, Part 2 on March 11, Part 3 on relationship with Zeke, ends up returning to her old flame, Hot Shot. March 18, Part 4 on March 24 and Part 5 on March 30. Zeke jealously pursues the two. Hot Shot is killed and Chick also dies The Retrospective section of this year’s Berlin International Film in an accident. Zeke is sentenced to hard labor, survives his time in Festival, the Berlinale, was dedicated to the outstanding American the quarry and returns to his family. His bride Missy Rose (played by director King Vidor (1894-1982). Victoria Spivey—the talented blues singer and songwriter) has been The timespan of his creative work alone is extraordinary. He made waiting for him all the time. It’s harvest time, as it was at the start of his first movies in the era of silent films, influenced by D. W. Griffith, the movie. early Soviet film and Germany’s Weimar cinema. He later became an Hallelujah is an early sound film and one of the very first important inspiration for Italian neo-realism.
  • Burkhard Driest in Der Wasserburg Haus Graven

    Burkhard Driest in Der Wasserburg Haus Graven

    Abbildung: Ausschnitt aus „Le monde de Lysiane Diptychon“, 2016 Öl auf Leinwand 207 x 300 cm Dauer der Ausstellung 02. April 2017 bis 05. Juni 2017 Öffnungszeiten Samstags, sonntags und an Feiertagen 14 – 17 Uhr sowie Besuchergruppentermine nach Vereinbarung Anfahrt Bei Anfahrt mit dem PKW benutzen Sie bitte den Parkplatz „Segelflughafen“. Direkt an und in der Wasserburg sind keine Parkmöglichkeiten vorhanden. Haus Gravener Straße Bonner Straße Segelflugpla Graf-v.-Mirbach-Weg Langenfeld Wasserburg Haus Graven BURKHARD Wiescheid Kirchstraße DRIEST Parkplatz: Graf-von-Mirbach-Weg 15 . Zufahrt nur über Haus Gravener Straße Mit freundlicher Unterstützung: Querelle und Romy in Zusammenarbeit mit Wasserburg Haus Graven e.V. galerie goltz an der philharmonie Haus Graven 1 Huyssenallee 85 Wasserburg 40764 Langenfeld-Wiescheid 45128 Essen Malerei Haus Graven www.haus-graven.de www.galerie-goltz.com Einladung Zur Vernissage der Kunstausstellung am Sonntag, 02. April 2017 um 11.30 Uhr, Burkhard Driest in der Wasserburg Haus Graven 1939 geboren in Stettin, Polen laden wir herzlich ein. 1956 Erste Malerei 2011 Erste Veröffentlichungen Burkhard Driest ist ein bekannter Film - und Bühnenschauspieler, Begrüßung Drehbuchautor und Autor von zahlreichen Romanen. Er hat unter R. W. Fassbinder gespielt und mit Werner Herzog gedreht sowie mit Doris Wasserrab-Noelte Franco Nero und Jeanne Moreau vor der Kamera gestanden. Er hat Wasserburg Haus Graven e.V. mit Peter Zadek das von ihm geschriebene Musical ANDY am Schau- spielhaus mit inszeniert und ist vielen durch die legendäre Talk- show „Je später der Abend“ 1974 mit Romy Schneider bekannt. Es sprechen Dass Burkhard Driest zeitlebens intensiv malt, ist den we- nigsten Menschen bekannt.