DOCSLIB.ORG

1 September 2015 (Series 31:1) G.W

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 September 2015 (Series 31:1) G.W 1 September 2015 (Series 31:1) G.W. Pabst, DIARY OF A LOST GIRL (1929, 79 minutes) (The version of this handout on the website has color images and hot urls.) Directed by G. W. Pabst Written by Rudolf Leonhardt (screenplay), based on the novel by Margarete Böhme Produced by Georg Wilhelm Pabst Music by Otto Stenzeel Cinematography by Sepp Allgeier and Fritz Arno Wagner Art Direction by Emil Hasler and Ernö Metzner Cast Louise Brooks ... Thymian André Roanne ... Count Nicolas Osdorff Josef Rovensk ... Robert Henning Fritz Rasp ... Meinert Vera Pawlowa ... Aunt Frieda Franziska Kinz ... Meta 1967, age 81, in Vienna, Austria). Pabst directed 41 films Arnold Korff ... Elder Count Osdorff including 1956 Durch die Wälder durch die Auen (as G.W. Andrews Engelmann The director of the establishment Pabst), 1956 Ballerina, 1955 It Happened on July Valeska Gert ... The director's wife 20th,1955 The Last Ten Days, 1954 Afraid to Love,1954 Edith Meinhard ... Erika Cose da pazzi, 1953 Voice of Silence, 1948 Der Prozeß, Sybille Schmitz ... Elisabeth 1945 Der Fall Molander, 1943 Paracelsus, 1941 The Sig Arno ... Guest (as Siegfried Arno) Comedian, 1939 Young Girls in Trouble, 1939 Pasha's Kurt Gerron ... Dr. Vitalis Wives, 1934 A Modern Hero (as G.W. Pabst), 1933 That Night, 1933. Adventures of Don Quixote, 1933/I Don Quichotte,1932 The Lost Atlantis, 1932 Queen of Atlantis, Directed by G. W. Pabst 1932 L'Atlantide, 1931 The 3 Penny Opera,1929 White Written by Rudolf Leonhardt (screenplay), Margarete Hell of Pitz Palu, 1929 Diary of a Lost Girl, 1929 Böhme (novel) Pandora's Box, 1928 The Devious Path, 1927 The Love of Produced by Georg Wilhelm Pabst Jeanne Ney, 1925 The Joyless Street,1923 Der Schatz. Music by Otto Stenzeel Cinematography by Sepp Allgeier and Fritz Arno Wagner Art Direction by Emil Hasler and Ernö Metzner Georg Wilhelm Pabst (Director) (b. August 25, 1885 in Raudnitz, Bohemia, Austria- Hungary [now Roudnice, Czech Republic]—d. May 29, Pabst—DIARY OF A LOST GIRL—2 Sepp Allgeier (Cinematographer) (b. February 6, 1895 in Song of Night, 1931 Comradeship, 1931 M, 1931 The 3 Freiburg im Breisgau, Baden-Württemberg, Germany –d. Penny Opera (as F.A. Wagner), 1929 Napoleon at St. March 11, 1968, age 73,in Ebnet, Freiburg im Breisgau). Helena, 1929 Diary of a Lost Girl, 1929 The Last Fort, Allgeier has been cinematographer on 51 film and 1929 Waterloo, 1928 Spies, 1927 Natur und Liebe television projects, among them 1959 Achtung! Ruhe! (Documentary), 1927 The Love of Jeanne Ney, 1927 A Aufnahme! (TV Series), 1951 Die Passion, 1951 Modern Du Barry, 1926 It's Easy to Become a Father, Grenzstation 58, 1950 Heimat, die uns blieb (Short), 1950 1926 Adventure Mad, 1925 The Love Pirate, 1925 The Helden der Landstraße Chronicles of the Gray House, (Documentary), 1949 Der 1923 Between Evening and große Bergpreis (Short), 1941 Morning, 1922 Der Graf von Wehrmachtsfilm, 1940 Essex, 1922 Nosferatu (as Campaign in Poland F.A. Wagner, photographed (Documentary), 1939 The by),1921 Destiny, 1920 Das West Wall (Documentary), Martyrium, 1919 Vendetta. 1938 The Mountain Calls (as Allgeier), 1937 Silent Barriers (photography), 1936 Louise Brooks ... Thymian Enchanted Forest (b. Mary Louise Brooks, (Documentary),1936 Youth of November 14, 1906—d. the World (Documentary August 8, 1985, age 78, in short),1935 Escape Me Never, Rochester, NY). Louise 1935 Triumph of the Will Brooks has appeared in 24 (Documentary) (photographic films including 1938 director and camera operator), Overland Stage Raiders, 1937 1934 The Legend of William Tell, 1933 Victory of the King of Gamblers (scenes deleted), 1937 When You're in Faith (Documentary), 1933 Love in Morocco, 1931 Love, 1936 Empty Saddles, 1931 Windy Riley Goes Mountains on Fire (as Allgeier),1930 Storm Over Mont Hollywood (Short), 1931 God's Gift to Women, 1931 It Blanc, 1929 White Hell of Pitz Palu, 1929 Diary of a Lost Pays to Advertise, 1930 Miss Europe, 1929 Diary of a Girl,1928 Fight for the Matterhorn, 1927 Der große Lost Girl, 1929 The Canary Murder Case, 1929 Sprung, 1927 Im Luxuszug, 1927 Alpentragödie, 1926 Pandora's Box, 1928 Beggars of Life, 1928 A Girl in Every Der heilige Berg, 1924 Die weiße Kunst (Documentary) Port, 1927 The City Gone Wild, 1927 Now We're in the ,1924 The Mountaineers,1920 Das Wunder des Air, 1927 Rolled Stockings, 1927 Evening Clothes, 1926 Schneeschuhs (Documentary). Just Another Blonde, 1926 The Show Off, 1926 It's the Old Army Game, 1926 A Fritz Arno Wagner (Cinematographer) Social Celebrity, 1926 Love 'Em and Leave 'Em, 1926 The (b. December 5, 1894, Schmiedefeld am Rennsteig, American Venus, 1925 The Street of Forgotten Men Thuringia, Germany –d. August 18, 1958, age 63, in (uncredited). Göttingen in a tragic automobile accident while shooting the comedy, Ohne Mutter geht es nicht [It Doesn't Work André Roanne ... Count Nicolas Osdorff (b. André Without a Mother] for director Erik Ode). Wagner was Roanne on September 22, 1896 in Paris, France—d. on cinematographer on 145 films including 1958 Ohne September 6, 1959, age 62, in Cannes, Alpes-Maritimes, Mutter geht es nicht, 1958 Wehe, wenn sie France) André Roanne has appeared in 97 films including, losgelassen,1958 The Csardas Princess,1957 Liebe, Jazz 1957 A Kiss for a Killer, 1956 Les indiscrètes, 1956 If und Übermut, 1956 My 16 Sons, 1955 The Ambassador's Paris Were Told to Us, 1955 Napoleon (uncredited), 1955 Wife (as Otto Wagner), 1954 The Faithfull Hussar, 1953 The Babes Make the Law, 1954 Les clandestines, 1954 Oh Fräulein Casanova, 1950 Das Mädchen aus der Südsee, No, Mam'zelle, 1954 La fille perdue, 1952 It Happened in 1949 The Bridge,1948 Palace Scandal, 1948 Girls Paris, 1951 The Sleepwalker,1946 Back Streets of Paris, Behind Bars, 1943 I'll Carry You on My Hands, 1943 Ein 1938 It Happened in Gibraltar, 1938 Café de Paris, 1937 glücklicher Mensch, 1943 Laugh Pagliacci, 1942 Police mondaine, 1936 Jeunes filles de Paris, 1934 Le Bismarck's Dismissal,1940 Friedrich Schiller - Der cavalier Lafleur, 1934 The Voyage of Mr. Perrichon, 1934 Triumph eines Genies, 1938 Das Mädchen mit dem guten Une nuit de folies, 1933 Pour être aimé, 1933 Baby, 1932 Ruf, 1937 Two Merry Adventurers, 1937 Glamorous Colette et son mari, 1932 L'amour en vitesse, 1932 Nicole Night, 1935 Schwarze Rosen, 1935 Turandot, princesse and Her Virtue, 1931 La chanson des nations, 1931 Ma de Chine, 1934 Prinzessin Turandot, 1934 Au bout du cousine de Varsovie, 1930 Le joker, 1930 Accused, Stand monde, 1934 Volga in Flames, 1933 The Last Will of Dr. Up!, 1930 The Virgin of Paris, 1929 Vénus, 1929 Diary of Mabuse, 1933 The Testament of Dr. Mabuse, 1932 The a Lost Girl, 1929 Dolly, 1928 Le chauffeur de Pabst—DIARY OF A LOST GIRL—3 Mademoiselle, 1927 The Chocolate Girl, 1927 La petite Pabst, G(EORG) W(ILHELM) (August 27, 1885-May fonctionnaire,1926 Duchess of the Folies Bergeres, 1926 29,1967, Austrian director and scenarist, was born in Cinders, 1926 The Cradle of God, 1925 La terre promise, Raudnitz, Bohemia then part of the Austro-Hungarian 1922 Maman Pierre, 1921 Missing Husbands, 1916 Têtes empire, now in Czechoslovakia. His father, August, was a de femmes, 1915 Feet and Hands, 1914 Le fils de la railroad official whose career took the family to Vienna divette (Short). when Pabst was still a child. At his father’s urging he first studied engineering. He soon abandoned this, toyed for a Josef Rovensk ... Robert Henning time with the idea of a military career, and finally—to his (b. April 17, 1894 in Prague, Bohemia, Austria-Hungary parents’ distress—opted for the stage. In 1904 he entered [now Czech Republic] –d. on November 5, 1937, age 43, in the Vienna Academy of Decorative Arts, where he studied Prague, Czechoslovakia). Josef Rovensk has appeared in acting for two years. In 1910, after varied experience at over 76 films including 1936 Quarrymen, 1934 Za theatres in Switzerland and Germany, Pabst went to the ranních cervánku, 1933 Public Not Admitted, 1933 The United States to join the Deutsche Volkstheater in New Inspector General, 1933 Diagnosis X, 1933 Sister York, appearing in plays by Hauptmann, Schnitzler and Angelika, 1933 The Undertaker, 1932 Lelicek in the others. The theatre was controlled by labor unions and he Services of Sherlock Holmes, 1931 Milácek pluku, 1931 met a number of prominent American socialists, including Business Under Distress, 1931 The Last Bohemian, 1930 Upton Sinclair. It was at the Volkstheater that Pabst first A Girl from the Reeperbahn, 1930 Das Mädel aus U.S.A., tried his hand as a director, soon realizing that he had a 1930 Plukovník Svec, 1930 The Virgin of Paris, 1929 much greater talent for this than as an actor. In 1914 he Diary of a Lost Girl, 1929 Der Ruf des Nordens, 1929 returned to Europe to recruit new performers but, with the Der Monte Christo von Prag, 1928 Zivotem vedla je láska, outbreak of war, was detained in France as an enemy alien. 1928 Der erste Kuß, 1928 Sextánka, 1927 Schweik in Pabst spent nearly five years in a prison camp near Brest, Civilian Life, 1924 Bílý ráj, 1921 Roztrzené foto, 1919 where he organized a theatre company and presented Akord smrti, 1914 Zamilovaná tchyne. He also directed 14 French plays for the entertainment of prisoners and guards Czech films between 1920 and 1939, including, 1920 alike. In this way he acquired his lifelong admiration for Komediantka. French culture, but his imprisonment was nevertheless a painful experience which marked him deeply. Fritz Rasp ... Meinert (b. Fritz Heinrich Rasp on May 13, 1891 in Bayreuth, Germany –d. November 30, 1975, age 85, in Gräfelfing, Bavaria, West Germany).
Load more

Recommended publications
  • Xx:2 Dr. Mabuse 1933
    January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • 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.
    [Show full text]
  • ̘​Í™” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
    Hertha von Walther ì˜í​ ™” 명부 (작품으로) It Attracted Three Fellows https://ko.listvote.com/lists/film/movies/it-attracted-three-fellows-3732738/actors That Was Heidelberg on https://ko.listvote.com/lists/film/movies/that-was-heidelberg-on-summer-nights-19897941/actors Summer Nights Julot the Apache https://ko.listvote.com/lists/film/movies/julot-the-apache-15990797/actors Single Mother https://ko.listvote.com/lists/film/movies/single-mother-21869823/actors Jonathan https://ko.listvote.com/lists/film/movies/jonathan-6272379/actors The Flight in the Night https://ko.listvote.com/lists/film/movies/the-flight-in-the-night-17004941/actors Mountain of Destiny https://ko.listvote.com/lists/film/movies/mountain-of-destiny-14949895/actors Secrets of a Soul https://ko.listvote.com/lists/film/movies/secrets-of-a-soul-473920/actors The Love of Jeanne Ney https://ko.listvote.com/lists/film/movies/the-love-of-jeanne-ney-832376/actors So Ended a Great Love https://ko.listvote.com/lists/film/movies/so-ended-a-great-love-3695860/actors The Castle in Flanders https://ko.listvote.com/lists/film/movies/the-castle-in-flanders-3793360/actors Tannenberg https://ko.listvote.com/lists/film/movies/tannenberg-7683622/actors The Storyteller of Venice https://ko.listvote.com/lists/film/movies/the-storyteller-of-venice-3793259/actors Ways to Strength and https://ko.listvote.com/lists/film/movies/ways-to-strength-and-beauty-541297/actors Beauty Doña Juana https://ko.listvote.com/lists/film/movies/do%C3%B1a-juana-5303845/actors Sergeant Berry https://ko.listvote.com/lists/film/movies/sergeant-berry-1723325/actors
    [Show full text]
  • * Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
    * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
    WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
    [Show full text]
  • The Film Music of Edmund Meisel (1894–1930)
    The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven.
    [Show full text]
  • Georg Wilhelm Pabst : Blessure De La Guerre, Cicatrices De La Pellicule
    SYMPOSIUM CULTURE @ KULTUR Research paper • DOI: 10.2478/sck-2021-0001 • Symposium • 3(1) • 2021 • 1–6 Georg Wilhelm Pabst : blessure de la guerre, cicatrices de la pellicule Louise Dumas Abstract Von allen Filmemachern, die Deutschlands filmischen Ruhm in der Zwischenkriegszeit ausmachten, ist G. W. Pabst derjenige, der am wenig- sten Anerkennung erhielt – oder am längsten dafür gebraucht hat. Er ist aber auch derjenige, der schon Ende der 1920er Jahre den Ersten Weltkrieg zu einem filmischen Ereignis machte, das in vier seiner Filme mehr oder weniger direkt thematisiert wird:Die Liebe der Jeanne Ney, Westfront 1918, Kameradschaft und Mademoiselle Docteur. Der Krieg wird als eine traumatische Erfahrung dargestellt, die Einzelpersonen, Seelen und Völker verwundet hat. Dabei bilden auch diese vier Filme ein Manifest der Filmkunst, die grundsätzlich eine Dialektik vom Trennen und Verbinden ist. In diesem Sinne hat das Kino durch seine medienästhetischen Mittel die Kraft, die Wunden des Krieges zu verarbeiten und zu heilen. De tous les réalisateurs qui ont fait la gloire cinématographique de l’Allemagne dans l’entre-deux-guerres, G. W. Pabst est celui qui a été le moins reconnu, ou qui a mis le plus de temps à l’être, mais il est aussi celui qui, dès la fin des années 1920, a fait de la Première Guerre mondiale un événement cinématographique que reflètent, plus ou moins directement, quatre de ses films L’Amour: de Jeanne Ney, Quatre de l’infanterie, La Tragédie de la mine et Mademoiselle Docteur. La guerre y apparaît comme une expérience traumatique qui blesse les individus, les âmes et les peuples.
    [Show full text]
  • The Stage of the Mountains
    Leopold- Franzens Universität Innsbruck The Stage of the Mountains A TRANSNATIONAL AND HISTORICAL SURVEY OF THE MOUNTAINS AS A STAGE IN 100 YEARS OF MOUNTAIN CINEMA Diplomarbeit Zur Erlangung des akademischen Grades eines Mag. phil. an der Philologisch- Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei PD Mag. Dr. Christian Quendler von Maximilian Büttner Innsbruck, im Oktober 2019 Eidesstattliche Erklärung Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister- /Master-/Diplomarbeit/Dissertation eingereicht. ______________________ ____________________________ Datum Unterschrift Table of Contents Acknowledgments .................................................................................................................... 4 Introduction .............................................................................................................................. 1 Mountain Cinema Overview ................................................................................................... 4 The Legacy: Documentaries, Bergfilm and Alpinism ........................................................... 4 Bergfilm, National Socialism and Hollywood
    [Show full text]
  • 366 Cine Expresionista – Estilo Y Diseño En La Historia Del Cine1 Por
    366 Cine expresionista – Estilo y diseño en la historia del cine1 Por Thomas Elsaesser* Traducido por María Guadalupe Russo** Expresionismo alemán – ¿La pesadilla favorita de todos? El cine alemán del período de Weimar, generalmente considerado como uno de las “edades doradas” del cine mundial, permanece en el centro de atención hasta el surgimiento del cine de montaje soviético a mediados y finales de la década de 1920, en cuyo momento compite, bajo el título de Neue Sachlichkeit, con el realismo descarnado de von Erich von Stroheim, Ralph Ince, Joseph von Sternberg y King Vidor. Las películas alemanas de la primera mitad de la década, de las cuales la más conocida sigue siendo El gabinete del Dr. Caligari (Das Cabinet des Dr. Caligari, 1920) de Robert Wiene, son etiquetadas con frecuencia como “expresionismo alemán”, tomando prestado el nombre de un movimiento de vanguardia en literatura, drama, pintura y escultura, asociado con grupos de artistas tales como Der Blaue Reiter (El jinete azul), Der Sturm (La tormenta) y Die Brücke (El puente), que alcanzó su pico máximo alrededor de 1912, y cuyas energías creativas fueron agotadas en gran medida hacia el final de la Segunda Guerra Mundial. Las razones para etiquetar como expresionistas a algunas de las películas más exitosas internacionalmente del período de Weimar fueron complejas y son aún disputadas.2 Lo que sin lugar a dudas jugó un rol fueron los esfuerzos para asociar la procedencia “alemana” con algo más elevado y artístico que el militarismo prusiano y los horrores de una guerra brutal de memoria reciente. 1 Traducción de “Expressionist Cinema – Style and Design in Film History” en Olaf Brill y Gary D.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • BFI Southbank Will Mark the Centenary of the Weimar Republic with a Major Two-Month Season Running Friday 3 May – Sunday 30 June
    Thursday 28 March 2019, London. BFI Southbank will mark the centenary of the Weimar Republic with a major two-month season running Friday 3 May – Sunday 30 June. BEYOND YOUR WILDEST DREAMS: WEIMAR CINEMA 1919-1933 will celebrate one of the most innovative and ground-breaking chapters in the history of cinema. The first major survey of Weimar cinema in London for many years, the season will reveal that the influential body of cinematic work which emerged from this remarkably turbulent era is even richer and more diverse than generally thought. Thanks to brilliant aesthetic and technical innovations, Germany’s film industry was soon second only to Hollywood, catering to a new mass audience through a dazzling range of styles and genres – not only the ‘haunted screen’ horror for which it is still chiefly renowned, but exotic adventure films, historical epics, urban tales, romantic melodramas, social realism and avant-garde experiments. Most surprising perhaps is the wealth of comedies, with gender-bending farces and sparkling musicals such as I Don't Want to Be a Man (Ernst Lubitsch, 1918) and A Blonde Dream (Paul Martin, 1932). But Weimar cinema wasn’t just dazzling entertainment: throughout this period of polarised politics, which was increasingly overshadowed by the rise of Nazism, it also posed vital questions. From an early plea for gay rights – Different from the Others (Richard Oswald, 1919) – to stirring critiques of the capitalist system such as The Threepenny Opera (GW Pabst, 1931) and Kuhle Wampe (Slatan Dudow, 1932) the films still speak urgently to contemporary concerns about a range of social issues.
    [Show full text]