Als Die Synagogen Brannten … Im Kino
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Flucht Ins Dunkel (D 1939, Regie: Arthur Maria Rabenalt) Unter Vorbehalt Filmreihe Im Zeughauskino
Unter Vorbehalt Filmreihe im Zeughauskino Flucht ins Dunkel (D 1939, Regie: Arthur Maria Rabenalt) Filmeinführung vom 6. März 2013 Stefanie Mathilde Frank „‚Flucht ins Dunkel‘, ein neuer Rabenaltfilm mit Hertha Feiler. Gut geworden in Regie, Spiel und Tendenz.“ 1 Diese Einschätzung notierte der Reichspropagandaminister Joseph Goebbels in seinem Tagebuch am 2. Juli 1939, einen Monat bevor der Film im schlesischen Beuthen – heute Bytom – uraufgeführt wurde. Das Drehbuch entstand nach der Geschichte Gespenst im späten Licht von Karl Unselt, die wenige Jahre zuvor als Fortsetzungsroman in der Berliner Illustrirten erschienen war. Gedreht wurde der Film in den Ufa-Ateliers in Tempelhof und auf dem Freigelände in Babelsberg. 2 Er lässt sich als Genre-Mix aus Drama und Abenteuer- inklusive Liebesgeschichte(n) klassifizieren. Die „Tendenz“ ist unschwer zu identifizieren: Mit dem Prädikat „künstlerisch wertvoll“ bedacht, sehen wir hier die Geschichten des Chemikers Gildemeister und seines Laboranten Engelbrecht, die sich 1914 beim Frankreich-Feldzug treffen. Während der eine wegen einer Erfindung in französische Kriegsgefangenschaft gerät und nach dem Ende des Krieges durch Frankreich irrt, rettet der andere dessen Fabrik inmitten der Wirren der Weimarer Republik. Verhandlung des Ersten Weltkriegs: Bereits die zwölfminütige Inszenierung der Deutschen in Frankreich setzt deutlich deutende Akzente: Gildemeisters Kriegsgefangenschaft in Frankreich wird als langsame Fahrt entlang eines Lagerzauns dargestellt, über die jeweils die Jahre geblendet werden. Diese Zahlen werden langsam gesteigert, die Kamera verringert zudem ihre Distanz zu den Gefangenen, die in den letzten beiden Jahren des Krieges schließlich mahnend am Stacheldraht verharren. Begleitet werden jene Bilder von ebenso eindringlich sich steigernder Musik, die in der Melodie der Marseillaise triumphiert. -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
GDR Films Various Authors
GDR Bulletin Volume 2 Issue 1 February Article 4 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. 1. https://doi.org/10.4148/gdrb.v2i1.323 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 -it- Mr. Peet fought in the Spanish Civil War with the British Battalion of the Inter• militarist society. Even such classics as Kiohard Wagner's THE national Brigade. After service with the FLYING DUTCHMAN. Geore Buchner's WOZZECK. and E. T. A. Hoffman's THE DEVIL'S ELIXIR are recreated from a socialist British Army in the Middle East during point of view. Thus the socialist realism of East German cinema can be studied as a cultural extension of a government that had the World War II he became editor of the enormous task of unifying a shattered nation and declared its belief in a democratic, humanist society constructed on the firm Jerusalem Radio. He later became a cor• foundation of socialism. It is not the purpose of this program to question the reality of these commitments, but it is necessary to respondent for Reuter's in Vienna, War• consider these stated national goals since they are reflected in the cut and fabric of the cinema from the German Democratic saw and West Berlin. -
Tiina Rosenberg
Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device. -
Goebbels' Ufa: „Filmschaffen“ Und Ökonomie Elitenbildung Und Unterhaltungsproduktion
Symposium Linientreu und populär. Das Ufa-Imperium 1933 bis 1945 11. und 12. Mai, Filmreihe 11. bis 14. Mai 2017 Symposium Linientreu und populär. Das Ufa-Imperium 1933 bis 1945 Ablauf, Abstracts, Kurzbiografien, Filmreihe Do, 11.05., 13:00 Akkreditierung der Symposiumsteilnehmer*innen Deutsche Kinemathek – Museum für Film und Fernsehen im Filmhaus am Potsdamer Platz, Potsdamer Straße 2, 10785 Berlin, Veranstaltungsraum, 4. OG 14:00 Begrüßung: Rainer Rother (Künstlerischer Direktor, Deutsche Kinemathek), Wolf Bauer (Co-CEO UFA GmbH), Ernst Szebedits (Vorstand Friedrich-Wilhelm-Murnau- Stiftung) 14:30 Block 1 | 100 Jahre Ufa: Rückblicke und Ausblicke Die Ufa im Nationalsozialismus – Die ersten Jahre | Rainer Rother 15:00 Alfred Hugenberg: Wegbereiter der Ufa unterm Hakenkreuz? | Friedemann Beyer 15:30 Zwischen Tradition und Moderne. Zum NS-Kulturfilm 1933–1945 | Kay Hoffmann 16:00 Über die Popularität der Ufa-Filme, 1933–1945. Präsentation von Forschungs- ergebnissen des DFG-Projektes „Begeisterte Zuschauer: Über die Filmpräferenzen der Deutschen im Dritten Reich“ | Joseph Garncarz 16:30 Kaffeepause 17:00 Im Gespräch: Mediale Vermittlung von Zeitgeschichte. Zum Umgang mit brisanten historischen Stoffen | Teilnehmer: Nico Hofmann, Thomas Weber, Moderation: Klaudia Wick 18:00 Zwangsarbeit bei der Ufa | Almuth Püschel 18:30 Die Erinnerungen Piet Reijnens – ein niederländischer Zwangsarbeiter bei der Ufa | Jens Westemeier Ende ca. 19:00 Fr. 12.05., 9:30 Block 2 | Goebbels' Ufa: „Filmschaffen“ und Ökonomie Elitenbildung und Unterhaltungsproduktion. Ufa-Lehrschau und Deutsche Filmakademie als geistiger Ausdruck der Filmstadt Babelsberg im Nationalsozialismus | Rolf Aurich 10:00 Das große Scheitern: Die Ufa als Wirtschaftsunternehmen | Alfred Reckendrees 10:30 Mythos „Filmstadt Babelsberg“. Zur Baugeschichte der legendären Ufa-Filmfabrik | Brigitte Jacob, Wolfgang Schäche 11:15 Kaffeepause 11:45 Der merkwürdige Monsieur Raoul. -
ATINER's Conference Paper Series HUM2014-0814
ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series HUM2014-0814 Iconic Bodies/Exotic Pinups: The Mystique of Rita Hayworth and Zarah Leander Galina Bakhtiarova Associate Professor Western Connecticut State University USA 1 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN 2241-2891 22/1/2014 2 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. The papers published in the series have not been refereed and are published as they were submitted by the author. The series serves two purposes. First, we want to disseminate the information as fast as possible. Second, by doing so, the authors can receive comments useful to revise their papers before they are considered for publication in one of ATINER's books, following our standard procedures of a blind review. Dr. Gregory T. Papanikos President Athens Institute for Education and Research 3 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 This paper should be cited as follows: Bakhtiarova, G. -
Zarah Leander
Tema På vilket sätt kan konsten vara en källa till tröst och mot- stånd? Tiina Rosenberg diskuterar divakulten i allmänhet lik- som gaykulturen och den kultur som vuxit fram kring artisten Zarah Leander. ZARAH leander DEn QUEERa DIVAN Tiina RosenBERG Hur dog den firade divan? Tja, det gick så fort. ”Jag älskar Callas röst” är ett annat sätt En ödesdiger dag gick divan själv ner i mjölkbo- att saga att ”Callas röst älskar mig”. den och köpte sina frukostfranska Wayne Koestenbaum2 – den dagen dog hon för att aldrig mera uppstå. Zarah Leander 1 ”Det hände den 13 augusti 1949 på Malmö Stadsteater. Jag var rädd. Jag hade rampfeber för första gången sedan min debut i Borås Folkets park 1929 och ska- kade som de berömda asplöven.” 3 Så beskrev Zarah Leander känslan minuterna före sin stora come-back-konsert. Hon hade tillbringat åren mellan 1943–49 hemma på Lönö ”utan att ta ton mot andra än huskatten”.4 Efter konserten an- tecknade hon lättad: ”Framgången var oväntad. Recensionerna morgonen efter var som ett champagnerus /…/ Den där kvällen i Malmö 1949, då jag släpptes fri ur en sexårig fångenskap och åter fick stå på en svensk scen, den kvällen erfor jag en stark och lycklig känsla, känslan av att för all framtid vara accepterad och välkommen att åter ’sjunga på svenska för fan’.”5 Trots succén i Malmö var Leander rädd för stockholmspubliken när hon två veckor senare med darrande knän stod i konserthusets kuliss. Men framgången från Malmö upprepades. Och morgonen efter kunde jag åter läsa mig berusad på Tidskrift för genusvetenskap nr 1-2 2007 67 Tema recensionerna. -
September 2016 Kinoprogramm Filmmuseum
Filmmuseum September 2016 Kinoprogramm Ausstellungen · Projekte 2 INFORMATION & TICKETRESERVIERUNG ≥ Tel. 069 - 961 220 220 Impressum Herausgeber: Deutsches Filminstitut – DIF e.V. Schaumainkai 41 60596 Frankfurt am Main JÜDISCHE FILMTAGE Vorstand: A LA VIE Claudia Dillmann, ≥ Seite 43 Dr. Nikolaus Hensel Direktorin: Claudia Dillmann (V.i.S.d.P.) Presse und Redaktion: Frauke Haß (Ltg.), Flemming Feß Texte: Vanessa Aab, Andreas Beilharz, Flemming Feß, Natascha Gikas, Leif Horns, Michelle Koch, Christine Kopf, Lisa Roßmann, Daland Segler, Urs Spörri, Treppe 41, Sabrina Wagner Vorführer/innen: Christian Appelt, Michael Besser, Pramila Chenchanna, Hans-Peter Marbach, Günther Volkmann Gestaltung: Optik — Jens Müller www.optik-studios.de Druck: Fißler & Schröder – Die Produktionsagentur 63150 Heusenstamm Anzeigen (Preise auf Anfrage): Presse- und Öffentlichkeitsarbeit Tel.: 069 - 961 220 222 E-Mail: [email protected] Abbildungsverzeichnis: Alle Abbildungen stammen aus dem Bildarchiv des Deutschen Filminstituts, sofern nicht anders verzeichnet. Titelmotiv: Aus dem Film WATERBABY (Indien 2016) zu sehen im LUCAS PROGRAMM 2 – Kurze und mittellange Filme im Wettbewerb 8+ ≥ Seite 25 INHALT 3 Sonderausstellung: Die Kunst von Aardman 4 70 Jahre CCC 8 Fünf Jahre Neues Filmmuseum 10 Tagung: Film, Flucht und Interkultur 14 LUCAS – Internationales Festival für junge Filmfans 16 Filmprogramm Abbas Kiarostami 27 Alex van Warmerdam 32 Peter Zingler 34 Klassiker & Raritäten: Joachim Gottschalk 38 Late Night Kultkino: Bud Spencer 40 Junger Filmclub -
Consulte As Fichas Detalhadas Do Programa
CINEMATECA PORTUGUESA–MUSEU DO CINEMA HISTÓRIAS DO CINEMA: LAURA MULVEY / DOUGLAS SIRK 4 a 8 de abril de 2016 SESSÕES-CONFERÊNCIA | APRESENTADAS E COMENTADAS POR LAURA MULVEY AS INTERVENÇÕES DE LAURA MULVEY SÃO FEITAS EM INGLÊS ALINHAMENTO DO PROGRAMA ENTRE 4 E 8 DE ABRIL: ZU NEUEN UFERN | A SCANDAL IN PARIS | ALL THAT HEAVEN ALLOWS | THE TARNISHED ANGELS | IMITATION OF LIFE segunda-feira, 4 de abril, 18h ZU NEUEN UFERN / (“Em Direcção a Novos Rumos” ou “Para Terras Distantes”) / 1937 Realização: Detlef Sierk (Douglas Sirk) / Argumento: Detlef Sierk e Kurt Heuser, com base no romance homónimo de Lovis H. Lorenz / Fotografia: Franz Weimayr / Montagem: Milo Harbich / Décors: Fritz Maurischat / Guarda-Roupa: Arno Richter / Música e Canções: Ralph Benatzky / Interpretação: Zarah Leander (Gloria Vane), Willy Birgel (Albert Finsbury), Viktor Staal (Henry), Erich Ziegel (Dr. Hoyer), Hilde von Stolz (Fanny Hoyer), Edwin Jürgensen (governador), Carola Höhn (Maria), Jakob Tiedtke (Wells), Robert Doesay (Bobby Wells), Iwa Wanja (Violet), Ernst legal (Stout), Siegfried Schürenberg (Gilbert), Lina Lossen (directora da prisão), Lissi Arna (Nelly), Herbert Hühner (patrão do “casino”), Mady Rahl, Lina castens, Curd Jürgens. Produção: Bruno Duday para a UFA / Cópia: 35mm, preto e branco, versão original em alemão com legendagem eletrónica em português, 102 minutos / Estreia Mundial: 31 de Agosto de 1937 / Inédito comercialmente em Portugal / Primeira exibição em Portugal: No Grande Auditório da Fundação Calouste Gulbenkian, a 14 de Fevereiro de 1986, integrado no Ciclo de Cinema “O Musical” organizado pela Cinemateca Portuguesa e pela Fundação Calouste Gulbenkian. terça-feira, 5 de abril, 18h A SCANDAL IN PARIS / (Escândalo em Paris) / 1946 Realização: Douglas Sirk / Argumento: Ellis St. -
Douglas Sirk in Nazi Germany
'.seum of (VSodern Art 50'^ Anrnvprsarv NO. 40 FOR IMMEDIATE RELEASE THE MUSEUM OF MODERN ART FILM PROGRAM TO SHOW FOUR RARE FILMS DIRECTED BY DOUGLAS SIRK IN NAZI GERMANY Four rare films directed by Douglas Sirk during his career in Germany in the mid-1930s will be shown by The Museum of Modern Art Department of Film, August 15-18, 1980. All films will have English subtitles. Introduced by film historian Richard Traubner, the films are: TO NEW SHORES (1937, Zu neuen Ufern) and LA HABANERA (1937), both starring Zarah Leander; FINAL CHORD (1936, Schlussakkord), with Willy Birgel and Lil Dagover; and PILLARS OF SOCIETY (1935, Stutzen der Gesellschaft), with Heinrich George. Schedule as follows: TO NEW SHORES, Friday, August 15 at 6:00 (Introduced by Mr. Traubner) Sunday, August 17 at 8:30 LA HABANERA, Friday, August 15 at 8:30 Sunday, August 17 at 6:00 FINAL CHORD, Saturday, August 16 at 6:00 Monday, August 18 at 8:30 PILLARS OF SOCIETY, Saturday, August 16 at 8:30 Monday, August 18 at 6:00 Numerous Douglas Sirk films produced in Hollywood have been shown at MoMA but his career in Germany in the 30's is largely unknown. Sirk (then Detlef Sierck) had been a successful and versatile theater director before his move to the cinema (Ufa) in 1934. He carried over into film his strong sense of drama and skill with actors. Zarah Leander, the most famous of the Sirk stars, was the Nazi cinema's answer to Greta Garbo and Marlene Dietrich, a beautiful Swede with a deep 11 West 53 Street, New York, NY 10019. -
Filmklassiker Bel Ami (1939)
Filmklassiker Bel Ami (1939)...........................................................................................................................2 Der blaue Engel (1930)...............................................................................................................2 Ein blonder Traum (1932)...........................................................................................................3 Bomben auf Monte Carlo (1931).................................................................................................4 Die Brücke (1960) ......................................................................................................................4 Des Teufels General (1955) ........................................................................................................5 Das doppelte Lottchen (1950) .....................................................................................................6 3 Männer im Schnee (1956) ........................................................................................................6 Die Drei von der Tankstelle (1956) .............................................................................................7 Emil und die Detektive (1931) ....................................................................................................8 Die Feuerzangenbowle (1944).....................................................................................................8 Frauenarzt Dr. Prätorius (1950)...................................................................................................9 -
Children in Frank Beyer's Holocaust Films
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses November 2016 Children in Frank Beyer's Holocaust Films Delene M. White University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Film and Media Studies Commons, and the German Language and Literature Commons Recommended Citation White, Delene M., "Children in Frank Beyer's Holocaust Films" (2016). Doctoral Dissertations. 815. https://doi.org/10.7275/9052390.0 https://scholarworks.umass.edu/dissertations_2/815 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CHILDREN IN FRANK BEYER’S HOLOCAUST FILMS A Dissertation Presented By DELENE CASE WHITE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 2016 German and Scandinavian Studies © Copyright by Delene Case White 2016 All Rights Reserved CHILDREN IN FRANK BEYER’S HOLOCAUST FILMS A Dissertation Presented by DELENE CASE WHITE Approved as to style and content by: __________________________________ Barton Byg, Chair __________________________________ Sky Arndt-Briggs, Member __________________________________ Jonathan Skolnik, Member __________________________________ Jon Olsen, Member _____________________________ Andrew Donson, Member and Program Director German and Scandinavian Studies _____________________________ William Moebius, Department Chair Languages, Literature, and Cultures DEDICATION For Jack, my own child with the most agency of all. ACKNOWLEDGMENTS I have many people and institutions to thank for their support of many various kinds.