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Margarethe Von Trotta Regisseurin
Margarethe von Trotta Regisseurin Kontakt Sigrid Narjes Tel. +49 (0)89 599 08 4-0 Theresienstr. 31 D-80333 München [email protected] Wohnsitz München, Paris (FR) Sprachen Italienisch, Französisch, Englisch, Deutsch © Alexander Vejnovic FILMOGRAFIE (Auswahl) 2021 BACHMANN & FRISCH Produktion: Amour Fou Vienna, Amour Fou Luxembourg Sárl, Tellfilm, Tellfilm Deutschland, Heimatfilm (Verleih: Alamode Filmdistribution, MFA+ Filmdistribution) Buch und Regie: Margarethe von Trotta In Entwicklung 2017-2018 AUF DER SUCHE NACH INGMAR BERGMAN Produktion: C-Films Deutschland (Verleih: Weltkino Filmverleih) Buch und Regie: Margarethe von Trotta Co-Regie: Bettina Böhler, Dr. Felix Moeller Festival de Cannes - Cannes Classics (2018) International Documentary Filmfestival Amsterdam (2018) Stockholm International Film Festival (2018) Lumière Film Festival (2018) Toronto International Film Festival (2018) 2017 FORGET ABOUT NICK Produktion: Heimatfilm (Verleih: Warner Bros. Entertainment) Buch: Pamela Katz Regie: Margarethe von Trotta Tokyo International Film Festival - Wettbewerb (2017) Film Festival Cologne - TV Spielfilm-Preis (2017) 2014 DIE ABHANDENE WELT Produktion: Clasart Film- und Fernsehproduktion (Verleih: Concorde Filmverleih) Buch und Regie: Margarethe von Trotta 2012 HANNAH ARENDT Produktion: Heimatfilm (Verleih: NFP Marketing & Distribution ) Buch: Margarethe von Trotta, Pamela Katz Regie: Margarethe von Trotta Gilde-Filmpreis - Bester Film (2013) Deutscher Filmpreis - Bester Film Silber (2013) Deutscher Filmpreis - Nominierung Beste -
Introducing Margarethe Von Trotta
Introducing Margarethe von Trotta The Personal is Political Biography Born 1942 in Berlin; moved to Dusseldorf at war’s end Raised by mother, Elisabeth von Trotta, with only occasional visits from father, painter Alfred Roloff, who died when she was ten Childhood included stint at Protestant boarding school, where von Trotta rebelled against repressiveness of rules, and experiences of being cared for by authoritarian elderly people at boarding houses where mother rented room Education Attended commercial school and worked in office before deciding to study art history Semester at Sorbonneinterest in filmmaking, discovery of French New Wave and other European art cinema (Bergman, Antonioni) Political awareness also began to develop in Paris Return to Germanyfew job prospects for women filmmakers or art historians; turned to German studies, Romance languages and literature and drama Career as Actor Began getting stage roles in 1963 Actor with goal of becoming film director Cast in first movie role in 1968(SchrägeVögel) Career as actor and director concomitant with rise of social and political protest movements, women’s movement and New German Still from Gods of the Plague (Fassbinder, 1970). Cinema Image source: Home Cinema @ The Digital Fix Worked in films by Fassbinder, Hauff, Achternbusch and Schlöndorff Career as Director Began working as writer and assistant director for Volker Schlöndorff in 1970 (married him in 1971) Co-directed The Lost Honor of Katharina Blum (1975) First solo feature: The Second Awakening of Christa -
To Download SEARCHING for INGMAR BERGMAN
SYNOPSIS Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and takes us to the places that were central to Bergman’s creative achievements. DIRECTOR’S BIOGRAPHY The daughter of Elisabeth von Trotta and the painter Alfred Roloff, Margarethe von Trotta was born in Berlin in 1942 and spent her childhood in Düsseldorf. After fine art studies, she moved to Munich to study Germanic and Latin language. She then joined a school for dramatic arts and began an acting career, in the theatres of Düsseldorf and afterwards in the Kleines Theater of Frankfurt in 1969 and 1970. At the end of the 1960 she moved in Paris for her studies and immersed herself in the film-lover circles of the time. She took part in script redacting and directing of short films and discovered via the Nouvelle Vague directors and critics the films of Ingmar Bergman and Alfred Hitchcock. In Germany, Margarethe von Trotta has worked with a new generation of young filmmakers: Herbert Achternbusch, Volker Schlöndorff who she married in 1971 and with whom she directed and wrote The Sudden Wealth of the Poor People of Kombach (1971) and The Lost Honour of Katharina Blum (1975), as well as Rainer Werner Fassbinder who made her act in four of his films. She directed in 1978 her first long feature, The Second Awakening of Christa Klages. -
Aproximações Entre O Cinema De Fatih Akin E O Neuer Deutscher Film De Três Décadas Atrás
Revista Contingentia | Gabriela Wondracek Linck “Eine Kneipe ist wie ein Film” - Aproximações entre o cinema de Fatih Akin e o Neuer Deutscher Film de três décadas atrás Gabriela Wondracek Linck recebido em 19/09/2010 e aceito em 21/10/2010 Fatih Akin has been the subject of much research in the academic world, especially regarding his portrayal of young Turkish Germans, Turkey and the borders between Europe and the Middle East. This article presents a critical evaluation of these approaches and then looks into Akin’s relation with music, literature and the New German Cinema from the 1970’s and 80’s. Keywords: Fatih Akin; Rainer Werner Fassbinder; Wim Wenders Literature; Jasmin Ramadan; Germany; Media; Cinema; Music. “Lar é onde nascemos e não onde nossos pais nasceram” Fatih Akin. 1 1 Introdução Neste artigo, pretendo apresentar o cineasta “turco-alemão” Fatih Akin como representante das tendências do cinema alemão contemporâneo. Considero os filmes de Fatih Akin em comparação ao cinema da Alemanha surgido a partir do Manifesto de Oberhausen, que em 1966 inaugurou o Neuer Deutscher Film, apregoando “a morte do cinema do papai” (Papas Kino ist Tot). Partindo da afirmação de Fatih Akin de que o filme Contra a Parede (2004) seria o seu equivalente ao filme O Medo Devora a Alma (Fassbinder, 1974) - por analogia, seu Neuer Deutscher Film - e que Soul Kitchen (2009) seria seu Heimat Film - bem como outras referenciações do diretor ao representante do Cinema Novo Alemão Rainer Werner Fassbinder - serão aqui brevemente esmiuçadas as proximidades entre os temas e a prática fílmica dos dois diretores. -
Soul Kitchen
presenta Soul Kitchen un film di Fatih Akin uscita 8 gennaio durata 99 minuti www.soulkitchen-ilfilm.it ufficio stampa Federica de Sanctis 335.1548137 [email protected] Con il supporto del Programma MEDIA dell’Unione Europea BIM DISTRIBUZIONE Via Marianna Dionigi 57 00193 ROMA Tel. 06-3231057 Fax 06-3211984 www.bimfilm.com SOUL KITCHEN un film di Fatih Akin con Adam Bousdoukos, Moritz Bleibtreu, Birol Ünel, Pheline Roggan, Anna Bederke, Dorka Gryllus, Lucas Gregorowicz, Wotan Wilke Möhring e altri! LA VITA È QUELLO CHE TI SUCCEDE MENTRE SEI IMPEGNATO A FARE ALTRI PROGETTI (John Lennon) SOUL KITCHEN parla di famiglia e di amici, di amore, di fiducia e di lealtà e della lotta per proteggere un luogo chiamato casa in un mondo sempre più imprevedibile. Per raccontare questa storia Fatih Akin ha radunato i migliori attori dei suoi film precedenti - Adam Bousdoukos (KURZ UND SCHMERZLOS, LA SPOSA TURCA), Moritz Bleibtreu (SOLINO, IM JULI), Birol Ünel (LA SPOSA TURCA, IM JULI). la storia Zinos, giovane proprietario del ristorante “Soul Kitchen”, sta attraversando un periodo sfortunato. Nadine, la sua ragazza, si è trasferita a Shanghai, i suoi clienti abituali boicottano il nuovo chef e ha problemi alla schiena! La situazione sembra migliorare quando un giro giusto di persone abbraccia la sua nuova filosofia culinaria, ma non basta a guarire il cuore spezzato di Zinos. Decide di volare in Cina per raggiungere Nadine, consegnando il ristorante all'inaffidabile fratello Illias, un ex detenuto. Entrambe le decisioni si riveleranno catastrofiche: Illias si gioca il ristorante che finisce nelle mani di un losco agente immobiliare e Nadine si è trovata un nuovo amante! Ma, forse, i fratelli Zinos e Illias hanno un'ultima possibilità di riprendersi il Soul Kitchen, sempre che riescano a smettere di litigare e si decidano a fare un gioco di squadra. -
Nota Del Productor
SOUL KITCHEN es una historia acerca de la familia y los amigos, el amor, la confianza, la lealtad y la lucha por proteger algo llamado hogar en un mundo cada Premio Especial del Jurado ... la idea vez más imprevisible. Fatih Akin ha reunido a algunos de los mejores actores de sus anteriores películas: Adam Bousdoukos (Corto y con filo, Contra la pared), VENECIA 2009 Nos inspiramos en las clásicas películas de kung Hacía tiempo que me rondaba la idea de rodar SOUL KITCHEN. Pensaba en habla de... Moritz Bleibtreu (Solino, In July) y Birol Ünel (Contra la pared, In July). fu. De ahí el montaje de la escena en que Shayn, in- mi viejo amigo Adam Bousdoukos y su “Taberna” en el barrio Ottensen de akin terpretado por Birol Ünel, revela los secretos a su Hamburgo. Para nosotros era más que un restaurante, era nuestra base para fatih alumno Zinos: cocinar, cortar, presentar… Es como la historia la aventura, un sitio de encuentro, un lugar donde festejar, un hogar. Quería una película de Rocky: un montaje muy rápido con Rocky corriendo, lanzando puñetazos ...zinos plasmar el sentimiento, el modo de vida que descubrí en la “Taberna”, y no habría Zinos, el joven dueño de un restaurante, está de mala suerte. Su novia al aire, practicando con la bolsa de arena. O como las películas de Jackie Chan: siempre podido si hubiese esperado mucho más tiempo. Ya no puedo salir cinco noches seguidas ... hamburgo Es generoso y modesto, un poco patoso y muy buena persona. También tiene un lado Nadine se ha mudado a Shanghái por trabajo, tiene una hernia discal hay un maestro que enseña las técnicas al alumno. -
Reviewed Scott Dissertation Final
MURDEROUS MOTHERS: FEMINIST VIOLENCE IN GERMAN LITERATURE AND FILM (1970-2000) Claire E. Scott A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill and Duke University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Carolina-Duke Graduate Program in German Studies. Chapel Hill 2017 Approved by: Kata Gellen Stefani Engelstein Richard Langston Priscilla Layne Inga Pollmann ©2017 Claire E. Scott ALL RIGHTS RESERVED ii ABSTRACT Claire E. Scott: Murderous Mothers: Feminist Violence in German Literature and Film (1970-2000) (Under the direction of Kata Gellen) This dissertation analyzes literary and filmic representations of violent mothers from late 20th-century Germany. It employs feminist theories of language and theories of the voice and the body in film to enhance close readings of texts in which female protagonists defy gendered expectations by perpetrating acts of aggression. Through an interplay between thematic violence and the transgression of aesthetic conventions, these works generate an imaginary of feminist violence that advances feminist politics. Highlighting this dynamic reveals female bodies and voices as important sites for working through both past and contemporary violence in the German context. In addition, this work has broader theoretical significance as an intermediary between feminist theories of language and materialist feminist theories. Instead of strategies for emancipation, these texts generate female subjectivities that are engaged, not in assertions of individuality, but in collective and collaborative storytelling practices. The first chapter considers Dea Loher’s Manhattan Medea (1999) and Christa Wolf’s Medea. Stimmen (1996). Both of these texts use the story of Medea to come to terms with a historical context in which the voices of outsiders are excluded. -
Global Cinema 2020 Nur Eine Frau - a Regular Woman 2019 | 92' | German | Germany | Colour Global Cinema
Global Cinema 2020 Nur eine Frau - A Regular Woman 2019 | 92' | German | Germany | Colour Global Cinema Director: Sherry Hormann Producer: Sandra Maischberger Cast: Almila Bagriacik, Rauand Taleb, Meral Perin, Mürtüz Yolcu, Armin Wahedi, Aram Arami Screenplay: Florian Öller Cinematographer: Judith Kaufmann Editor: Bettina Böhler ©http://www.nureinefrau-derfilm.de/ Sound Designer: Rainer Gerlach, Thomas The film portrays the fate of Hatun Aynur Sürücü, a German Neumann woman of Turkish descent, and her struggle for a free, self- Music Composer: Fabien Römer determined life in the face of her family's opposition. Her Costume Designer: Jessica Specker brothers refuse to accept her lifestyle; insults and threats continue to escalate. Finally, the young woman reports her Production Designer: Uli Friedrichs oldest brother to the police. She no longer feels safe at home, Production Company: Vincent TV so she takes her child and moves in with a female friend. At World Sales: The Match Factory the same time, the family is trying to find a wife for her brother. World Sales Phone: +49221 539 7090 But then Aynur is shot to death by her brother Nuri on a busy street in Berlin. Without suspecting anything, she World Sales Email: [email protected] accompanies him to the bus stop down the road, while her Festivals: Tribeca FF 2019, Filmkunstfest five-year-old son Can is asleep in her apartment only a few Mecklenburg-Vorpommern 2019, FF hundred miles away. How could this happen, what led to this Oostende 2019 deed? The film is based on the story of Hatun Aynur Sürücü, whose murder caused an outcry in 2005 and the witness is still in the witness protection program to this day. -
Titel Kino 3/2003
EXPORT-UNION OF GERMAN CINEMA 3/2003 AT LOCARNO MEIN NAME IST BACH & DAS WUNDER VON BERN Piazza Grande AT VENICE ROSENSTRASSE in Competition AT SAN SEBASTIAN SCHUSSANGST & SUPERTEX in Competition FOCUS ON Film Music in Germany Kino Martin Feifel, Katja Riemann (photo © Studio Hamburg) Martin Feifel, Katja GERMAN CINEMA KINO3/2003 4 focus on film music in germany DON’T SHOOT THE PIANO PLAYER 14 directors’ portraits THE SUN IS AS MUCH MINE AS THE NIGHT A portrait of Fatih Akin 15 TURNING GENRE CINEMA UPSIDE DOWN A portrait of Nina Grosse 18 producer’s portrait LOOKING FOR A VISION A portrait of Bavaria Filmverleih- & Produktions GmbH 20 actress’ portrait BREAKING THE SPELL A portrait of Hannelore Elsner 22 KINO news in production 28 ABOUT A GIRL Catharina Deus 28 AGNES UND SEINE BRUEDER Oskar Roehler 29 DER CLOWN Sebastian Vigg 30 C(R)OOK Pepe Danquart 30 ERBSEN AUF HALB 6 Lars Buechel 31 LATTENKNALLER Sherry Hormann 32 MAEDCHEN MAEDCHEN II Peter Gersina 32 MARSEILLE Angela Schanelec 33 SAMS IN GEFAHR Ben Verbong 34 SOMMERBLITZE Nicos Ligouris 34 (T)RAUMSCHIFF SURPRISE – PERIODE 1 Michael "Bully" Herbig 35 DER UNTERGANG – HITLER UND DAS ENDE DES DRITTEN REICHES Oliver Hirschbiegel the 100 most significant german films (part 10) 40 WESTFRONT 1918 THE WESTERN FRONT 1918 Georg Wilhelm Pabst 41 DIE DREIGROSCHENOPER THE THREEPENNY OPERA Georg Wilhelm Pabst 42 ANGST ESSEN SEELE AUF FEAR EATS THE SOUL Rainer Werner Fassbinder 43 DER VERLORENE THE LOST ONE Peter Lorre new german films 44 V Don Schubert 45 7 BRUEDER 7 BROTHERS Sebastian Winkels -
Gegen Die Wand
ABSTRACT Title of Thesis: FATIH AKIN’S LOVE, DEATH, AND THE DEVIL TRILOGY: A TRIAD OF CROSS- CULTURAL TALES Abigail Margaret Trozenski, Master of Arts, 2017 Thesis Directed By: Dr. Hester Baer, Germanic Studies Tracing Fatih Akin’s directorial oeuvre, this thesis focuses on Akin’s films Gegen die Wand (Head-On, 2004), Auf der anderen Seite (The Edge of Heaven, 2007), and The Cut (2014), which comprise the Love, Death, and the Devil trilogy. Emphasizing the tropes of mobility and language, I specifically trace the thematic and cinematic links between the films as they draw upon concepts of hybridity and migration. FATIH AKIN’S LOVE, DEATH, AND THE DEVIL TRILOGY: A TRIAD OF CROSS-CULTURAL TALES by Abigail Margaret Trozenski Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2017 Advisory Committee: Associate Professor Hester Baer, Chair Professor Peter Beicken Associate Professor Julie Koser © Copyright by Abigail Margaret Trozenski 2017 Dedication To Reagan Murphy and Brittany Meyer ii Table of Contents Dedication ..................................................................................................................... ii Table of Contents ......................................................................................................... iii List of Figures .............................................................................................................. iv Chapter 1: Fatih Akin and his -
The Third Space of Fatih Akin's Cinema
The Third Space of Fatih Akin’s Cinema A comparative analysis of cultural hybridity in Kurz und Schmerzlos, Im Juli and Auf der anderen Seite. By Marissa Munderloh, University of St Andrews Abstract: This article focuses on the construction and representation of cultural hybridity in the feature length films of German-Turkish filmmaker Fatih Akin. Specifically Kurz und Schmerzlos (1998), Im Juli (2000) and Auf der anderen Seite (2007) have been selected as hybrid representations in German cinema for this examination. The theoretical approach to this analysis is based on the post-colonial concept of the "third space" with influences from queer studies' thoughts on performance. Performances will be measured against ethnonorms; norms that construct individual national societies, which lose their structure and authority when hybridized. The majority of ethnonormative performances is observable in the filmic characters while Akin's blending of cinematic elements enhances the hybridity produced on screen, thereby also challenging national images and stereotypes. The outcome of this analysis, therefore, aims at demonstrating how hybridity on screen has the ability to weaken, to deconstruct and to parody national (and cinematic) representations of supposedly unique and homogeneous cultures. A study of contemporary German cinema is unimaginable without including the German- Turkish screenwriter, director and producer Fatih Akin. Born and raised in Hamburg-Altona, Akin’s filmic stories are mostly set in his northern German hometown, cinematically envisioned as a multicultural hot spot. Aside from the plurality of cultures which form the content of his films, Akin takes the multiculturalism with which he represents Germany one step further: he transcends it into a state of hybridity - a phenomenon that is the focus of attention in this analysis. -
Celebrating Women Filmmakers
Celebrating Women Filmmakers ‘A glamorous bunch with impeccable taste in movies’ The Times INTRODUCTION & CONTENTS SPECIAL EVENTS 4–5 FEATURES 6–8 FILMMAKER FOCUS: MARGARETHE VON TROTTA 8 The seventh Birds Eye View Film Festival, like live scores by Imogen Heap, Micachu DOCUMENTARIES 9–10 the first, opens on International Women’s Day. and more. 2011 is in fact the 100th anniversary of this DEVELOPING auspicious day, and so we celebrate a century This year has also seen two BEV Labs. She COUNTRIES FOCUS 11 of women filmmakers, from Lois Weber to Lucy Writes offered development to ten emerging MUSIC & FASHION 12 Walker. Women who challenge us, inspire us writers, while Re:Animate brought animators and expand our vision. and writers together to generate commercial SHORTS 12–13 feature ideas, with two now in development FESTIVAL DIARY 14–15 This year we’re delighted to have the London with Warp Films. BLOODY WOMEN: premiere of last year’s special guest and world-leading filmmaker Susanne Bier’s These are difficult times in the cultural FROM GOTHIC TO HORROR 16 unforgettable Golden Globe-winner and Oscar sector. Having enjoyed three years’ support SOUND & SILENTS 17–18 nominee In A Better World. We’re also showing from the UK Film Council, BEV now faces many international debut features and yet unprecedented insecurity. Yet our mission RETROSPECTIVE: another astonishing short film line-up – remains essential and our passion unthwarted. A WOMAN’S GOTTA DO... 19–20 a signal, we hope, of a bright future. We are determined to continue, and we’re TRAINING 21 appealling to all of you who value our work to Our Bloody Women retrospective has a darker support us in whatever way you can.