Titel Kino 3/2002
Total Page：16
File Type：pdf, Size：1020Kb
EXPORT-UNION OF GERMAN CINEMA 3/2002 AT LOCARNO SOPHIIIIE! & DAS VERLANGEN in Competition AT MONTREAL MEIN ERSTES WUNDER & VAETER in Competition AT VENICE Four German Films in Competition AT SAN SEBASTIAN PIGS WILL FLY in Competition, BABY & SCHERBENTANZ in New Directors’ Competition Kino Scene from ”Naked“(photo © Constantin Film) ”Naked“(photo Scene from GERMAN CINEMA Retrospective VOLKER SCHLOENDORFF Scene from ”The Tin Drum“ Der junge Toerless (1966) You’re a Man, My Boy · Mo Kohlhaas – der Rebell (1969) Man on Horseback · Ba Leute von Kombach (1971) The Sudden Wealth of the Poor Georginas Gruende (1975) · Die verlorene Ehre d Blum · Der Fangschuss (1976) · Deutschland im Her The Tin Drum · Die Faelschung (1981) Circle of Deceit · U a Salesman (1985) · A Gathering of Old Men (1987) The Voyager · Billy Wilder, wie haben Sie’s gemach Ogre · Palmetto (1998) · Die Stille nach dem Schus oder er hat keine (2002) 19-28 September 2002 at the 50TH SAN SEBASTIAN Film Festival Scene from ”Germany in Autumn“ Scene from ”The Ogre“ ord und Totschlag (1967) Degree of Murder · Michael aal (1970) · Der ploetzliche Reichtum der armen r People of Kombach · Strohfeuer (1972) Summer Lightning · der Katharina Blum (1975) The Lost Honor of Katharina rbst (1978) Germany in Autumn · Die Blechtrommel (1979) Un Amour de Swann (1984) Swann in Love · Death of · The Handmaid’s Tale (1990) · Homo Faber (1991) ht (1992) Billy, How Did You Do It? · Der Unhold (1996) The s (1999) The Legends of Rita · Ein Produzent hat Seele KINO 3/2002 31 Photographie und Jenseits – Goff in der Wueste / D’Annunzios Hoehle Heinz Emigholz 32 Soloalbum Gregor Schnitzler 32 Trenck – Zwei Herzen gegen die Krone Gernot Roll 6 Pictures on the Box 33 Das Wunder von Bern Television in Germany Soenke Wortmann 14 ”The Easy Way is Always Mined“ Director’s Portrait Romuald Karmakar 34 German Films at this Summer’s International Film Festivals 15 Curious About People Director’s Portrait Connie Walther 36 German Films at the Sidebars and German Co-Productions at 18 Banding Together the International Summer Festivals Portrait of the Association of German Film Exporters 20 A Company with an 38 The 100 Most Significant Adventurous Spirit German Films (Part 6) Producers’ Portrait Egoli Tossell Film 38 Berlin – Alexanderplatz 22 KINO News Piel Jutzi 39 Muenchhausen THE ADVENTURES OF 26 In Production BARON MUNCHAUSEN Josef von Baky 26 Befreite Zone 40 Die Buechse der Pandora Norbert Baumgarten PANDORA’S BOX 26 Blueprint Georg Wilhelm Pabst Rolf Schuebel 41 Die Blechtrommel 27 Dirty Sky THE TIN DRUM AT SAN SEBASTIAN RETROSPEKTIVE Andy Bausch Volker Schloendorff VOLKER SCHLOENDORFF 28 Gone Zoltan Paul 28 Kebab Connection Anno Saul 29 Lively Up Yourself Ed Herzog 30 Moby Dick: Die Legende kehrt zurueck Michael Coldewey 30 Die Nacht singt ihre Lieder Romuald Karmakar CONTENTS 42 New German Films 42 Baby 55 Nackt AT V E N I C E AT SAN SEBASTIAN Philipp Stoelzl IN COMPETITION NEW DIRECTORS’ ”NAKED“ COMPETITION 43 Bibi Blocksberg Doris Doerrie AT SAN SEBASTIAN Hermine Huntgeburth 56 Pigs Will Fly IN COMPETITION 44 Erkan & Stefan und Eoin Moore die Maechte der Finsternis AT SAN SEBASTIAN 57 Scherbentanz NEW DIRECTORS’ THE BUNNYGUARDS Chris Kraus COMPETITION VS. THE FORCES OF EVIL 58 September Song Axel Sand Ulli Lommel 45 Essen, Schlafen, keine Frauen 59 Solino AT LOCARNO EAT, SLEEP, NO WOMEN Fatih Akin AT MONTREAL Heiner Stadler 60 Sophiiiie! AT LOCARNO IN COMPETITION 46 Die Frau, die an Michael Hofmann Dr. Fabian zweifelte 61 Vaeter AT MONTREAL THE WOMAN WHO DOUBTED I’M THE FATHER IN COMPETITION DR. FABIAN Dani Levy Andreas Rogenhagen 62 Das Verlangen AT LOCARNO 47 Fuehrer Ex THE LONGING AT V E N I C E IN COMPETITION Winfried Bonengel Iain Dilthey IN COMPETITION 48 Geht nicht gibt’s nicht René Heisig 49 Julies Rueckkehr 64 Film Exporters AT V E N I C E JULIE WALKING HOME IN COMPETITION Agnieszka Holland 50 Junimond 66 Foreign Representatives JUNE MOON Hanno Hackfort 51 Karamuk 66 Imprint Suelbiye Guenar 52 Der Kuss des Baeren AT V E N I C E THE BEAR’S KISS IN COMPETITION Sergei Bodrov 53 Mein erstes Wunder AT MONTREAL MY FIRST MIRACLE IN COMPETITION Anne Wild 54 Mein kleines Kind MY LITTLE ONE Katja Baumgarten opening credits (photo © WDR) opening credits Tatort Excerpt from from Excerpt PICTURES ON TELEVISION by Dr. Oliver Castendyk & Prof. Lothar Mikos Public Television Several highlights in the program were necessary before the medium was helped to a breakthrough. As early as June 1953, Although the first television broadcasts in Germany had been of course, the coronation of Queen Elisabeth II was broadcasted made during the 30s, it was not until Christmas 1952 after the live from 10:15 am to 5:15 pm, and the NWDR also broad- Second World War that the screens began to flicker on a regular casted three hours of film from London during that evening, but it basis. On 25 December, NWDR (Nordwestdeutscher was not until the Football World Cup in Switzerland during 1954 Rundfunk) – from which NDR and WDR later emerged – that the citizens of the FRG cleared out the TV manufacturers’ began broadcasting a daily program from 8 pm to 10 pm (or stocks. In that year, the number of set owners rose from 11,658 10:30 pm) and an afternoon program of thirty minutes or an hour in January to 84,278 in December, a rate of increase that would on some weekdays. The screens remained black for the rest of never be achieved again. the time. Today this seems inconceivable in face of the some forty obtainable analogous television channels now providing the citi- At that time, television in the German Democratic Republic zens of the Federal Republic of Germany (FRG) with brightly- (GDR) only broadcasted an experimental program. Nevertheless, colored images around the clock. the number of television sets had risen from 70 (seventy!) in 1952 to 2,231 two years later - and the Football World Cup had Television only began to assert itself gradually over the course of an effect here, too, for in 1955 there were already 13,600 homes the fifties. The television sets themselves were too expensive, receiving TV. Today almost every household in the FRG owns a meaning that not everyone could afford one. Whilst a so-called TV set. In 2001, 35.1 million sets were registered at the GEZ table set cost around DM 1,200 (approx. €610) at that time, over (Germany’s Central Television & Radio Fee Collection Office), DM 2000 (approx. €1,020) had to change hands at the electrical not to mention the large number of illicit viewers. shop for a luxury cabinet TV. Bearing in mind that the average earnings of an employee in the FRG were DM 267 (approx. €135) When broadcasting services were re-established in the western per month, people had to work for a long time to buy a TV set. occupied zones after the Second World War, the intention was As a comparison: a VW beetle cost DM 3,950 (approx. €2,020) to avoid broadcasting with a bias serving one party or the state. back then. For that reason, the new stations were organized as independent 6 Kino 3/2002 institutions under public law (as so-called ”broadcasting corpora- ARD and ZDF are also involved in the news channel tions“) and were controlled by pluralist committees (including Euronews through the amalgamation of European broadcasting representatives from churches, unions, associations, political par- institutes in the European Broadcasting Union (EBU). ties, etc.). Their classical "broadcasting brief" demanded that the programs be made up of elements of information, entertain- ment, education and culture. Since the regulation of broadcasting Financing of Public is the responsibility of the individual federal states according to German constitutional law, the conditions for public broadcasting Service Television were laid down in the broadcasting laws of each federal state, e.g. the conditions for Bayerische Rundfunk (BR) in the BR-Law The public service broadcasters are financed primarily by radio of the Free State of Bavaria. and television license fees. Every person who has a radio or TV set available to receive broadcasts must pay a radio and/or tele- The state broadcasting institutions had to collaborate in order to vision license fee to the Central Fee Collection Offices (GEZ). At be able to broadcast a television program available in the whole of present, the fee due for radio and television reception is approxi- the Republic. A joint working committee, the ”Association of mately €16 per month. Here, the determining factor is whether Public Radio & Television Institutions of the Federal Republic of one has the opportunity to receive programs, not whether one Germany“ (Arbeitsgemeinschaft der oeffentlich- actually watches public programs. All sets technically suited to rechtlichen Rundfunkanstalten der Bundesrepublik the reception of radio and TV broadcasts count as receivers. Deutschland, ARD), was founded for that purpose in 1950. THE BOX - IN GERMANY Today it runs a nation-wide TV program: ”Das Erste“ (Channel According to a decision made by the federal state premiers, One). It amalgamates the state broadcasting institutions personal computers are not considered radio receivers, at least Bayerischer Rundfunk (BR), Hessischer Rundfunk until 2003. Income from television advertising is limited, since (HR), Norddeutscher Rundfunk (NDR), West- advertising is only permitted during ARD and ZDF programs deutscher Rundfunk (WDR), Radio Bremen (RB) and and advertising time is limited to 20 minutes per day, before 8 pm. Suedwestrundfunk (SWR), each of which also broadcasts its own television program (the so-called third channels), some parts of which can only be received in the corresponding federal Private Television state.