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Annual Report 2019
Annual Report 2019 Advance Reading Copy Subject to Modification and Amendments At a Glance 2019 Key Figures (IFRS) in € millions 2019 2018 2017 2016 2015 Business Development Group revenues 18,023 17,673 17,190 16,950 17,141 Operating EBITDA 2,909 2,586 2,636 2,568 2,485 EBITDA margin in percent1) 16.1 14.6 15.3 15.2 14.5 Bertelsmann Value Added (BVA)2) 89 121 163 180 180 Group profit 1,091 1,104 1,198 1,137 1,108 Investments3) 1,270 1,434 1,103 1,240 1,259 Consolidated Balance Sheet Equity 10,445 9,838 9,127 9,895 9,434 Equity ratio in percent 38.2 38.8 38.5 41.6 41.2 Total assets 27,317 25,343 23,713 23,794 22,908 Net financial debt 3,364 3,932 3,479 2,625 2,765 Economic debt4) 6,511 6,619 6,213 5,913 5,609 Leverage factor 2.6 2.7 2.5 2.5 2.4 Dividends to Bertelsmann shareholders 180 180 180 180 180 Distribution on profit participation certificates 44 44 44 44 44 Employee profit sharing 96 116 105 105 95 As of January 1, 2019, the new financial reporting standard IFRS 16 Leases was applied for the first time. In accordance with the transitional provisions of IFRS 16, prior-year comparatives have not been adjusted. Further details are presented in the section “Impact of New Financial Reporting Standards.” The figures shown in the table are, in some cases, so-called Alternative Performance Measures (APM), which are neither defined nor described in IFRS. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Press Release a Tribute To... Award to German Director Tom Tykwer One
Press Release A Tribute to... Award to German Director Tom Tykwer One of Europe’s Most Versatile Directors August 24, 2012 This year’s A Tribute to... award goes to author, director and producer Tom Tykwer. This is the first time that a German filmmaker has ever received one of the Zurich Film Festival’s honorary awards. Tykwer will collect his award in person during the Award Night at the Zurich Opera House. The ZFF will screen his most important films in a retrospective held at the Filmpodium. The ZFF is delighted that one of Europe’s most versatile directors is coming to Zurich. “Tom Tykwer has ensured that German film has once more gained in renown, significance and innovation, both on a national and international level,” said the festival management. Born 1965 in Wuppertal, Tom Tykwer shot his first feature DEADLY MARIA in 1993. He founded the X Filme Creative Pool in 1994 together with Stefan Arndt and the directors Wolfgang Becker and Dani Levy. It is currently one of Germany’s most successful production and distribution companies. RUN LOLA RUN Tykwer’s second cinema feature WINTER SLEEPERS (1997) was screened in competition at the Locarno Film Festival. RUN LOLA RUN followed in 1998, with Franka Potente and Moritz Bleibtreu finding themselves as the protagonists in a huge international success. The film won numerous awards, including the Deutscher Filmpreis in Gold for best directing. Next came THE PRINCESS AND THE WARRIOR (2000), also with Frank Potente, followed by Tykwer’s fist English language production HEAVEN (2002), which is based on a screenplay by the Polish director Krzysztof Kieslowski and stars Cate Blanchett and Giovanni Ribisi. -
German Films Quarterly 1/2021
GFQGERMAN FILMS QUARTERLY WITH ARTICLES AND PORTRAITS ON FACE TO FACE WITH GERMAN FILMS – THE FILMMAKERS DIVERSITY IN GERMAN FILMMAKING DIRECTORS BARBARA OTT & JULIAN RADLMAIER PRODUCER MARTIN HEISLER ISSUE 1-2021 ACTOR & EUROPAN SHOOTING STAR ALBRECHT SCHUCH efp_ESS2021_Anzeige_GERMANFILM_148x210_pfad_druck.indd 1 18.01.21 11:23 GFQ 1-2021 INTRODUCTION © Kurt Krieger © Kurt Dear Readers, The pandemic has changed the film industry to a great extent, bringing it close to a standstill at times in 2020. Despite the challenges we and the industry are facing, we are optimistic about 2021. This is because we love cinema and good films and series – and particularly in these difficult times, they are also some thing that is needed by audiences around the world. Time and again in recent years, German feature films and series have succeeded in captivating viewers abroad, and we are confident that this will be the case in 2021 as well. In particular, the new wave of German documentaries is establishing itself increasingly as a favourite with international audiences. We are just as proud of the German Films campaign FACE TO FACE, which has been in existence for six years now, and delighted that we will be able to continue it with a great new pool of talent in 2021 – despite the difficult current conditions. Films and series are created through the work of a large team, which is why we have decided to highlight a greater diversity of film professions in 2021 and are proudly presenting the premiere of our new faces in this issue of GFQ. German Films Quarterly will broaden its format in 2021: We will also open our publication to contri butions dealing with internationally controversial topics in the film industry. -
Presseheft (Pdf)
Mein bester Feind Ein Film von Wolfgang Murnberger Startdatum Deutschschweiz: 1. Dezember 2011 Komödie, Österreich 2010, DCP, Farbe, 106 Min. cineworx gmbh ⋄ clarastrasse 48 ⋄ CH-4005 Basel ⋄ +41 61 261 63 70 ⋄ [email protected] ⋄ www.cineworx.ch Inhaltsverzeichnis Besetzung & Stab 2 Kurzinhalt 3 Synopsis 3 Über den Film 4 Regiestatement von Wolfgang Murnberger 5 Produzentenstatement von Joseph Aichholzer 5 Interview mit Wolfgang Murnberger 6 Interview mit Moritz Bleibtreu 9 Bio- und Filmographie Wolfgang Murnberger 12 Biographie Paul Hengge 13 Bio- und Filmographie Moritz Bleibtreu 14 Bio- und Filmographie Georg Friedrich 15 Bio- und Filmographie Ursula Strauss 16 Bio- und Filmographie Marthe Keller 17 cineworx gmbh 1 Besetzung & Stab Besetzung Victor Kaufmann Moritz Bleibreu Rudi Smekal Georg Friedrich Lena Ursula Strauss Hannah Kaufmann Marthe Keller Jakob Kaufmann Udo Samel Standartenführer Widrizek Uwe Bohm Moritz Haiden Merab Ninidze SS-Hauptsturmführer Rauter Rainer Bock SS-Obersturmbannführer Maier Karl Fischer SS-Scharführer Weber Christoph Luser Standartenführer Noldner Serge Falck Stab Regie Wolfgang Murnberger Drehbuch Paul Hengge Drehbuchbearbeitung Wolfgang Murnberger Kamera Peter von Haller Schnitt Evi Romen Ton Heinz Ebner, Bettina Mazakarini, Bernhard Maisch Casting Markus Schleinzer, Carmen Loley Kostümbild Martina List Maske Michaela Oppl, Barbara Fröhlich Szenenbild Isidor Wimmer Musik Matthias Weber Produktionsleitung Monika Maruschko Koproduzent Jani Thiltges Produzent Joseph Aichholzer Eine Produktion von Aichholzer Filmproduktion GmbH in Koproduktion mit Samsafilm cineworx gmbh 2 Kurzinhalt Wien, in den dreissiger Jahren. Seit Kindestagen ist Victor Kaufmann, der Sohn wohlhabender jüdischer Galeriebesitzer, mit Rudi Smekal eng befreundet. Doch Victor landet im KZ und Rudi bei den Nazis. Als Rudi Victor aus dem KZ nach Berlin zu einem Verhör bringen soll, ändert sich alles. -
Course Outline
Prof. Fatima Naqvi German 01:470:360:01; cross-listed with 01:175:377:01 (Core approval only for 470:360:01!) Fall 2018 Tu 2nd + 3rd Period (9:50-12:30), Scott Hall 114 [email protected] Office hour: Tu 1:10-2:30, New Academic Building or by appointment, Rm. 4130 (4th Floor) Classics of German Cinema: From Haunted Screen to Hyperreality Description: This course introduces students to canonical films of the Weimar, Nazi, post-war and post-wall period. In exploring issues of class, gender, nation, and conflict by means of close analysis, the course seeks to sensitize students to the cultural context of these films and the changing socio-political and historical climates in which they arose. Special attention will be paid to the issue of film style. We will also reflect on what constitutes the “canon” when discussing films, especially those of recent vintage. Directors include Robert Wiene, F.W. Murnau, Fritz Lang, Lotte Reiniger, Leni Riefenstahl, Alexander Kluge, Volker Schlöndorff, Werner Herzog, Wim Wenders, Rainer Werner Fassbinder, Andreas Dresen, Christian Petzold, Jessica Hausner, Michael Haneke, Angela Schanelec, Barbara Albert. The films are available at the Douglass Media Center for viewing. Taught in English. Required Texts: Anton Kaes, M ISBN-13: 978-0851703701 Recommended Texts (on reserve at Alexander Library): Timothy Corrigan, A Short Guide to Writing about Film Rob Burns (ed.), German Cultural Studies Lotte Eisner, The Haunted Screen Sigmund Freud, Writings on Art and Literature Siegfried Kracauer, From Caligari to Hitler Anton Kaes, Shell Shock Cinema: Weimar Cinema and the Wounds of War Noah Isenberg, Weimar Cinema Gerd Gemünden, Continental Strangers Gerd Gemünden, A Foreign Affair: Billy Wilder’s American Films Sabine Hake, German National Cinema Béla Balász, Early Film Theory Siegfried Kracauer, The Mass Ornament Brad Prager, The Cinema of Werner Herzog Eric Ames, Ferocious Reality: Documentary according to Werner Herzog Eric Ames, Werner Herzog: Interviews N. -
FLM302 Reading German Film 3 Module Outline 2019-20
FLM302: READING GERMAN FILM 3: CONTEMPORARY GERMAN CINEMA Course Outline, 2019-2020 Semester A 15 credits Course Organiser Dr Alasdair King [email protected] Arts 1: 2.08 Office hours: Wednesday 11-1 Timetable Screenings: Tuesday 10-12, Arts 1 G.34 Lectures: Tuesday 1-2, Bancroft G.07 Seminars: Thursday 2-3, Arts 2 3.17 Course Description This module will allow students to analyse various aspects of German film culture in the new millennium. It explores developments in recent German filmmaking in the context of the increasing globalisation of media industries and images and in the context of contemporary cinema’s relationship to other media forms. Stu- dents will explore the dynamics of recent German cinema, including its successes at major award ceremonies and at film festivals, its relationship to Hollywood and to other international cinemas, its distinct approach to questions of the audience, of auteurism and of production, and to transnational images, particularly con- cerning the emergence of Turkish-German filmmaking. Students will also address the representation of politics, terrorism, history, heritage and the national past, the engagement with issues of performance, gender and sexuality, the use of genre and popular commercial film styles, and the re-emergence of a ‘counter cinema’ in the work of the ‘Berlin School’ and after. Seminar work on current trends will allow students to work independently to research an individual case study of a chosen film and its significance to contemporary German cinema. Recommended Reading Abel, M (2013) The Counter-Cinema of the Berlin School. Rochester, NY: Camden House. -
Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma. -
FM 201 Introduction to Film Studies: German Cinema
FM 201 Introduction to Film Studies: German Cinema Seminar Leader: Matthias Hurst Course Times: Monday, 14.00 – 15.30; Tuesday, 19.30 – 22.00 (weekly film screening); Wednesday, 14.00 – 15.30 Email: [email protected] Office Hours: Tuesday, 13.30 – 15.00 Course Description In this introductory class basic knowledge of film history and theory, film aesthetics and cinematic language will be provided; central topics are the characteristics of film as visual form of representation, the development of film language since the beginning of the 20th century, styles of filmic discourse, film analysis and different approaches to film interpretation. The thematic focus will be on German cinema with classical films by Friedrich Wilhelm Murnau, Fritz Lang, Leni Riefenstahl, Wim Wenders, Volker Schlöndorff, Rainer Werner Fassbinder, Margarethe von Trotta, Tom Tykwer and others, reflecting historical and cultural experiences and changes in German history and society as well as developments in aesthetics and cinematic style. Foundational module: Approaching Arts Through Theory Credits: 8 ECTS, 4 U.S. credits Requirements No prerequisites. Attendance is mandatory for all seminars and film screenings. Students are expected to come to seminars and film screenings punctually and prepared, to participate actively in the class discussions and to do all the course assignments on time. * Please, do not use cell phones, smart phones or similar electronic devices during seminars and screenings! Academic Integrity Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. Instances in which students fail to meet the expected standards of academic integrity will be dealt with under the Code of Student Conduct, Section III Academic Misconduct. -
GN375 Revi Sed _____ Title of Course: the History of German Film New X__
Southeast Missouri State University Depar tment of Foreign Languages Course No. GN375 Revi sed _____ Title of Course: The History of German Film New _ X__ I. Catalog Descr iption and Cr edit Hour s of Cour se: A study of the history of German film from 1919 to the present, including the Weimar Republic, the Third Reich, Post War East and West Germany, and contemporary developments. 3 credit hours II. Pr er equi si t es: German 220 (German Literature) or equivalent or consent of the instructor. III. Cour se Obj ect i ves: A. To introduce the students to the major German film directors and films of the twentieth- century. B. To develop an approach to interpret these films as an outgrowth of their cultural, political, and soci o-economic milieu. C. To gain an understanding of Germany and appreciation of the German-speaki ng world based on their films. IV. Expectations of Students: A. Assignments: Students ar e exp ected to attend al l cl asses, compl ete al l assi gned r eadi ngs, and see al l r equi r ed f i lms. All films shown are in German with English subtitles. Students will see them outside of class. Only short subjects, clips etc. will be shown in class. B. Resear ch Pr oj ect: Students will select one film director or film for their semester project. They pr esent thei r pr oj ect i n Ger man dur i ng the l ast week of cl ass. C. In-Cl ass Repor ts: Students ar e exp ected to compl ete i n-class reports on events in the German- speaki ng world, the assigned readings, and related assignments. -
UFA Film Nights Go Digital in Anniversary Year
PRESS RELEASE Bertelsmann and UFA present: UFA Film Nights Go Digital in Anniversary Year From August 20 to 22, 2020, legendary silent films with exclusive musical accompaniment can be experienced online “Woman in the Moon,” “People on Sunday,” and “The Adventures of Prince Achmed” each accessible free of charge for 24 hours Music contributed by celebrated DJ Jeff Mills, chillout pioneer Raphaël Marionneau and Ensemble Trioglyzerin Berlin, August 5, 2020 – In light of the current situation, the UFA Film Nights will for the first time take place exclusively online and not with thousands of guests on Berlin's Museum Island. So in its tenth year, the silent film festival is open not only to Berliners, but to movie buffs all over the world. From August 20 to 22, 2020, Bertelsmann and UFA will present the anniversary edition of the UFA Film Nights as part of the digital Culture@Bertelsmann series, featuring three early masterpieces of cinema history, each with exclusive musical accompaniment. The films will be live streamed on the company website as well as on Bertelsmann's YouTube and Facebook channels. The event’s curtain-raiser is Fritz Lang's epochal, technically visionary masterpiece Frau im Mond (Woman in the Moon) from 1929, with a musical interpretation by the celebrated DJ Jeff Mills. The pairing was a highlight of last year's UFA Film Nights. This will be followed on the second evening by Menschen am Sonntag (People on Sunday), the legendary homage to Berlin by Robert Siodmak, Edgar G. Ulmer, and Billie Wilder (1929/1930), with DJ Raphaël Marionneau supplying the music. -
Jahresbericht Annual Report INSIGHTS
EINBLICKE 2017 Jahresbericht Annual Report INSIGHTS DIE CHARITÉ | CHARITÉ Inhaltsverzeichnis Table of Contents Vorwort 4 Foreword 1. Die Charité 6 1. Charité W3-Berufungen 12 W3 Professorships BIH Johanna Quandt Professuren 14 BIH Johanna Quandt Professorships Leitungspersonalien 16 Management Appointments Organisationsstruktur 19 Organizational Structure Die Charité auf einen Blick 21 Charité at a Glance Übersicht der Kliniken und Institute 22 Overview of departments and institutes Zahlen und Fakten 28 Facts and Numbers 2. Klinik und Pflege 30 2. Our Hospital, Our Patients Zahlen und Fakten 40 Facts and Numbers 3. Wissenschaft und Forschung 42 3. Science and Research Ausgewählte Publikationen 2017 5 1 Selected Publications 2017 Zahlen und Fakten 58 Facts and Numbers Berliner Institut für 6 1 Berlin Institute of Health Gesundheitsforschung 4. Studium und Lehre 64 4. Teaching and Learning Zahlen und Fakten 70 Facts and Numbers 5. Soziale Charité 72 5. Social Responsibility 2017 in Zahlen 84 2017 in Numbers Impressum 90 Legal Notice 3 Der Vorstand der Charité: Prof. Dr. Ulrich Frei, Ärztlicher Direktor, Prof. Dr. Karl Max Einhäupl, Vorstandsvorsitzender, Astrid Lurati, Direktorin des Klinikums, Prof. Dr. Axel Radlach Pries, Dekan (v. l. n. r.) Charité‘s Executive Board: Prof. Dr. Ulrich Frei, Medical Director; Prof. Dr. Karl Max Einhäupl, Chief Executive Officer; Astrid Lurati, Hospital Director; Prof. Dr. Axel Radlach Pries, Dean (f. l. t. r.) Vorwort Foreword Spitzenberufungen, Forschungskooperationen und eine Top appointments, research collaborations, and an out- ausgezeichnete Krankenversorgung: Die Charité – Univer- standing medical care – 2017 proved an eventful and and sitätsmedizin Berlin und ihre konzernweit 17.500 Beschäf- an outstanding year, both for Charité – Universitätsmedizin tigten blicken auf ein ereignisreiches und erfolgreiches Jahr Berlin and for the 17,500 members of staff working across 2017 zurück.