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Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
War and Rape, Germany 1945
Lees-Knowles Lectures Cambridge 2002-3 Antony Beevor 2. War and Rape, Germany 1945 „Red Army soldiers don't believe in “individual liaisons” with German women‟, wrote the playwright Zakhar Agranenko in his diary when serving as an officer of marine infantry in East Prussia. „Nine, ten, twelve men at a time - they rape them on a collective basis‟. The Soviet armies advancing into East Prussia in January 1945, in huge, long columns were an extraordinary mixture of modern and mediaeval: tank troops in padded black helmets, Cossack cavalrymen on shaggy mounts with loot strapped to the saddle, Lend-Lease Studebakers and Dodges towing light field guns, and then a second echelon in horse- drawn carts. The variety of character among the soldiers was almost as great as their military equipment. There were freebooters who drank and raped quite shamelessly, and there were idealistic, austere Communists and members of the intelligentsia genuinely appalled by such behaviour. Beria and Stalin back in Moscow knew perfectly well what was going on from a number of detailed reports sent by generals commanding the NKVD rifle divisions in charge of rear area security. One stated that „many Germans declare that all German women in East Prussia who stayed behind were raped by Red Army soldiers‟. This opinion was presumably shared by the authorities, since if they had disagreed, they would have added the ritual formula: „This is a clear case of slander against the Red Army.‟ In fact numerous examples of gang rape were given in a number of other reports – „girls under eighteen and old women included‟. -
Politics of History and Memory: the Russian Rape of Germany in Berlin
POLITICS OF HISTORY AND MEMORY 225 POLITICS OF HISTORY AND MEMORY: THE RUSSIAN RAPE OF GERMANY IN BERLIN, 1945 major hospitals ranged from 95,000 to 130,000; one physician estimated that out of 100,000 women raped in Berlin alone, 1 Krishna Ignalaga Thomas 10,000 died as a result, with a large majority committing suicide. With the sheer velocity of women raped by Soviet troops, it is The marching of the Russian Red Army into eastern Germany in incredible to discover its neglect by earlier seminal works, such the spring of 1945, at the close of World War II, was full of as that by John Erickson, who wrote Road to Berlin, and even promise and hope, a promise of a new era of peace in Europe William L. Shirer of Rise and Fall of the Third Reich. At the same and an end to political isolation and economic deprivation at time, the opening of the Russian State Military Archives and the home. In 1994, almost half a century later, the return of the Central Archive of the Ministry of Defense, a whole array of Soviet troops to the motherland signaled the surprising collapse primary source material and other information media are now of the Soviet Union and ultimately, the end of Soviet occupation open for scholars to understand this contest of brutality from and a reunified Germany. At the same time, however, the first, the German soldiers and then the repatriating Soviet Russians also left behind them a legacy of resentment and anger. troops. Much academic scholarship has focused on the years of Soviet Natalya Gesse, a Soviet war correspondent, gave a first‐hand occupation, 1945‐49, as being the most brutal on the Germans in estimation of Red Army’s activities, and stated that “The Russian the Eastern Zone than their counterparts in the West. -
A Film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS
A film by MICHAEL HANEKE East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: I wanted to present a group of children on whom absolute values are being imposed. What I was trying to say was that if someone adopts an absolute principle, when it becomes absolute then it becomes inhuman. The original idea was a children’s choir, who want to make absolute principles concrete, and those who do not live up to them. Of course, this is also a period piece: we looked at photos of the period before World War I to determine costumes, sets, even haircuts. I wanted to describe the atmosphere of the eve of world war. There are countless films that deal with the Nazi period, but not the pre-period and pre-conditions, which is why I wanted to make this film. -
Mothers, Comrades, and Outcasts in East German Women's Films (Review) Qinna Shen
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College German Faculty Research and Scholarship German 2018 Mothers, Comrades, and Outcasts in East German Women's Films (review) Qinna Shen Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/german_pubs Part of the German Language and Literature Commons This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/german_pubs/30 For more information, please contact [email protected]. Shen, Qinna. 2018. “Review: Mothers, Comrades, and Outcasts in East German Women's Films.” German Studies Review 41.1: 203-205; http://doi.org/10.1353/gsr.2018.0031 Mothers, Comrades, and Outcasts in East German Women’s Films. By Jennifer L. Creech. Bloomington: Indiana University Press, 2016. Pp. xxi + 280. Paper $38.00. ISBN 978- 0253023018. The tension between gender and socialism is inherent in many DEFA films. The first DEFA children’s film, Gerhard Lamprecht’s Irgendwo in Berlin (1946), ends with a group of boys helping Gustav’s father rebuild his automobile workshop. The only girl present, Lotte, is tasked with holding Uncle Kalle’s coat and does not participate in the reconstruction efforts. The scene’s implication that women would be excluded from building East Germany’s future is a gender-blind oversight on the filmmaker’s part. At the end of Konrad Wolf’s Der geteilte Himmel (1964), Rita chooses to subordinate her sexual desire to the collective good by returning from Berlin-West. Yet GDR studies with a feminist bent have engaged more extensively with GDR women’s literature than with DEFA films. -
Heather Bigley, Phd Student, Writing a Dissertation on Film Studies
New German Cinema ENG 4135-13958 and GET 4523-15377 Barbara Mennel, Rothman Chair and Director, Center for the Humanities and the Public Sphere Office Hours: Mondays 11:00-12:00pm and by appointment Office: 200 Walker Hall (alternative office: 4219 TUR) Phone: (352) 392-0796; Email: [email protected] Meeting times: Class meetings: MWF 3 (9:35am-10:25) Room: TUR 2334 Screening: W 9-11 (beginning at 4:05pm) (attendance required) Room: Rolfs 115 Course objectives: In 1962, a group of young filmmakers at the Oberhausen Film Festival in West Germany boldly declared: “The old cinema is dead! We believe in a new cinema!” Out of this movement to overcome the 1950s legacies of fascism emerged a wave of filmmaking that became internationally known as New German Cinema. Its filmmakers were indebted to the student movement and a vision of filmmaking and distribution based on the notion of the director as auteur. This course offers a survey of the films from this brief period of enormous output and creativity, including the films by Rainer Werner Fassbinder, Werner Herzog, Alexander Kluge, Helke Sander, Volker Schlöndorff, Margarethe von Trotta, and Wim Wenders. We will trace the influence of the women's movement on feminist aesthetics and situate the films’ negotiations of history and memory in postwar West German politics. Required reading: Julia Knight. New German Cinema: Images of a Generation. London: Wallflower Press, 2004. Eric Ames. Aguirre, The Wrath of God. London: BFI, 2016. Excerpts and articles in Canvas. All readings are also on reserve and accessible through the website of Library West and Canvas. -
Kollektiv Im Krokodil Oder: Dokumentarfilm Als Lebensform
Grit Lemke Kollektiv im Krokodil oder: Dokumentarfilm als Lebensform »Dokumentarfilme herzustellen ist auch eine bestimmte Form zu leben. […] Man verbringt schließlich eine gewisse Art von Lebenszeit miteinander. […] Insofern würde man es gar nicht aushalten, wenn man nicht auch eine besondere Lebensform mit den Leuten hätte, mit denen man zusammen den Film herstellt.« (Volker Koepp im Gespräch mit Ingrid Poss1) Wenn ein Film von Volker Koepp bei einem Festival Premiere hat oder in größerem Rahmen aufgeführt wird, spielt sich etwas ab, das man sonst von Familienfeiern kennt: Koepp reist an, in Begleitung von Produktionsleiter Fritz Hartthaler. Man telefoniert: Wer ist schon da? Wer kommt wann? Fritz wird angewiesen, für das gemeinsame Essen zu reservieren. Weitere Anrufe werden getätigt, bis die Letzten angereist sind. Die Ersten sind inzwischen schon wieder ausgeschwärmt, was wiederum Telefonate erforderlich macht. Dazu gehören Leute vom Stab – mit denen Volker Koepp oft seit Jahrzehnten arbeitet –, Redakteure, Verleiher, Förderer, Protagonistinnen und Protago- nisten – von denen einige, wie Tanja Kloubert aus Czernowitz, irgendwann zum Stab gehören –, deren Familien, Freunde … Die Kategorien Stab, Prota- gonisten, Freunde und Familie sind nicht trennbar. Hinzu kommt das Publi- kum, dem sich der Regisseur wie kaum ein anderer immer wieder aussetzt. Erst mit ihm ist ein Koepp-Film vollständig, tritt er in die Welt. Das ist das System Koepp – oder auch: ein Universum. Die Koordinaten des Systems sind – wie es auch der Titel einer Koepp-Re- trospektive in Leipzig 2004 kurz, aber schlüssig zusammenfasste – Menschen und Landschaften. Beides gehört zusammen, der Mensch ist durch die Land- schaften hindurchgegangen, es sind historisch und kulturell determinierte Räume. -
Einblicke in Die Lebenswirklichkeit Der DDR Durch Dokumentare Filme Der DEFA
Gebhard Moldenhauer / Volker Steinkopff (Hrsg.) Einblicke in die Lebenswirklichkeit der DDR durch dokumentare Filme der DEFA Bibliotheks- und Informationssystem der Universität Oldenburg 2001 Dieser Band entstand mit finanzieller Unterstützung der DEFA-Stiftung. Redaktion: Sandra Langenhahn Verlag / Druck / Bibliotheks- und Informationssystem Vertrieb: der Carl von Ossietzky Universität Oldenburg (BIS) – Verlag – Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] ISBN 3-8142-0784-X Oldenburger Beiträge zur DDR- und DEFA-Forschung Band 1 Die Schriftenreihe soll ein Forum für die wissenschaftliche Auseinanderset- zung mit den politisch-kulturellen Hinterlassenschaften der SED-Diktatur bieten. Dabei werden die Filme der DEFA im Mittelpunkt stehen. Dieses Filmerbe, das mit Gründung der DEFA-Stiftung im Januar 1999 in Berlin den Rang eines „nationalen Kulturerbes“ erhalten hat, stellt für politik- und kul- turwissenschaftliche Forschungen einen außerordentlich bedeutsamen Quel- lenbestand dar. In der Mediathek der Universitätsbibliothek Oldenburg steht ein umfangreicher Bestand an Spiel- und Dokumentarfilmen der DEFA sowie weiteres Quellenmaterial zur Filmgeschichte der DDR für Lehre und Forschung zur Verfügung. Worin besteht die Bedeutsamkeit dieses Erbes? Was zeigen die Bilder des Staatsmediums? Bilden sie die ideologischen Fiktionen eines totalitären Herr- schaftssystems in seinen unterschiedlichen Erscheinungsweisen ab oder kön- nen sie Einblicke gewähren in die Lebenswelt der -
MICHAEL HANEKE SONY WRMI 02Pressbook101909 Mise En Page 1 10/19/09 4:36 PM Page 2
SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 1 A film by MICHAEL HANEKE SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 2 East Coast Publicity West Coast Publicity Distributor IHOP BLOCK KORENBROT SONY PICTURES CLASSICS Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Lindsay Macik 853 7th Avenue, #3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 323-634-7030 fax 212-833-8844 fax SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 3 X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) A film by MICHAEL HANEKE A SONY PICTURES CLASSICS RELEASE US RELEASE DATE: DECEMBER 30, 2009 Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 www.TheWhiteRibbonmovie.com SONY_WRMI_02Pressbook101909_Mise en page 1 10/19/09 4:36 PM Page 4 Q & A WITH MICHAEL HANEKE Q: What inspired you to focus your story on a village in Northern Germany just prior to World War I? A: Why do people follow an ideology? German fascism is the best-known example of ideological delusion. The grownups of 1933 and 1945 were children in the years prior to World War I. What made them susceptible to following political Pied Pipers? My film doesn’t attempt to explain German fascism. It explores the psychological preconditions of its adherents. What in people’s upbringing makes them willing to surrender their responsibilities? What in their upbringing makes them hate? Q. -
Women and War in the German Cultural Imagination
Conquering Women: Women and War in the German Cultural Imagination Edited by Hillary Collier Sy-Quia and Susanne Baackmann Description: This volume, focused on how women participate in, suffer from, and are subtly implicated in warfare raises the still larger questions of how and when women enter history, memory, and representation. The individual essays, dealing with 19th and mostly 20th century German literature, social history, art history, and cinema embody all the complexities and ambiguities of the title “Conquering Women.” Women as the mothers of current and future generations of soldiers; women as combatants and as rape victims; women organizing against war; and violence against women as both a weapon of war and as the justification for violent revenge are all represented in this collection of original essays by rising new scholars of feminist theory and German cultural studies. RESEARCH SERIES / NUMBER 104 Conquering Women: Women and War in the German Cultural Imagination X Hilary Collier Sy-Quia and Susanne Baackmann, Editors UNIVERSITY OF CALIFORNIA AT BERKELEY Library of Congress Cataloging-in-Publication Data Conquering women : women and war in the German cultural imagination / Hilary Collier Sy-Quia and Susanne Baackmann, editors. p. cm — (Research series ; no. 104) Papers from the 5th Annual Interdisciplinary German Studies Con- ference held at the University of California, Berkeley, March 1997. Includes bibliographical references. ISBN 0-87725-004-9 1. German literature—History and criticism—Congresses. 2. Women in literature—Congresses. 3. War in literature—Congresses. 4. Violence in literature—Congresses. 5. Art, Modern—20th century—Germany— Congresses. 6. Women in art—Congresses. 7. -
Volker Koepps Filmische Auseinandersetzung Mit Kollektiven Identitäten Im Raum Des Historischen Ostpreußens
Volker Koepps filmische Auseinandersetzung mit kollektiven Identitäten im Raum des historischen Ostpreußens Masterarbeit zur Erlangung des akademischen Grades Master of Arts (M.A.) im Fach Filmkulturerbe Filmuniversität Babelsberg Konrad Wolf Studiengang: Filmkulturerbe Wissenschaftlicher Berater: Prof. Dr. Chris Wahl Eingereicht von: Daniel Körling Adresse: Newtonstraße 11, 14480 Potsdam Matrikelnummer: 010715 E-Mail: [email protected] Potsdam, den 16.02.2021 Inhaltsverzeichnis Zusammenfassung 2 Einleitung 3 Heranführung an die Thematik 3 Forschungsstand 6 Fragestellung und theoretischer Zugang 8 Volker Koepp — Arbeitsweise und Motivation 12 Rekurs: Die Entwicklung Ostpreußens und seiner Bevölkerung 14 Bis 1945 14 Nach dem Zweiten Weltkrieg 15 Kollektive Identitäten 19 Der Prozess des Erinnerns – Formen der Mittelbarkeit 19 Kollektive Identitäten Ostpreußens 27 Gedächtnisse im Wandel: Das historische Ostpreußen Volker Koepps 32 KALTE HEIMAT 32 KURISCHE NEHRUNG 41 SCHATTENLAND 53 HOLUNDERBLÜTE 65 MEMELLAND 74 Fazit 85 Anhang 92 Bibliografie 93 Sekundärliteratur 93 Links 99 Eigenständigkeitserklärung 101 Zusammenfassung Die vorliegende Studie thematisiert die filmische Auseinandersetzung des Regisseurs Volker Koepp mit der Region in Osteuropa, die bis 1920 die deutsche Provinz Ostpreußen konstituierte. Methodisch konzentriert sich Koepp in seinen Dokumentarfilmen auf die Menschen in ihrer alltäglichen Umwelt; mit ihren Hoffnungen, Sorgen und Freuden. Dabei zeichnet ihn eine aufgeschlossene Herangehensweise aus, die das Individuum in den Mittelpunkt setzt. Historische Ereignisse und Prozesse bilden ein konstantes Hintergrundrauschen, vor dem die Gesprächspartner portraitiert werden. Gleichfalls bedeutsam sind die Landschaften, in denen die Menschen eingebettet sind und die ihr Lebe auf verschiedenste Art und Weise prägen. Wesentlich werden seine Werke von persönlichen Erfahren und Erinnerungen der Subjekte strukturiert, die Koepp im Zuge seiner Reisen besucht und interviewt. -
A Film by MICHAEL HANEKE DP RB - Anglais - VL 12/05/09 10:46 Page 2
DP RB - anglais - VL 12/05/09 10:46 Page 1 A film by MICHAEL HANEKE DP RB - anglais - VL 12/05/09 10:46 Page 2 X FILME CREATIVE POOL, LES FILMS DU LOSANGE, WEGA FILM, LUCKY RED present THE WHITE RIBBON (DAS WEISSE BAND) PRESS WOLFGANG W. WERNER PUBLIC RELATIONS phone: +49 89 38 38 67 0 / fax +49 89 38 38 67 11 [email protected] in Cannes: Wolfgang W. Werner +49 170 333 93 53 Christiane Leithardt +49 179 104 80 64 A film by [email protected] MICHAEL HANEKE INTERNATIONAL SALES LES FILMS DU LOSANGE Agathe VALENTIN / Lise ZIPCI 22, Avenue Pierre 1er de Serbie - 75016 Paris Germany / Austria / France / Italy • 2H25 • Black & White • Format 1.85 [email protected] / Cell: +33 6 89 85 96 95 [email protected] / Cell: +33 6 75 13 05 75 in Cannes: Download of Photos & Press kit at: Booth F7 (Riviera) www.filmsdulosange.fr DP RB - anglais - VL 12/05/09 10:46 Page 4 A village in Protestant northern Germany. - 2 - - 3 - DP RB - anglais - VL 12/05/09 10:46 Page 6 1913-1914. On the eve of World War I. - 4 - - 5 - DP RB - anglais - VL 12/05/09 10:46 Page 8 The story of the children and teenagers of a church and school choir run by the village schoolteacher, and their families: the Baron, the steward, the pastor, the doctor, the midwife, the tenant farmers. - 6 - - 7 - DP RB - anglais - VL 12/05/09 10:46 Page 10 Strange accidents occur and gradually take on the character of a punishment ritual.