Israeliculture in the Czech Republic
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Film Reviews Jonathan Lighter
Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is. -
Hereinspaziert! Ein Heft Übers Anfangen
Reihe 5 Hereinspaziert! Ein Heft übers Anfangen Das Magazin der Staatstheater Stuttgart Nr. 13 Staatsoper Stuttgart, Schauspiel Stuttgart, Stuttgarter Ballett Sept – Nov 2018 Sehr geehrte Leserinnen und Leser, Mitwirkende dieser Ausgabe jedem Ende wohnt ein Anfang inne! Weil wir im vorigen Heft Abschied von gleich drei Intendanten feierten, begrüßen wir nun die neuen, die mitsamt ihren Teams am Stuttgarter Ballett, an der Staatsoper Stuttgart und am Schauspiel Stuttgart starten. Ihre Arbeit haben Tamas Detrich, Viktor Schoner und Burkhard Kosminski aber schon vor Monaten, teilweise vor Jahren aufgenommen. Die Bühnenkünste sind eine Kombina tion ROMAN NOVITZKY ist ein Mehrfachbegabter: aus Marathon und Kurzstrecke. Pläne werden Jahre im Voraus Er ist Erster Solist, Cho gemacht, orientiert an der Verfügbarkeit der Künstler. Für Proben reograph – und Fotograf. Für Reihe 5 hat er zwei bleiben manchmal nur Wochen. Die Kunst besteht darin, Kolle ginnen inszeniert. Seite 30 diese unterschiedlichen Laufwege zu orchestrieren, damit alle gleichzeitig ins Ziel, also auf die Bühne, kommen. Statt jedoch nun Gebrauchsanleitungen für Dinge zu liefern, die noch weit vor uns liegen, schauen wir auf die nächsten drei Monate und entdecken dort, wen wundert es: lauter Themen für Anfänge. Im Interview erklärt Cornelius Meister, der neue General musikdirektor der Staatsoper Stuttgart, warum er mit John Cages HARALD WELZER 4' 33" einsteigt, jenem Werk, das aus nichts als Stille besteht. Der Sozialpsychologe weiß, wie Krieg entsteht und das Lernen Sie Tamas Detrich kennen, den neuen Intendanten des Morden gedeiht. Deswe gen Stuttgarter Balletts, einen wahren Meister des Beginnens. gehört die Gewalt auf die Bühne. Mit Geschichten, Der Dynamik eine perfekte Form zu geben. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
Noa Zuk Cv&Bio 2015
Noa Zuk is a choreographer and a dancer. She was born and raised in Kibutz Sh'ar Ha'amakim in the north of Israel. She began dancing at the age of four, doing folk, modern, Ballet, Jazz and improvisation as well as Martial Arts (she is holding a black belt in Shotokan Karate). At the age of eighteen she began her professional life as a dancer with choreographers Inbal Pinto and Youval Pick and with the Young Kibutz Dance Company. A year later she joined The Batsheva Ensemble, Batsheva Dance Company's junior company, where she danced for three years, performing up to 120 shows a year, in Israel and abroad. In the year 2000 she joined Batsheva Dance Company (BDC), where she danced for nine years. As a company member under the artistic direction of Ohad Naharin, Noa danced In all of his creations for the company during those years, and was part of the original cast of pieces such as Naharin's Virus, Mamutot, Telophaze, Three, Furo and Max. She performed hundred of shows and toured extensively on the company's many international tours, dancing on the world's most prestigious stages - BAM (NYC), Lincoln Center (NYC), Barbican centre (London), Montpelier Festival (France), .s Opera, to name only a few׳Reggio Emilia Festival (Italy) and Sidney During her time with BDC, she also worked with and performed works by choreographers such as Matz Ek (Kulberg Ballet), Sharon Eyal (LEV Dance Company) Jiri Kilian (NDT), Yasmin Godder and Yoshifumi Inao (Norwegian National Ballet). Noa left the company in 2009, to concentrate on her work as a choreographer. -
Lauf Junge Lauf Presseheft.Pdf
präsentiert eine Produktion von bittersuess pictures Lauf Junge lauf Regie Pepe Danquart basierend auf der Lebensgeschichte von Yoram Fridman nach dem Bestseller „Lauf, Junge, lauf“ von Uri Olev Im Verleih von NFP marketing & distribution* Kinostart: 17. April 2014 1 Lauf Junge lauf INHALT Verleih 3 Vertrieb 3 Pressebetreuung 3 Technische Daten 4 Besetzung 4 Stab 5 Kurzinhalt 6 Pressenotiz 7 Uri Orlevs Roman „Lauf, Junge, lauf“ 8 Uri Orlev – Romanautor 8 Yoram Fridman 9 „Eine solche Geschichte muss erzählt werden“ Von Regisseur Pepe Danquart 10 „Mit diesem Film möchten wir allen Kindern ein Denkmal setzen, die heute noch ums Überleben kämpfen“ Von den Produzenten Susa Kusche & Uwe Spiller 12 Langinhalt 13 Vor der Kamera 16 Andrzey und Kamil Tkacz – Srulik/Jurek 16 Elizabeth Duda – Magda Janczyk 16 Jeanette Hain – Frau Herman 17 Rainer Bock – SS-Offizier 18 Itay Tiran – Mosche 19 Hinter der Kamera 20 Pepe Danquart – Regie, Produzent, Mitarbeit am Drehbuch 20 Heinrich Hadding – Drehbuch 21 Daniel Gottschalk – Kamera 22 Gioia Raspé – Kostümbild 23 Matthias Müsse – Szenenbild 24 Kitty Kratschke – Maske 25 Stéphane Mouche – Musik 26 bittersuess pictures – Produktion 27 2 Lauf Junge lauf VERLEIH NFP MARKETING & DISTRIBUTION* Kantstraße 54 | 10627 Berlin Tel. 030 – 232 55 42 13 Fax 030 – 232 55 42 19 [email protected] www.NFP.de VERTRIEB FILMWELT VERLEIHAGENTUR Rheinstraße 24 | 80803 München Tel. 089 – 27 77 52 17 Fax 089 – 27 77 52 11 [email protected] www.filmweltverleih.de PRESSEBETREUUNG LIMELIGHT PR Natalie Graf & Sabine Schwerda Köthener -
1 This Is an Accepted Manuscript of an Article Published by Taylor
From Belsen to Gaza: The Promise (2011), British and British-Jewish Identity Emiliano Perra Department of History, University of Winchester, Winchester, UK Correspondence: Emiliano Perra, University of Winchester, Sparkford Road, Winchester SO22 4NR, UK Email: [email protected] Emiliano Perra is Senior Lecturer in Modern European History at the University of Winchester. He is the author of Conflicts of Memory: The Reception of Holocaust Films and Television Programmes in the Italian Press, 1945 to the Present (2010). Perra’s work focuses on the memory and representation of genocide, and he is co-editor of the Journal of Perpetrator Research. This article discusses some of the issues raised by Peter Kosminsky’s miniseries The Promise (2011) and investigates the intense public responses it engendered in Britain. The first part of the article explores how the miniseries takes the lead from the paradigmatic British Holocaust memory of the liberation of Belsen to engage with issues of British national self-perception. Drawing on Paul Gilroy’s notion of ‘postimperial melancholia’, the article argues that The Promise explores important issues related to Britain’s past and present, in particular the lasting heritage of Empire. The second part of the article engages with the intense reception of the miniseries among opinion makers and the general public, with many critics seeing The Promise as aimed at delegitimising the State of Israel both historically and in relation to the present. In thus doing, the article will situate the debate within the broader context of discussions on the supposed relationship between anti-Zionism and the so-called “new anti- Semitism”, and more specifically discussion of the role of anti-Zionist Jews. -
Mikan, Journal for Hebrew and Israeli Literature and Culture Studies Ethics and Responsibility in Israeli Cinema
Mikan, Journal for Hebrew and Israeli Literature and Culture Studies Ethics and Responsibility in Israeli Cinema Vol. 13, October 2013 מכון והמחלקה לספרות עברית, אוניברסיטת בן־גוריון בנגב Ethics and Responsibility in Israeli Cinema Editor in chief: Zahava Caspi Guest editor: Raz Yosef Editorial board: Tamar Alexander, Yitzhak Ben-Mordechai, Yigal Schwartz (Second Editor) Junior editors: Yael Balaban, Moria Dayan, Nirit Kurman, Ron Lasri, Miri Peled, Michal Peles-Almagor, Irit Ronen, Uri Rosenberg, Noa Walden, Lliron Waxman, Dror Yosef Editorial advisors: Robert Alter, Arnold J. Band, Dan Ben-Amos, Daniel Boyarin, Menachem Brinker, Nissim Calderon, Tova Cohen, Michael Gluzman (First Editor), Nili Scharf Gold, Benjamin Harshav, Galit Hasan-Rokem, Hannan Hever, Ariel Hirschfeld, Avraham Holtz, Avner Holtzman, Matti Huss, Zipporah Kagan, Ruth Kartun-Blum, Chana Kronfeld, Louis Landa, Dan Laor, Avidov Lipsker, Dan Miron, Gilead Morahg, Hannah Nave, Ilana Pardes, Iris Parush, Ilana Rosen, Tova Rosen, Yigal Schwartz, Gershon Shaked (1929-2006), Uzi Shavit, Raymond Sheindlin, Eli Yassif, Gabriel Zoran Editorial coordinator: Miri Peled, Irit Ronen Language editors: Liora Herzig (Hebrew); Oran Moked (English) Graphic editor: Tamir Lahav-Radlmesser Layout and composition: Yossi Luxenburg Cover photo: Itay Tiran, Forgiveness (Udi Aloni, 2006) IBSN: 978-965-552-477-2 All rights reserved © 2013 Heksherim Institute for Jewish and Israeli Literature and Culture, Ben Gurion University, Beer Sheva, and Kinneret, Zmora-Bitan, Dvir - Publishing House Ltd., -
View Entire Issue As
AVENUE Q Skylight Music Theatre’s production of the award- winning “Avenue Q” uses puppets for some very adult-themed material. Page 21 THE VOICE OF PROGRESS FOR WISCONSin’S LGBT COMMUNITY September 6, 2012 | Vol. 3, No. 22 Guerilla propagandists Protesters overcome harassment, draw worldwide attention PHOTO: ADAM HORWITZ By Louis Weisberg cerulean glow of a perfect late- tion marks made from strips of LED past 10 months. The effort was Volunteers with the Over- Staff writer summer evening. Laughter hums in Christmas lights. Facing northbound born of “the Wisconsin uprising,” pass Light Brigade display It’s nearing sunset on Aug. 27 the air with the mosquitoes. traffic, the cards in formation spell as group co-founders Lane Hall their support for striking and a festive atmosphere is evolv- But this is a serious event, coor- out the words “Palermos – Nego- and Lisa Moline refer to the mas- workers of Palermo’s Pizza ing at the intersection of Seventh dinated by an emerging group of tiate!” – a show of support for sive demonstrations that overran at the Ring Street overpass and Ring Street on in Milwaukee’s activists whose novel form of pro- striking workers at Palermo’s Pizza the Capitol during early 2011 and on I-43 on Aug. 27. central city. People are arriving in test has drawn international atten- plant in Milwaukee. Drivers honk the subsequent effort to oust Gov. cars, waving hello and exchanging tion. At sunset, 19 volunteers from their approval in staccato and their Scott Walker earlier this year. greetings through their windows. -
Download the Product Guide
PRODUCTPRODUCT GUIDEGUIDE CANNES 2007 111 PICTURES x 2.5’ Budget: $ 1.3M LA CENA PER FARLI CONOSCERE Language: English Year of Production: 2005, Country of (A DINNER FOR THEM TO MEET) 111 Pictures, 1st Floor 111, Wardour Producer: Marilyn Higgins Origin: Turkey Sentimental Comedy (99’) Street, London, W1F OUH United Cast: A range of celebrities including 90 years ago the Gallipoli legend was Language: Italian With English Subtitles Kingdom. Tel: 44.207.758.0690. Fax: Johnny Depp, Jodie Foster, Tom Hanks, written in blood on the shores of Turkey. Director: Pupi Avati 44.207.734.2819. Will Smith and Jennifer Aniston. Not all the blood was Australian. Tolga Production: DUEA FILM in http://www.111pictures.com Delivery Status: Completed Ornek attempts to explain Gallipoli from collaboration with MEDUSA FILM and At Cannes: Alki David (President), Tony Year of Production: 2007, Country of all sides. SKY Lytle (Director of Sales), Eroulla Origin: USA THE HITTITES (THE EMPIRE THAT Cast: Diego Abatantuomo, Francesca Constatine (Vice President of Sales) Featuring Hollywood’s most talked about CHANGED THE ANCIENT WORLD) Neri, Inés sastre Office: 45 la Croisette, Tel: 0493.68.7193 film, music and television stars, Documentary (120 min) Status: Screening FISHTALES including Nicole Kidman, Orlando Language: English Country of Origin: Italy Family Comedy (95 min) Bloom, Halle Berry, Daniel Craig and Director: Tolga Ornek A man, four women and a dinner, to Language: English Scarlet Johansson; Superstars is the Writer: Tolga Ornek discover love, and rediscover -
Post-1990 Holocaust Cinema in Israel, Germany, and Hollywood
National Identity in Crisis: Post-1990 Holocaust Cinema in Israel, Germany, and Hollywood Gary Jenkins Thesis for the qualification of Doctor of Philosophy School of Modern Languages, Newcastle University January 2017 ii Abstract Taking a comparative approach, my PhD thesis investigates the relationship between recent cinematic representations of the Holocaust in Israel, Germany, and Hollywood, and formations of national identity. Focusing on the ways in which specific political and cultural factors shape dominant discourses surrounding the Nazis’ attempt to destroy the European Jewry, I argue that the Holocaust is central to a crisis in national identity in all three countries. Whereas Holocaust films have traditionally reinforced the socio-political ideals informing the context of their production, however, the analysis of my central corpus demonstrates that this cinema can also be seen to challenge dominant discourses expressing the values that maintain established notions of national identity. Central to this challenge is the positioning of the nation as either a victim or perpetrator with regards to the Holocaust. The presentation of opposing narratives in my central corpus of films suggests a heterogeneity that undermines the tendency in dominant discourses to present victim and perpetrator positions as mutually exclusive. The trajectory from one position to its opposite is itself informed by generational shifts. As a consequence, I also discuss the perspectives offered by members of the second and third generations whose focus on particular aspects of the Holocaust challenge the discourses established by the previous one. By way of conclusion, I focus on the transnational aspect of Holocaust film. In highlighting a number of commonalities across the three cinemas discussed in my thesis, I argue that in addition to expressing themes that relate to the issue of national identity, these films also suggest the construction of ‘identity communities’ that exist beyond state borders. -
ASAF AVIDAN (ISR) Album: Anagnorisis VÖ: 11.09.20
ASAF AVIDAN (ISR) Album: Anagnorisis VÖ: 11.09.20 Label: Embassy of Music Web: https://www.asafavidanmusic.com EPK: irascible.ch/de/releases/monotales/kiss-the-money-and-run Anagnorisis is a literary term, coined by Aristotle, for that sudden moment of revelation of a character. That moment, which through the unveiling of a previously hidden element of a story’s plot, the character is confronted by his or her true identity. Transcending from ignorance into knowledge. After a 10-year non-stop touring regimen, Asaf, approaching his 40th birthday, decided to take “at least one year off the road”, and reflect upon his life, career and art. To experience time and space in a different way than during those years of endless movement and changing views. To live differently and to write differently. The setting he chose was an old farmhouse in Italy that had been turned into a recording studio/writers-retreat. A lot of green fields and olives, a lot of blue skies, and a lot of quiet and seclusion. The process would prove to be very different from the past. While previous albums such as Different Pulses or The Reckoning were penned down in a matter of weeks, something was changing now. It seemed like the presence of nature and silence around him were seeping into his art. Things started to take time. They were cut, groomed, thrown away, replanted. Months went by and the songs were still slowly mutating. “I remember learning to cut olive branches to prepare the trees for next year. I was astonished to see how much of the tree had to be cut in order to help it live better. -
«Ich in Kunst» Mein Seelisches Verwandle
MAGAZIN 26 Kultur 29. Oktober 2017 27 Am Start: Sandra Knecht FLEISCH FÜR ALLE Die Biennale-Künstlerin wunderschönen Stillleben nach Sandra Knecht ist eine alten Meis tern foto grafisch do- gastronomische Provokateurin: kumentiert. Die grossen Bilder Sie kocht Fleisch – und über- bilden im Zürcher Kaufleuten nimmt auch den Part, den wir den Hintergrund, vor welchem lieber nicht sehen: Tiere Knecht am 2. November ab «Ich schlachten und ausbeinen. 17 Uhr gemeinsam mit Spitzen- Knecht serviert nachher alles – koch Moritz Stiefel und «vom Schnörrli bis zum Spezialisten von Betty Bossy Schwänzli», inklusive Innereien. das Rind zubereitet – ein verwandle Betty Bossi ruft in Zusammen- Viertel davon hängt zu- arbeit mit der Künstlerin zum nächst zum Bestaunen von grossen gastronomischen der Decke. Das Beste: Nach- Event im Kaufleuten. Das Tier, her wird gegessen, der Eintritt mein seelisches ein Angus-Rind, hat Knecht ist frei. Die Menüliste kann sich zusammen mit einem sehen lassen: Brisket, Metzger geschlachtet. Ragout, Roastbeef – Seinen Tod hat sie in s hätt, solang s hätt! Chaos in Kunst» Seine Stimme ist unvergleichlich, sein Verstand messerscharf. Sänger Asaf Avidan (37) über sein neues Album und seine Heimat Israel, über die er lieber nicht sprechen würde. Heute vor Jahren ... 58 INTERVIEW: JONAS DREYFUS DIE SPINNEN, DIE ... Franzosen! Prügeln er den Namen Asaf aus Israel, der mit seiner Familie Asaf Avidan: Sie sind einer der wenigen israe- lich klingenden Falsettstimme bekannt für ihr pulsierendes sich mit Hinkelsteinen und jagen armen Avidan nicht auf lange in Jamaika lebte, mit 18 die Selbstreflexion ist lischen Popstars, die es über die Lan- genannt wurden, richtig tiefe Nachtleben.