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Film Criticism
ALEXANDER FEDOROV FILM CRITICISM FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P. COPYRIGHT © 2015 BY ALEXANDER FEDOROV [email protected] ALL RIGHT RESERVED. 10 9 8 7 6 5 4 2 1 FEDOROV, ALEXANDER. 1954-. FILM CRITICISM / ALEXANDER FEDOROV. P. CM. INCLUDES BIBLIOGRAPHICAL REFERENCES. 1. FILM CRITICISM. 2. FILM STUDIES. 3. MEDIA LITERACY. 4. MEDIA EDUCATION. 5. MEDIA STUDIES. 6. FILM EDUCATION. 7. STUDENTS. 8. CINEMA. 9. FILM. 10. MASS MEDIA. 11. STUDY AND TEACHING. 2 Contents The Mystery of Russian Cinema ………………………………..…... ..6 Phenomenon of Russian Film-Hits ………………………………….. 10 Russian Screen Distribution …………………………………..………..12 Video-pirates from Russia ……………………………………..…….. 15 Film Criticism and Press in Russia …………………………………… 17 Russian Cinematography and the Screen Violence ………………....….21 The Gloom of Russian Fantastic Movie-Land …………….………..….27 Sex-Cinema: Made in Russia …………………………………… ..….. 29 America, America… ……………………………………………….… .31 French Motives and Russian Melodies ………………………….…… .33 Fistful of Russian Movies ……………………………………….…… .41 Nikita Mikhalkov before XXI Century ………………………….…… 78 Karen Shakhnazarov: a Fortune's Favorite? ……………………….… 86 Pyotr Todorovsky: Dramatic Romance ……………………….……. 92 Oleg Kovalov, Former Film Critic .........................................................99 How to Shoot the “True” Film about Russia …………………………102 Locarno Film Fest: The View of a Film Educator ……………………103 The Analysis of Detective Genre at Film Education in Students’ Audience ……………………………………………… ……….…..106 Hermeneutical -
Zwischen Propaganda Und Unterhaltung
16 Uhr Programm • Tamara Ehs: Politik und Recht der Entnazifizierung: Staatskünstler/innen Zwischen Propaganda SYMPOSIUM zwischen Amnesie und Amnestie und Unterhaltung SAMSTAG, 22. NOVEMBER 2014 • Diskussion Moderation Ines Steiner Zwischen Propaganda 12.30 Uhr 17.15 Uhr Symposium, 22. und 23. November 2014 • Begrüßung und Einführung • Frank Stern: Einführung zu AUFRUHR IN DAMASKUS und »Reichspogrom: METRO Kinokulturhaus, Johannesgasse 4 und Unterhaltung • Armin Loacker: Zur Biografie Gustav Ucickys Der Schauspieler Joachim Gottschalk«. • Frank Stern: Goebbels über Ucickys »ergreifende Kunstwerke« • Filmvorführung AUFRUHR IN DAMASKUS, D 1938, 84 Min. Der Regisseur Gustav Ucicky Alle Vorträge bei freiem Eintritt. 13 Uhr • Diskussion und Publikumsgespräch Für Symposiumsteilnehmer auch freier Entritt bei den begeleitenden • Thomas Koebner: Unpolitische Filme? 19.30 Uhr Filmprogrammen. Der Film HEIMKEHR kann nur im Doppelprogramm Gustav Ucickys FLÖTENKONZERT VON SANSSOUCI (D 1930), mit VERBOTENE FILME besucht werden. • Klaus Davidowicz: »So spricht das Volk nicht« MENSCH OHNE NAMEN (D 1932) und DER POSTMEISTER (D 1940) – MORGENROT zwischen Nationalismus und Militarismus mit einem kurzen Seitenblick auf die Filme von Willi Forst in den dreißiger Jahren Um Anmeldung unter [email protected] oder 01/216 13 00 • Filmvorführung MORGENROT, D 1933, 81 Min. • Ines Steiner: Mir tut das Mutterkreuz so weh wird gebeten. • Diskussion und Publikumsgespräch Gustav Ucickys Frauenbilder • Diskussion Moderation Armin Loacker 16 Uhr Referentinnen und Referenten Retrospektive Gustav Ucicky • Felix Moeller: Ufa, Tobis, Wien-Film Goebbels und die Filmproduktionsfirmen im Dritten Reich Christoph Brecht Literatur- und Filmwissenschaft - Felix Moeller Historiker, Politik- und Kommunikati - 20. November 2014 bis 11. Jänner 2015 ler. Forschungsschwerpunkte: Europäische Moderne, er - onswissenschaftler. Zahlreiche Publikationen zur (Film-) 17 Uhr zähltheoretische Aspekte von Literatur und Film, Kultur - Geschichte, darunter »Der Filmminister – Goebbels und semiotik, Medienkomparatistik. -
The Museum of Modern Art Celebrates Vienna's Rich
THE MUSEUM OF MODERN ART CELEBRATES VIENNA’S RICH CINEMATIC HISTORY WITH MAJOR COLLABORATIVE EXHIBITION Vienna Unveiled: A City in Cinema Is Held in Conjunction with Carnegie Hall’s Citywide Festival Vienna: City of Dreams, and Features Guest Appearances by VALIE EXPORT and Jem Cohen Vienna Unveiled: A City in Cinema February 27–April 20, 2014 The Roy and Niuta Titus Theaters NEW YORK, January 29, 2014—In honor of the 50th anniversary of the Austrian Film Museum, Vienna, The Museum of Modern Art presents a major collaborative exhibition exploring Vienna as a city both real and mythic throughout the history of cinema. With additional contributions from the Filmarchiv Austria, the exhibition focuses on Austrian and German Jewish émigrés—including Max Ophuls, Erich von Stroheim, and Billy Wilder—as they look back on the city they left behind, as well as an international array of contemporary filmmakers and artists, such as Jem Cohen, VALIE EXPORT, Michael Haneke, Kurt Kren, Stanley Kubrick, Richard Linklater, Nicholas Roeg, and Ulrich Seidl, whose visions of Vienna reveal the powerful hold the city continues to exert over our collective unconscious. Vienna Unveiled: A City in Cinema is organized by Alexander Horwath, Director, Austrian Film Museum, Vienna, and Joshua Siegel, Associate Curator, Department of Film, MoMA, with special thanks to the Österreichische Galerie Belvedere. The exhibition is also held in conjunction with Vienna: City of Dreams, a citywide festival organized by Carnegie Hall. Spanning the late 19th to the early 21st centuries, from historical and romanticized images of the Austro-Hungarian empire to noir-tinged Cold War narratives, and from a breeding ground of anti- Semitism and European Fascism to a present-day center of artistic experimentation and socioeconomic stability, the exhibition features some 70 films. -
Filmklassiker Bel Ami (1939)
Filmklassiker Bel Ami (1939)...........................................................................................................................2 Der blaue Engel (1930)...............................................................................................................2 Ein blonder Traum (1932)...........................................................................................................3 Bomben auf Monte Carlo (1931).................................................................................................4 Die Brücke (1960) ......................................................................................................................4 Des Teufels General (1955) ........................................................................................................5 Das doppelte Lottchen (1950) .....................................................................................................6 3 Männer im Schnee (1956) ........................................................................................................6 Die Drei von der Tankstelle (1956) .............................................................................................7 Emil und die Detektive (1931) ....................................................................................................8 Die Feuerzangenbowle (1944).....................................................................................................8 Frauenarzt Dr. Prätorius (1950)...................................................................................................9 -
New Strains of an Old Virus the Changing Face of Shylock P/2
AjR Information Volume XLVI No. 2 February 1991 £3 (to non-members) Don't miss ... i Lingering malady Es gibt mir p2 j The truth shall \ prevail p4 New strains of an old virus The changing face of Shylock p/2 ntisemitism, like the Hydra in Greek myth, has Mazowiecki; here the intellectuals were pilloried as Time of trial sprouted many heads: religious, economic, Jews. When Bishop Orszulik offered evidence to Acultural, nationalist, racist-biological. Since show that Mazowiecki's forebears had been Polish he Gulf War the last-mentioned head was cut off two new ones and Catholic for centuries the prelate was himself is a crucial have grown in its place: antisemitism without Jews, 'accused" of being a Jew. Tturning and punk antisemitism. Antisemitism without Jews Walesa claimed to fight the election as a 'true point. Having has been particularly prevalent in the country which Pole". Nor did he scruple to denounce Professor learnt the lesson of experienced greater Jewish bloodletting in recent Gcremek - who had been smuggled out of the the 1930s, the times than any other, namely Poland. During the Warsaw ghetto as a child and formally adopted by his democracies have Presidential elections phantom Jews were conjured Polish rescuers - of hiding his Jewish identity under elected to deploy out of thin air. The first round saw man-of-the-people an adopted name. force before the Walesa pitted against the intellectually inclined When history repeats itself, said Karl Marx, it accretion of power occurs first as tragedy and then as farce. After to Saddam makes Walesa's demagogic, and antisemitically tinged, anti- an even larger intellectualism which destroyed the Solidarity conflict un consensus, came the farce of his run-off with avoidable later on. -
Austrian Cinema: a History'
Habsburg Warren on Dassanowsky, 'Austrian Cinema: A History' Review published on Friday, April 23, 2010 Robert von Dassanowsky. Austrian Cinema: A History. Jefferson: Mcfarland, 2007. 328 pp. $75.00 (paper), ISBN 978-0-7864-3733-7. Reviewed by John Warren (Oxford Brookes University) Published on HABSBURG (April, 2010) Commissioned by Jonathan Kwan A Very Timely Celebration of One Hundred Years of Austrian Cinema I suppose one must start with an acceptance that Austria's place in public consciousness as a filmmaking nation is not strong, but we now have a book, Robert von Dassanowsky'sAustrian Cinema, that provides a complete picture of cinema in Austria from 1895 to the early party of the twenty-first century. This reprint in paperback of the original case bound edition (published in 2005) is a valuable and brave venture, revealing that this small state has made many important contributions to the development of film, even if most of them have been abroad, most notably in Berlin and in Hollywood. Within some 285 pages of text, Dassanowsky has covered the widest possible range of topics: films and different film genres, directors, actors, production companies, finance, international connections and cooperation, and last but by no means least much reference to the Austrian political situation at various key periods in the development of its film industry. The author has organized the telling of the story into seven chronologically based chapters, outlining over one hundred years of Austrian cinema, and it will make sense if I briefly summarize their content, the last chapter bringing us into an important and successful phase of Austrian cinema, Austrian cinema in the twenty-first century. -
Cinema and the Swastika
Cinema and the Swastika October-2010 MAC/CIN Page-i 9780230_238572_01_prexxiv Also by Roel Vande Winkel NAZI NEWSREEL PROPAGANDA IN THE SECOND WORLD WAR Also by David Welch NAZI PROPAGANDA: The Powers and the Limitations PROPAGANDA AND THE GERMAN CINEMA 1933–45 THE THIRD REICH: Politics and Propaganda HITLER: Profile of a Dictator October-2010 MAC/CIN Page-ii 9780230_238572_01_prexxiv Cinema and the Swastika The International Expansion of Third Reich Cinema Edited by Roel Vande Winkel and David Welch October-2010 MAC/CIN Page-iii 9780230_238572_01_prexxiv © Editorial matter, selection, introduction and chapter 1 © Roel Vande Winkel and David Welch, 2007, 2011 All remaining chapters © their respective authors 2007, 2011 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published in hardback 2007 and this paperback edition 2011 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) Permalink https://escholarship.org/uc/item/0hq1924k Author Zelechowski, Jamie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses. -
Von Friedrich Schiller Zu Elfriede Jelineks Historischem Drama Burgtheater Pandaemonium Germanicum
Pandaemonium Germanicum. Revista de Estudos Germanísticos E-ISSN: 1982-8837 [email protected] Universidade de São Paulo Brasil Herzmann, Herbert Vom Theater als moralischer Anstalt zum Dichter als Gewissen der Nation oder: Von Friedrich Schiller zu Elfriede Jelineks historischem Drama Burgtheater Pandaemonium Germanicum. Revista de Estudos Germanísticos, núm. 9, 2005, pp. 155- 181 Universidade de São Paulo São Paulo, Brasil Erhältlich in: http://www.redalyc.org/articulo.oa?id=386641443009 Wie zitieren Komplette Ausgabe Wissenschaftliche Informationssystem Mehr informationen zum Artikel Netzwerk von wissenschaftliche Zeitschriften aus Lateinamerika, der Karibik, Spanien und Zeitschrift Homepage in redalyc.org Portugal Wissenschaftliche Non-Profit-Projekt, unter der Open-Access-Initiative 155 Pandaemonium germanicum 9/2005, germanicum 115-154 9/2005, 155-181 Pandaemonium Pandaemonium Vom Theater als moralischer Anstalt zum Dichter als Gewissen der Nation oder: Von Friedrich Schiller zu Elfriede Jelineks historis chem Drama Burgtheater Herbert Herzmann* Abstract: Although historic drama uses elements of reality it remains fiction. Literature ‘lies’, that is to say it creates its own truth and reality. The Vienna Burgtheater as a historic institution and as a place of dramatic fiction is the subject matter of Jelinek’s historic drama Burgtheater . Behind the highly articifial dramatis personae who speak an artificial language full of Nazi clichés one can easily recognize members of the Hörbiger family, a dynasty of Burgtheater actors. The argument that the Hörbigers have no reason to feel attacked be- cause the dramatis personae are clearly works of fiction and thus different from the real Hörbigers is not convincing. Jelinek appears to be serious when she insinuates in the play that members of the family, especially Käthe / Paula Wessely, share the responsibilty for the crimes committed by the Nazis. -
The Radical Progress of Queer Visibility in Weimar Film and the Inevitable Backlash That Followed
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 2019 A Glimpse of Casual Queerness: The Radical Progress of Queer Visibility in Weimar Film and the Inevitable Backlash That Followed Claire Colburn Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the English Language and Literature Commons Recommended Citation Colburn, Claire, "A Glimpse of Casual Queerness: The Radical Progress of Queer Visibility in Weimar Film and the Inevitable Backlash That Followed" (2019). Undergraduate Honors Thesis Collection. 469. https://digitalcommons.butler.edu/ugtheses/469 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. A Glimpse of Casual Queerness: The Radical Progress of Queer Visibility in Weimar Film and the Inevitable Backlash That Followed A Thesis Presented to the Department of English College of Liberal Arts and Sciences and The Honors Program of Butler University In Partial Fulfillment of the Requirements for Graduation Honors Claire Colburn May 10, 2019 Modern representations of Germany’s Jazz Age, such as the popular television series Babylon Berlin (dir. Tom Tykwer, 2017-2019), tend to characterize the interwar period as a chaotic expression of post-World War I anxiety. In retrospect, it can be temptingly easy to credit the changing political landscape and liberalization of German society between 1918 and 1933 as a brief but inherently doomed moment of progressivism that necessarily would give way to a strident, reactionary backlash. -
Kinderkino MUSEUMSPÄDAGOGIK | BIBLIOTHEK 2 INHALT
INSTITUT FILM MUSEUM 4 2008 goEast 8. Festival des mittel- und osteuropäischen Films AUSSTELLUNGEN | KINO Anime! | Frankfurter Positionen Nippon Connection – Retrospektive | Klassiker & Raritäten Zauber des Lebens – Jacques Demy | Dokumentarfilm & Gespräch CineLatino | Kino und Couch | Nacht der Museen | Kinderkino MUSEUMSPÄDAGOGIK | BIBLIOTHEK 2 INHALT 3 Editorial 20 Klassiker & Raritäten IMPRESSUM Dienstags, mittwochs und donners- 4 Anime! High Art – Pop Culture Programmheft April 2008 tags und in einer Sonntags-Matinee Sonderausstellung bis 3. August Deutsches Filminstitut / Deutsches Filmmuseum 23 Kino und Couch 2008 8 Nippon Connection – Retrospektive / Herausgeber: Deutsches Filminstitut – DIF e.V. Film und Gespräch am 17. April Anime! Schaumainkai 41, 60596 Frankfurt am Main zum Thema Kindheit Direktorin: Claudia Dillmann (V.i.S.d.P.) Filmreihe zur Sonderausstellung Stellvertretender Direktor: Hans-Peter Reichmann vom 4. bis 6. April 24 Zauber des Lebens – Jacques Demy Redaktion: Horst Martin Filmreihe vom 1. bis 10. April Lektorat: Katja Thorwarth 10 Paul Kemp Mitarbeit: Beate Dannhorn, Daniela Dietrich, Lisa Über den Nachlass des Komikers 26 CineLatino 9. Festival des Dressler, Natascha Gikas, Vanessa Grothaus, Winfried lateinamerikanischen Films 11 Nacht der Museen Günther, Monika Haas, Johannes Kamps, Ursula Kähler, Petra Kappler, Maja Keppler, Jürgen Kindlmann, 28 Dokumentarfilm & Gespräch 12 goEast – 8. Festival des mittel- und Susanne Neubronner, Jessica Niebel, Lena Pezzarossa, Veranstaltungsreihe startet am 29. April osteuropäischen Films, 9. bis 15. April Karin Schyle, Ulrike Stiefelmayer, Gary Vanisian Ausgewählte Filme im Deutschen 28 Angebote für Groß und Klein Grafik: conceptdesign, Offenbach Filmmuseum vom 11. bis 17. April Veranstaltungen der Museumspädagogik Druck: Central-Druck Trost GmbH & Co. KG, Heusenstamm 16 Kinderkino 30 Frankfurter Positionen: Leben erfinden Papier: Gedruckt auf Sorte Profisilk matt in 100 g freitags und sonntags Galerieausstellung und Filme ab 18.