Today these aspirations are still there, and their reflections in the imaginary as well. New York, Psychology of Kitsch. The Art of Happiness. Paris: Denoel, , pp. Folglich kann diese Art Kitsch die tieferen Schichten der Glaubensbereitschaft nicht ansprechen. Diese Mixtur von Eros und Thanatos war geeignet, in der extremsten politischen Mobilisierung der Neuzeit Massen in den Wahn zu treiben. Grendacher und G. Selb; S. Dementsprechend ist das visuelle Element, die visuelle Poesie, das besondere Merkmal des Genres seit Beginn an.
Dies gilt bis heute. Dies erinnert an die Unterscheidung, die Rudolf Arnheim bereits in seinem erschienenen Buch Film als Kunst getroffen hat:. Bunte Ansichtspostkarten zum Beispiel sind nicht Kunst und wollen auch keine sein. Und Kientopp ist nicht Film. Das Alte geht, das Neue kommt. Arnheim, R. Film als Kunst 1 ed. Frankfurt am Main: Suhrkamp. Inglehart, R. Norris Ed. New York: Oxford University Press. Wolf, F. Nach Beendigung meiner Dissertation zum fotografischen Werk wollte ich mich nun auch dem Filmemacher Ehrhardt zuwenden. Die Aufnahmen lagern noch heute bei Manfred. Das Projekt nahm unerwartete Dimensionen an.
Im Zentrum steht die Frage, was ein Abbild vermag, wie es funktioniert und wie es rezipiert wird. Aber meine Euphorie hing eindeutig auch mit der kongenialen Verbindung zwischen Sujet und Autor zusammen. Niels ist wie Alfred Ehrhardt Fotograf und er geht wie dieser vom fotografischen Standbild aus. Vielleicht hatte Niels mehr bei Alfred gelernt als ihm das selber deutlich war. Schrecklich aufregend war es, vor der Kamera zu stehen.
Irgendwann, nach Monaten, hatte ich dann auch gelernt, gelassener zu agieren. Aber er hatte ja Recht. Nur: warum sagte er mir das erst nach so vielen Drehtagen? Ich hab kein Problem damit Dinge zu schleppen. Danach war Ruhe in der Kiste und ging auch das Mitdenken besser. Etwas filmisches Material lag schon vor, unter anderem ein Interview mit dem mittlerweile verstorbenen Direktor des Ernst Haeckel Hauses, Prof. Dieser Film der Regisseurin Corinna Belz wurde ein durchschlagender Erfolg, auch weil er einfach aufgebaut ist und auf die Bilder vertraut. Touch is the most personal of the senses.
Hearing and touch meet where the lower frequencies of audible sound pass over to tactile vibrations at about 20 hertz. Hearing is a way of touching at a distance and the intimacy of the first sense is fused with sociability whenever people gather together to hear something special. These two features seem to co-exist. The sense of hearing cannot be closed off at will.
There are no earlids. When we go to sleep, our perception of sound is the last door to close and it is also the first to open when we awaken. The eye points outward; the ear draws inward. It soaks up information. Listening to beautiful sounds, for instance the sounds of music, is like the tongue of a lover in your ear. Of its own nature then, the ear demands that insouciant and distracting sounds would be stopped in order that it may concentrate on those which truly matter.
Murray Schafer: The Soundscape. Our Sonic Environment and the Tuning of the World. New York, Knopf, Why I think that talking about the audience as a measurement or an aim is a mistake when it comes to writing and directing film or time-based media? As a filmmaker as well as an academic myself, I often come across the demand to think about the audience before and while making a film or writing or conceptualizing art work.
This always irritates me. Having been educated in the Faculty of Philosophy at Humboldt University Berlin and in one of the oldest and most established, but at the same time most modern, theaters, my immediate answer is that this is against all tradition. This may look like a very academic answer. From my academic and artistic education, my infinite reading, my excitement about great art — theatre, painting, performance, writing — I am deeply convinced that all great artists are in dialog with their audience in dealing with tradition and everyday life at the same time.
No one starts a work outside of life and reality. Starting to write or direct or perform takes place in communication with existing work. That means to get to know, to test and to challenge what the basic elements are that one has to respect. To respect means to think about what is basic and what can be changed and how, to be modified, to be tested or to be ignored, played with. This fulfils thinking about audience, but more in an abstract or academic way.
Will the audience understand and like this? Will they pay for it? Will they keep watching it? The last question includes money and a calculated economic success as well. There is no such thing as THE audience. There is not one audience, everyone feeling the same or demanding the same story, aesthetic, style, whatever. Would you, my reader, choose the same book or the same story or the same style every day?
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Would you dress every day in the same colours? Or can you predict that next Friday you will for sure be up for wearing a red Jacket, eating potatoes for lunch, listening to the Beatles for driving to work, and watching a Tarantino film in the evening? What about midsummer in two years? Will you be up that day for a romantic comedy or for a thriller, and should the main cast be Julia Roberts, Tom Hiddleston or Kit Herrington?
Thus, I have to rely on tradition, on basic knowledge and on artistic wisdom. What I am here calling artistic wisdom is very well reflected and not mystic or metaphysic knowledge. Philosophy is one discipline reflecting on aesthetics since ancient times, the other is a sub-discipline of philosophy called dramaturgy.
When I think about experiences with actual audiences, there are two different fields I can refer to, which I will do here in just a short overview. My first experiences go back to my time as dramaturgy assistant at the Deutsches Theater Berlin. There were some great directors, e. But two were dominating the discourse, discussions and debates, fascinating the audience and splitting the colleagues into two groups. Friedo Solter was, in a nutshell, directing in a traditional way, modern, but moderate, up-to-date but not too provoking. On the other side was Alexander Lang.
He was the postmodern director of the ensemble. Provoking, excellent, fascinating. There was a lot of brainwork done before they started to rehearse and during the process. And the audience liked it too. All performances of both directors were always sold out. And ran for a long time. Shows I watched again and again as a member of the audience—more than ten times—were e. The audience was different every day. There were some evenings when most of the audience came because they were curious to see the new interpretation of something they knew or knew about, others came to see the actors in a new performance, others to see the new work of the directors and some just because they had a season ticket or someone had asked them out, it was a social event organised through work or an educational trip from school.
And thus, the performance was a little bit different every day or perhaps just the atmosphere differed. I have similar experiences from showing our own films. When a film is new, a premiere or a first screening at an important festival, the audience expects something special, they are mostly open minded, interested, excited, too. Do they get the joke or the irony in this dialog, do they see the emotional picture, do they hold their breath at this moment or not? And along that every discussion has a few similar questions, the standards, but more often completely different reactions, responds and queries.
Some US-media primed colleagues view European Documentaries as boring and old fashioned; others world wide are still working in poetic cinema , documentaries and fiction. Some filmmaker are still able to make poetic documentaries, being more visual, more artistic, and less outspoken or fast or hybrid; others invite these films to competitions in A-Festivals and sometimes these films receive an award too. Teaching courses in Bangladesh, the UAE or Brazil, I found that the students were socialized and hence primed differently, but all of them were attracted by similar aspects of telling and directing a story.
All of them discovered their specific style and narration to make their own projects, but all of them were in the given circumstances successful after they started to trust in artistic wisdom, the traditions, and the balance of constants and variants in storytelling. The movie was not well received in the US, and Western Europe, thus it was marked as a flop.
Or Barry Lyndon—over decades described as difficult and not very successful—this film was just re-released and shown in cinemas. There is no such thing as THE audience which you can calculate upfront. But, and this is the good news, we can trust that our audience in its variety, its broad interests and moods, will enjoy a good or excellently told story, when the auteur is aware of traditions and artistic wisdom, is creative and open minded, simply an artist, not a formatted industry worker.
One has again to trust the writers, directors, the creative team and the artists, if we still want to get good and great stories told. Looking for a formula to calculate the mood and interests of the people is like reinventing alchemy. Praxis des Drehbuchschreibens, Berlin, Alexander-Verl. Hamburgische Dramaturgie, Stuttgart, Reclam. Der aufhaltsame Aufstieg des Arturo Ui, Frankfurt a. It tramples the cinema, makes it stand still, which is the opposite of what we live. The same thing applies to literature, if we simply apply to poetic rules, for example we can write about our lives but never write a single poem.
September Allgemein , Filmmaker , teaching Film Kommentare 0. By thematizing rehearsal processes in performative works unfolding over time, it is possible to demonstrate and depict working on art itself and the conditions for producing it. This essay will question which artistic procedures are possible, in analogy, in a static work. How can these critical ideas of rehearsal be reflected on as a topos in a painting?
He thus achieves a self-reflected, critical reflection on the arrangement of narration and visual representation at the dramaturgically implicit level of dramatic image plot as well. Annemarie M. August Allgemein Kommentare 0. Sie wurde erstmals ausgestrahlt und besteht derzeit aus zwei Staffeln. Eine weitere befindet sich in Produktion und soll erscheinen Stand Juli Alle anderen Themen entstanden danach und leiten sich teilweise aus dem Titelthema ab.
Des Weiteren kommen Pads zum Einsatz, die er mit den Orchesteraufnahmen mischt. Eine weitere Ausnahme ist das elektronisch bearbeitete Sample des Waschmaschinensounds. Zudem wird mit Klaviereffekten durch Bogen oder Hammer auf den Saiten gearbeitet. Durch die solistische Besetzung strahlt es Einsamkeit aus. Die Gegend, die man in der Serie sieht, ist ein Charakter, und so ist es wichtig, sie wie einen Charakter zu behandeln.
Ich beziehe mich nie direkt auf den Score, aber dennoch auf dessen Klangfarbe. Somit bin ich also in Burwells musikalischer Landschaft geblieben. Aber weiter geht meine Referenz zu diesem Score nicht. Im wahren Leben ereignen sich auch Dinge und dann passiert mal wieder nichts. Um das zu zeigen, haben wir das Thema unserer Filmwelt eingespielt — welches die Titelmusik der Serie ist. Das hilft an dieser Stelle wirklich sehr. Die Gestaltung der beiden Themen greift geschickt die Verbundenheit der Figuren auf. In einem Interview sagt Russo:. Als Lester wegen der infizierten Verletzung an seiner Hand im Krankenhaus zu sich kommt und bemerkt, dass er in Schwierigkeiten steckt, schmiedet er den Plan, eine falsche Spur zu legen und die Tat seinem Bruder in die Schuhe zu schieben.
Doch es kann genauso als Vorausdeutung auf das Kommende gesehen werden. Wenn Gus nun auf Malvo trifft, baut sich unweigerlich Spannung Suspense auf, da die Zuschauenden bereits wissen, in welcher Gefahr sich der Polizist befindet. Diese dunklen Akzente reichen bereits aus, um das Spannungslevel zu potenzieren und nehmen die von Malvo ausgehende Bedrohung musikalisch auf. Dieses Thema kann als eine Variation der Titelmusik gesehen werden, da sich das melodische und rhythmische Material unmittelbar daraus ableitet.
Die Melodie entspringt der selben melodischen Phrase jeweils T 1 , wird aber anders harmonisiert. Das ist auch musikalisch erkennbar, denn ihr Thema wird zwar im Laufe der ersten Staffel auch variiert, entwickelt sich aber in keine bestimmte Richtung weiter. Somit hat sie auch von Anfang an dasselbe Thema. Die Themen folgen den dargestellten Figuren sehr langsam und subtil in ihrer Entwicklung. Manchmal kommentiert sie das Dargestellte dezent. Betreuerin: Christine Lang, Zweitgutachter: Prof.
Ulrich Reuter. Bullerjahn, Claudia: Grundlagen der Wirkung von Filmmusik. The Art and Business of Writing. A Guide to Contemporary Film Scoring. In: Moormann, Peter Hg. Ein Handbuch. Zugriff Stutterheim, Kerstin, , S. Lang, Christine, Mail vom Lang, Christine; Dreher, Christoph, , S. Davis, Richard, , S. Juli Allgemein Kommentare 0. A closer look at women in film, as directors or as characters, provides a basic understanding of the situation of a society. Within this topic one is able to develop a much greater comprehension of if and how gender equality is represented and understood, through simple application of common sense.
Gender role models are constructions, made common and perpetuated by media productions. Movies are reflecting cultural and social relationships in a society, and subsequently have an influence on society as well. Audience, the often-stressed unknown being, also includes women. In cinemas within some particular age groups, women are even the majority. We, the women, are an integral part of society; without us there would be neither society nor civilization.
This is truism, but astonishingly enough it nevertheless has to be mention from time to time again. Contemporary movies and TV productions are mostly dominated by male producers, directors, commissioning editors and heads of program, yet tell not only stories from that of a male perspective. Even character design is coined by a male view of the world; among the women represented, female characters are frequently designed in a way that gives an overall impression that women would be unable to act as independent human beings.
They could be neither able to act as a director nor as female characters embedded in a story that do more than acting as a secretary, nurse, housewife, shop keeper or sex worker. Those characters often lack a name or intelligent dialogue lines, and can be exploited or tortured and murdered more easily than male characters. Instead, the term is expressing that those kinds of characters are demanding a specific hierarchy and personal freedom. Within the hierarchy of such characters, female characters were almost always narrated out of a male position. Thus, they have little to no influence on the narrated action.
If it is a female character indulged to be the protagonist, her action is shown as personal, fleshly or erotically motivated, not because of a societal or political motivation or longing of the character. Within the action the young, blonde female main character, called Marisa, given by Alina Levshin is shown as driven into the group of Neo-Nazis by her life situation and circumstances—her mother unable to support her, a bad job, a region undeveloped and of no hope for the young generation. As a result of her one and only human action helping the illegal migrant to hide she became sacrificed at the end.
Independent decisions made by a female character ignoring the rules of the group she belongs to were not endured. Although this term as such first of all just means someone is able to decide independently Holland, and still not the active influence of events happening because of a person character acting in a specific way, that term already is been used to discuss characters, especially female ones, in media productions.
To change the ways of representing women in media productions it is necessary to have many more female writers and directors, who should in numbers correspond to the percentage of women in society and the audience. It is time to change the representation of both genders in media productions to give both of them a better perspective in a civilized world as well. Within these productions characters are interacting on eyelevel, especially within the dramaturgical structure. Action, hopes, dreams and decisions of female characters are of the same weight and influence for the action going on as those of the male characters.
Their decisions and actions are not body directed or only emotion based- they are as clear and rational as those of their male counterparts. Of course, cinema productions written and directed by women were and are successful, like f. Based in socio-cultural structures in the cinema business movies directed by women were differently discussed, distributed and reviewed than those directed by their male colleagues. A closer look and analysis shows that female directors more often tend to open dramaturgical forms and less often tell classical stories of a hero. Thus, a more open minded reception is needed to give them same respect as traditional male narrated movies.
To support the discussion and critical thinking of representation of gender in Film and TV productions of today we will add here from time to time short reflections on randomly selected examples we came across. Identity and agency in cultural worlds, Cambridge, Mass. Premiere auf den Internationalen Hofer Filmtagen Der Spiegel in der Umkleide evoziert eine Leinwand, die der Selbstfiktionalisierung dient. Das Trinkspiel ist eine soziale Aktion, eine Art Initiationsritual.
Wer in den Kreis aufgenommen werden will, muss mitspielen. Wer sich widersetzt, wird zu Fall gebracht. Kurzfilm , 23 Min. Neues im Film entsteht vor allem in der Beziehung von Form und Inhalt.
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Dabei ist es die Form, die entscheidend ist, weil sie den Inhalt eines Films transportiert. Martin 3. Die Handlung ereignet sich in einer Welt, die sich von unserer erlebten Wirklichkeit unterscheidet. In Fantasy-Filmen kann auch auf die von uns erlebte Wirklichkeit referiert werden. Zentraler Handlungsort ist eine Insel, die wie eine Variante Englands wirkt. Mit dieser ersten Szene ist die Begebenheit etabliert, zu der alles Handeln in Relation gesetzt wird. Wie in Shakespeares Henry VI. Aus dem — im Sinne der Konventionen der Gesellschaft gesehenen — Fehlverhalten desjenigen, der die Macht und die Verantwortung hat, die tradierten moralischen Werte der Gemeinschaft vorbildhaft zu bewahren, ergibt sich die Katastrophe.
Der Untergang des Abendlandes, der zivilisierten Welt, droht. Insofern vertreten ausgerechnet die positiv wirkenden Figuren dieser Serie konservative christliche und uramerikanische Werte.
Er ist ein Outcast, vertritt die Werte der Gemeinschaft ernsthafter als diese selber, weshalb er von ihr nur toleriert, aber nicht als Ihresgleichen angesehen wird. Das verleiht diesem Western-Helden wiederum eine besondere Haltung. Gehasst, gemordet und geliebt wird in jeder vorstellbaren Figuren-Konstellation. Frauenfiguren agieren als Antagonistinnen oder spiegelbildliche Heldenfiguren.
Doch auch hier gibt es aus der Erfahrung mit den genutzten Mittel der Gestaltung und Dramaturgie keine Gewissheit. Chronotopos , [Frankfurt am Main], Suhrkamp. A clash of kings, New York, Bantam Books. This article compares the Israeli television show BeTipul with its American adaptation, In Treatment , with regard to the subtle Jewishness of the Israeli show and its universalist conversion into a non-Jewish-American context.
Questions after the fluidity and evasiveness of Jewish identity in general and in popular culture in particular arise as well as the question how psychoanalysis can be transferred on television. Both series are also analyzed from a psychoanalytical perspective as a cultural unconscious. Produced by the network HOT3, BeTipul is an Israeli television series consisting of eighty episodes that were broadcast over the course of two seasons, from to The series has been hugely successful in Israel in terms of both ratings and awards, and so far it has been adapted in fourteen different countries, including the United States, Argentina, Brazil, Japan, Russia, the Netherlands, and Italy.
Instead of their merely talking about the conflicts that take place with people outside the consultation room, the patients develop conflicts with Reuven, which involve a love story, jealousy, a miscarriage, and even suicide attempts. Most of the subsequent adaptations have used similar consultation-room sets and the same scripts. I first analyze the Jewishness of BeTipul and subsequently trace how it is transformed into Paulinian universalism in In Treatment. Even though all the characters in the Israeli version are Jewish, the Jewishness of the series is not easy to identify, due only partly to its lack of religious topics and its secularism.
Christine Lang, in her essay on In Treatment , emphasizes that psychoanalysis itself follows dramaturgical formulas and narratives ranging from Oedipus and Cassandra—and, I would like to add, Moses—to Saint Paul. Indeed, this resembles the ways in which the Jewish and Christian religions are based on myths from the Old and New Testaments.
The interpretations of these narratives are connected to the second topic of this essay: psychoanalysis and Jewishness. Founded in the secular Jewish community of Vienna around , psychoanalysis—like BeTipul —has been transmitted around the globe. According to Hagai Levi, the case of the traumatized soldier in particular has been transformed to match specific national traumas in different adaptations of the series. These differences also include the methodology and identity of the non-Jewish therapist Paul Weston, played by Gabriel Byrne in In Treatment , which I discuss in regard to the question of universalism and particularism connected to Paul the Apostle, the Jew who founded Christianity.
But regardless of these differences, most parts of the script of BeTipul have been transferred word for word into In Treatment , and these transferences may correspond with the universal claim of psychoanalysis. Psychoanalysis assumes that, whereas the psychic mechanisms of repression and memory and the topology of ego, id, and superego work similarly in every subject, the particular content is different.
Similarly, in the case of the television series adaptations, the form at is the same, but the content and the type of cast differs. Thus, while In Treatment is unable to fully reproduce the therapeutic experience, it relies, instead, on a premise of medium self-reflexivity whereby the face-to-face between therapist and patient is reflected in that other, medial encounter between viewer and personal screen.
It stands more in line with the psychoanalytical interpretations presented at a conference on BeTipul and In Treatment held at the University of California, Los Angeles in I also analyze the sessions in the series in the way Ira Konigsberg treats films like a clinical hour, as processes that create narratives. What Is Jewish in BeTipul?
In the first episode, which takes place during her Sunday session, she confesses that she fell in love with her former therapist. Yadin Lior Ashkenazi has his sessions on Mondays. On Thursdays Reuven sees his own former therapist and current clinical supervisor, Gila. Yadin accidentally killed several Palestinian children in Ramallah during a military operation.
He did not know at the time that children were in the house he bombed, and he later wonders if his superiors knew about it or made a mistake. According to Irit Keynan, in Israeli society it is taboo to discuss such an incident or military mistake in a television series or in public media in general. BeTipul never uses the usual visual device of flashbacks to illustrate and authenticate trauma.
In his monologues Yadin, as played by Ashkenazi—who previously portrayed a similar figure as the cold, emotionally detached secret service agent in Walk on Water Eytan Fox, Israel, ,which also deals with past and current Israeli traumas—seems to struggle between the image of the pilot as war hero and his guilt feelings. He did not hit the wrong building; rather the wrong people were in the building. He just followed orders. At the same time Yadin struggles with the incident. Drescher et al. The series also reveals other aspects of the Israeli unconscious. In his first session Yadin tells Reuven about his father, a Holocaust survivor.
Nevertheless, a reactivation of trauma is still possible in this transmission. The trauma is present regardless of place or time. But what Yadin inherited instead is an inability to feel guilty, because it is indeed too dangerous, and because it would mean that the Nazis would have succeeded, finally, in turning the victims into the victimizers.
While the transgenerational transmission of the Holocaust trauma affects Jewish people worldwide, there are different opinions about how trauma affects the children of Holocaust survivors in Israel as compared to those in other countries. Jeffrey Prager, for instance, writes:. Instead, he does what his father expects from him.
The case of Yadin and the history of his father have an additional implication that might not be specifically Israeli but is attributed as specifically Jewish: the topos of parricide. While later peoples practiced totem religious cults to reenact this primal murder on a symbolic level, monotheistic religions developed a different way of dealing with it. In his lecture Freud said:. Judaism has carefully pushed aside these dark memories of mankind. The killing of the father is universal, but Christians have confessed the murder. But his father is free of guilt or denies his guilty feelings.
Aside from the specific Jewish and Israeli living conditions and historical experiences of the patients and the therapist, one can also ask about the relationship between psychoanalysis and Jewishness in general. The founder of psychoanalysis was Jewish, and different theoretical approaches claim that this was not coincidental.
In fact, he sought to universalize Jewish experiences. Talia later tells Reuven about a book she bought online, by Howard Gordon, a fictional American psychologist who wrote a novel about having an affair with a young, attractive patient. Paulinian Universalism in In Treatment. The scripts for the first two seasons were adapted almost word for word from the original Hebrew.
Co-producer Sarah Treem summarizes the differences on the formal level as involved more with storytelling than with dialogue. Christine Lang offers this description:. There are very few dolly shots or gentle zooms. Line crossing is utilized only sparingly and always in the service of the plot, for example to emphasize a shift in psychological atmosphere.
But although BeTipul is thus less immersive than In Treatment , the focus on talking heads is still the same. And, through the foregrounding of acting, both series resemble theater plays. There are significant differences, however, in the details and cultural identities of the patients and analysts. But instead of telling her therapist about a book she bought after she starts thinking about his affair, she speaks about a BBC documentary she watched on the topic of sex dolls.
Krin Gabbard argues that In Treatment is stripped of all Jewishness. The mainstream interpretation of Paul says that salvation is based on faith and not on obedience to the words of law, although several authors have questioned this reading. What, then, has Paul Weston in common with Paul the Apostle? While BeTipul is distinctly situated in a specific Jewish experience and Israeli culture, In Treatment is much less specifically Christian or Jewish, leaving Paul Weston rather unmarked both ethnically and religiously. So while the aim of both Paul the Apostle and psychoanalysis is tracing back the sense of guilt, this is not the aim of Paul Weston.
For him the cultural background of the therapist is relevant; the use of universal ideas for every different case is insufficient. He also follows the idea that Paul overturned the Jewish law. In In Treatment we also find a struggle with the law, mostly in the episodes when Paul sees his supervisor, Gina Dianne Wiest. Furthermore, some reviewers contend that the sessions with Gina are the most psychoanalytic ones, and Paul frequently argues with her about the rules of psychoanalysis. But when he meets with Gina, he constantly questions her authority.
If psychoanalysis is a Jewish science—with Judaism a religion of law—Paul is here rebelling against that authority figure and claims to invent a new school. Paul argues with Gina over whether the case of erotic transference is still within the laws of psychotherapy or already crosses the borders, and over whether he expresses a desire for a transgression when he articulates the wish to leave his patients and his wife.
The question of whether desire exists beyond the rules of the law is more or less a question of psychoanalysis and the analytic cure. Lacan agrees with the Apostle Paul that sin is always situated in relation to the law, or rather that the law produces sin as its transgression. But when he finally meets her at home, he is not able to sleep with her, because he has a panic attack. This episode at the end of the first season thus shows the impossibility of jouissance beyond the law.
Jouissance is part of the law, but not as its opposite. Rather, the two are tied together. If the Apostle Paul embodies a universalism and abolishment of borders, the series and especially the adaptation say something different: that the same story needs its own specific cultural adjustment. In Treatment follows a multiculturalist concept; the cast is more diverse than in BeTipul. But even though its diversity is limited to patients of African-American or Indian decent, it is striking that Jewishness is almost invisible. In its multicultural approach, the Jew becomes white in the series, as has often been the case.
This is partly because racism in the US and the history of slavery are rarely discussed in public, and they are not acknowledged as national traumas. Although both series consist mainly of dialogue, there is a crucial difference between the two. Whereas in In Treatment the exchange between patient and therapist focuses more on action than on language, the dialogue in BeTipul is more closely aligned with the aim of psychoanalysis—the interpretation of words. Special thanks to Katrin Pesch. James Strachey London: Hogarth Press, , 7. David Meghnagi London: Karnac Books, , James Strachey London: Hogarth Press, , Die Couch des Armen.
Die Kinotexte in der Diskussion, ed. Litz, N. Stein, E. Delaney, L. Lebowitz, W. Nash, C. Silva, and S. Drescher, D. Foy, C. Kelly, A. Leshner, K. Schutz, and B. Fontana, R. Rosenheck, and E. Auerhahn and D. Danieli New York: Plenum Press, , Meghnagi, Dana Hollander, ed. Klassen and John W. Paul Weston and the Bloodstained Couch. Dieser ergibt sich aus der jeweiligen Rezeptionssituation, wie bereits eingangs dargestellt wurde. In der visuellen Gestaltung, mit der visuellen Dramaturgie, wird die implizite Botschaft zum Verstehen des Verhaltens und der Dialogtexte einer Figur gegeben.
Der Prozess der Gestaltung wird erkennbar und ausgestellt. Die visuelle Ebene und ihre Zeichenhaftigkeit nehmen in modernen und postmodernen Werken an Bedeutung zu. Es handelt sich um eine freie Form der Gestaltung, die aber dennoch auf der Grundlage der Tradition entwickelt wird. Entsprechend ist zum Beispiel Mulholland Drive gestaltet. Red represents the imagination. Es beinhaltet die Einladung zum Spiel. Wollte der Surrealismus schon — kurz gefasst — das Unterbewusste in die Kunst integrieren, mit ihr zum Ausdruck bringen, so will die Kunst der Postmoderne bisher als nicht abbildbar Geglaubtes zum Ausdruck bringen.
Dies unterscheidet sich von einem vorranging rationalen Charakter der Kunst, der vorrangig auf den Verstand zielt. Das Sujet im Film. Kunst als Sprache. Untersuchungen zum Zeichencharakter von Literatur und Kunst. Leipzig: Verlag Philipp Reclam jun. Anschauen und Vorstellen. Theatergeschichte Europas, Salzburg, O. Nationalsozialistische Filmproduktionen.
Handbuch des Antisemitismus. ISBN Print. Juni Allgemein Kommentare 0. Mai Allgemein Kommentare 0. Englischer Titel und Synopsis am Ende des Beitrages. In der FAZ vom September im deutschsprachigen Fernsehen zu sehen. Seine Medientheorie scheint daher besonders geeignet, wenn es um eine Serie geht, in der das Fernsehen hinter die Kulissen der Therapie blickt — und nicht, wie sonst — die Psychoanalyse hinter Filme oder das Fernsehen.
Auf meine Frage, ob er die Sopranos kenne, sagte Zizek:. Something is missing for me to be fully fascinated. Bei unserer ersten Begegnung mit der Serie treffen wir auf ihren Protagonisten. Sie fordert ihn auf, sich zu setzen. Ohne ein Wort fragt er, auf welchen der beiden freien Sessel, was sie ihm frei stellt.
Das sieht irgendwie unbequem aus — eine Abwehrhaltung. Im Zentrum der neuen amerikanischen Serien steht die Familie oder deren Ersatz. Auf der einen Seite seine leibliche Familie, seine Ehefrau und seine beiden Kinder und seine Mutter, auf der anderen die Mafiafamilie, in deren verbrecherischem Geflecht er sich zum Ziel gesetzt hat, zum Paten, zum symbolischen Vater des Clans aufzusteigen. Die zweite Familie des Protagonisten ist von der ersten nur teilweise scharf abgrenzbar.
Nicht nur im kreisrunden Behandlungszimmer wird dabei vom ersten Moment an verheimlicht und gelogen, dass sich die Balken biegen. Gangster in der Therapie?
Aber zu einer Frau? Zu Beginn der ersten, abgebrochenen Therapiesitzung berichtet Tony von einer Episode, die sich am Tag seiner erste Attacke zutrug. Dass Dr. Wenn allerdings Dr. Es kann, darf und muss angenommen werden, dass psychotherapeutische Patienten Soap-Operas, Telenovelas und Fernsehserien konsumieren. In: Fiennes, Teil 1.
Tony beginnt von dem Tag zu sprechen, an dem sie zum ersten Mal auftraten. In anderen Worten kommt es zu keiner Verurteilung jener Verbrechen, die Tony vor der Therapeutin verheimlicht. Im Gegenteil scheint Dr. Bereits begangene Verbrechen unterliegen allerdings der Schweigepflicht — worin sich die Therapie in keiner Weise von der Beichte unterscheidet. Als Zuschauer identifizieren wir uns also sowohl mit Tony als auch mit Dr. Melfi und fragen uns: Kann es sein, dass alle Beteiligten unentwegt das Gegenteil von dem tun, was sie sagen?
In der ersten Folge nimmt Tony auf dem Golfplatz die erste Pille ein. Ohne Erfolg. Das Restaurant wird gesprengt, um Big Pussy das Leben zu retten. Werbeunterbrechungen gab es bei der Ausstrahlung keine. Um das zu verstehen, muss man Psychoanalyse bzw. Zizeks Frage ist scheinbar einfach zu beantworten. Diese Untersuchung im Angesicht der Perversion zeigt zwar zum einen, dass es begrenzt Sinn macht, eine mediale Gestalt mit einer derartigen Diagnose auszustatten, ist sie eben ja nur eine mediale, von Drehbuchautoren geschaffene Gestalt, in deren Psychodynamik sich der Zuschauer spiegelt.
Diederichsen : The Sopranos. Gabbard analysiert die Fiktion wie eine Wirklichkeit und stellt dadurch Kunst und Psyche therapeutisch auf eine Stufe.
Dramaturgie – ein kurzer Exkurs zur Einführung
Wichtiger erscheint jedoch, dass sich das Hinterzimmer des Bada-Bing-Stripclubs, dessen geheimer Chef Tony ist, zu ebener Erde und damit auf der Stufe des Ich befindet. Allerdings sind wir im Falle der Sopranos einen Schritt weiter, denn nicht nur der symbolisierte, eingeschriebene, inneren Halt gebende, auch mentalisiert zu nennende Affekt im Diskurs vom Ich ist ein anderer, vor dessen Spiegelung Zizek im Angesicht der Sopranos notgedrungen den Blick senkt, muss wiederholt werden, sondern auch die unsymbolisierte, in der Projektion abgewehrte, haltlose, gespaltene und externalisierte, fehlende innerpsychische Struktur des Borderliners Tony — ohne zu verstehen, was genau er wiederholt und warum.
In dieser Verbindung von Todestrieb und Widerstand gegen ein Tabu wurzelt die zentrale Dynamik der Serie: die Mutter versucht, ihren eigenen Sohn umbringen zu lassen. Fink , S. Das Konstrukt hinter dieser Aufrechnung ist nicht die symbolische Spiegelstrafe, bei der dem Dieb die Hand abgeschlagen wird; dies ist eine Systematik der Bestrafung, die auf das Individuum fokussiert ist. Haltung zu entwickeln. Spiegel online. Mit welchem Erfolg soll an dieser Stelle offen bleiben.
Das ist es, was Tony in seiner ersten Therapiesitzung beklagt. Interessant ist in der 2. Die ambivalente und aggressive Verstrickung Livias in den Mafiaclan macht sie zur Urheberin und Klammer der symbolischen Ordnung der Subjekte. Livia blendet in ihrer Idealisierung aus, dass der Vater sie ebenso betrog wie Tony seine Frau Carmela.
Allein ein schlechtes Gewissen scheint ihr im Gegensatz zu Tony fremd zu sein. Jetzt richtet sich seine Wut gegen die Mutter. Erst in der 9. Wer bis hierhin gekommen ist, wird, so das ewige Gesetz der Serie, auf den Rest nicht verzichten wollen. Melfi ungedeutet. Chase, David — : The Sopranos. New York, HBO. Diedrichsen, Dietrich : The Sopranos. In: Ders. Gabbard, Glenn O. New York, Basic Books. Zizek, Slavoj : Liebe dein Symptom wie dich selbst. Berlin, Merve. Very popular amoung educated anglosaxon viewers, the Sopranos-series is taken as an example to examinate the importance of TV-series as cultural phenomena in clinical routine.
Theoretical backgrund are the terms of psychoanalytical film-interpretation by lacanian philosopher Slavoj Zizek. Obviously, TV-Series have structural similarities with certain forms of therapy themselves, but in case of the Sopranos, they are more. Considering the fact that in the Sopranos therapy itself is represented in a way which influenced positively the public opinion of psychotherapy, a TV-therapy thus may be role model for potential patients. The faliure of the sopranos in german-spoken television is being dicussed in the context of Freuds cultural theory of taboos broken in the Sopranos and their way to oscillate between two different levels of the super-ego.
Is there anything realistic or comprehensible in this way of the series to show characters and thus interesting, relevant or even instructive to future psychoanalysts? Ausbildung zum tiefenpsychologischen Psychotherapeuten und Supervisor. Dramaturg im Feld Musiktheater. Ohne ihre Beherrschung bleibt der Einfall im Chaos stecken. Gropius, W. Idee und Aufbau des Staatlichen Bauhauses. Staatliches Bauhaus in Weimar Weimar: Staatliches Bauhaus Weimar.
April Allgemein Kommentare 0. HKW Mit Farocki denken. Februar Allgemein Kommentare 0. I have the feeling that most of the texts are mainly interpretations that are filtered through the lens of a particular discipline such as gender studies or psychoanalytically oriented film theory. Postmodern cinema is highly self-reflexive, in that the act of perceiving the film itself becomes a theme and a structuring element of the narrative.
Lynch has underscored this approach to the movie by encouraging viewers to decipher the film, publishing ten tasks for an understanding of the film. So once the viewer has found the key to the film, he or she needs to see it again. On second viewing, the film is completely different, and the viewer realizes that all the necessary cues were there from the outset. And in terms of the second layer, the question arises: What exactly is being narrated here?
Lynch, who studied painting, refers to the narrative methods of painting, and his cinematic language is inspired by the pictorial language of painting. The following picture, I will show now, contains elements — that go a long way toward understanding and deciphering the film.
Hence the sex scene the filmstill is from depicts a narcissistic self-love which also explains the subsequent scene in the second half of the film where Betty has a sexual fantasy about Rita that turns out to be a masturbation scene. The moment the role left the movie she is in, she got a headache and has no name and no identity any more. The fact that Betty and Rita are two facets of the same character is clearly indicated a number of times, including in the scene where Betty and Rita first meet:.
Betty no longer seeing reality leads to yet another instance of not seeing reality — namely the encounter with the nameless woman taking a shower. This encounter, which is depicted in an unusual fashion, occurs via a mirror. The sight lines are not established by means of a spatial montage; plus there is no ambient sound that the camera would be able to follow into the shower. The encounter is thus depicted as a purely unreal and imaginary event. The film repeatedly conveys, in a visually direct dramaturgical fashion, that Rita is a character who has, in a sense, split off from Diane.
She is then deprived of this role. Enraged with jealousy, she hires a contract killer to murder this role. And exactly how does one go about murdering a role? By write out the character by murder for example. This brings to mind a scene from earlier in the film: the young partiers in the film-within-a-film scenery:. This light is an indicies that the character in the scene is catapulted out of the filmic imagination — which means that this character can be omitted from the film, and thus in a sense: jump out of the film within a film.
First, the killing goes wrong via a chain of comedic events that result in not one, but three corpses — and a shot-up vacuum cleaner. When the contract killer murders the film-in-film producer, an untoward event occurs, which is depicted in a comic fashion, culminating in a short circuit and a vacuum cleaner being shot up.
The untoward events that occur during the contract killing result in the character being ejected from the film. She roams about, homeless, and her unconscious leads her to the apartment of Betty, the actress, whom she has previously been portrayed by. I only discuss a few aspects of such narrative details here, but they occur in every single scene of the film, and are given meaning by the system underlying the narrative, a system that is maintained in each scene and narrative element of the film. Hence narrative layer number one corresponds to character-version or aspect number one, and so forth: The Diane layer is the reality layer; The Betty layer is the imaginary; The Rita layer is the film within a film, the one in which the movie character the brunette is the a role which is played by the actress Betty and later Camilla.
These layers are made discernible in each instance, and are flagged scenographically and via color coding. Hence this character in the film is missing. It is this command that brings the making of the film to a halt, that allows the character of Rita to be killed off, and that paves the way for Betty to hire a contract killer. So the man in the diner with whom Betty makes eye contact when she hires the contract killer is to some extent an object of interest, or perhaps even desire, for Betty. Auch die Zeit unseres Aufenthaltes war bereits vor der Reise sehr straff durchgeplant, denn die Miete des Equipments pro Tag stellte einen erheblichen Kostenfaktor dar.
Denn zur Beantwortung auf eine unserer Fragen holte Etel Fodor-Mittag ein Manuskript hervor, einen maschinengetippten autobiographischen Text, und las einige Seiten daraus vor. In diesem Abschnitt schilderte sie Ereignisse am Bauhaus aus der Zeit zwischen und , die uns so bisher wenig bekannt waren. Sie entschied sich gegen die Weberei, weil dort nur Frauen waren; aber auch, weil sie zuvor an der Graphischen Lehr- und Versuchsanstalt in Wien bereits Lithografie und Drucktechniken gelernt hatte.
Sie lebte somit auf der Schnittstelle von Klassik und Moderne. Stoffe und Texturen begleiteten sie Zeit ihres Lebens. Nach dem Abschluss in Wien wurde ihr eine Stelle als Designerin in einer Kleiderfabrik in Budapest angeboten, die sie ablehnte. Sie wollte mehr als Zeit ihres Lebens in einer Entwurfsabteilung zu arbeiten. Sie hatte mit diesem gemeinsam in dessen Wohnung gearbeitet. Nur noch wenige der Agenturen, kaum einer der Verlage aus dieser Zeit existieren noch, viele Unterlagen und Magazine sind dem Zweiten Weltkrieg zum Opfer gefallen.
So finden sich auch gelegentliche Ungenauigkeiten in der Erinnerung. Sie konnte nur auf ihre Erinnerung und die von ihrem Mann Ernst bauen. Diese legen erhellende Splitter der Zeit zwischen und frei. In diesem verweist sie noch einmal kurz auf die soziale und der damit verbundenen sexuellen Freiheit am Bauhaus, die den Dessauern suspekt war. Sie hat diese einerseits als Befreiung empfunden und andererseits als Verletzung erlebt. Das war, wie sie schreibt, der Anfang vom Ende ihrer Karriere als Fotografin.
Ganz aufgegeben hat sie die Fotografie mit dem Aufkommen von Polaroid. Dann begann Ernst zu fotografieren und mit ihm wollte sie nie in Konkurrenz stehen. Sie fand, dass es nicht gut sei, wenn beide Ehepartner das gleiche tun. Also wandte sie sich der Weberei zu. Ernst war weiterhin Mitglied der Kommunistischen Partei.
Besonders getroffen hatte sie, dass es ihr nicht erlaubt worden war, ihre hochbetagte Mutter auch auf eine lange Reise zu ihrem Bruder nach Kanada zu begleiten beziehungsweise sie dort abzuholen. Es mag Etel Fodor-Mittag in Bezug auf ihre schriftlich festgehaltenen Erinnerungen wie in ihren Fotografien um die Abstraktion, um den Gestus gegangen sein. Das Leben einer modernen Frau und einer hervorragenden Fotografin. Das ist es was Wissen ist, und im wesentlichen ist Wissen daher nicht eine Aufeinanderfolge sondern ein unmittelbares Existieren. Suhrkamp Verlag, Ff.
Aus einem Sirenenton entwickelt sich konkrete Musik, die sich im verlauf des Films mit stummen Einstellungen abwechselt. Ein Spielbrett — ein Paar. Der Ozean liegt tief unter ihnen, Bananenpflanzen auf dem steilen Hang, auf der anderen Seite eine Mauer — letztendlich eine Treppe. Aufgenommen in zum Teil extremen Einstellungen. Gesten ersetzen den gesprochenen Dialog. Die Montage verdichtet die Einstellungen zu visuellen Zeichen. Dies war die erste Regiearbeit von Glauber Rocha. Begleitet von einem Bermibau-Spieler laufen die Titel.
Einige Tragen Pakete auf dem Kopf, andere sind mit Pferdekutschen unterwegs. Die Baraca da Flora da Rampa bereitet sich auf die Kunden vor. Traditionell gekleidete Bahianerinnen ebenso wie im Stil der Zeit gekleidete Brasilianerinnen werden beim Einkauf beobachtet. Die Frauen tragen ihre vollen Taschen zum Auto oder zur Bahn. So zeichnet dieser kurze dokumentarische Film auf poetische Weise einen Tag am Hafen nach.
Und es ist ein Zeitdokument. Alles andere ist falsches Bewusstsein. Theodor W. Auch auf anderen Ebenen ist der Film voller Ambivalenzen. Als Figuren in einem Melodrama, in dem die romantische Liebe im Zentrum steht, sind die beiden dennoch mehrdimensional angelegt: Sie sind Konkurrentinnen und solidarische Freundinnen zugleich. Go on. I know you want me to tear my clothes off so you can look your fifty cents worth. Twelve survivors narrate offscreen how they spent their last day with a person close to them: a child, a friend, a lover, a colleague or a parent. Often death was anxiously expected, but just as often it happened suddenly and, above all, at the wrong moment.
He confidently takes a position beyond all cheap talk and invites us to share with his narrators the moments when death prepares to take a close person irrevocably away. The camera, operated by Cornelius Plache, scans empty locations, presumably charged with memories: rooms, flats, forest paths, stretches of highway, intersections.
This film is about recall: not of the past life of the deceased, nor the future life of the survivors, but of this one day inbetween. The film plays continuously on two interconnected levels — narration and illustration. The third level is provided by by F. HD, Farbe, 84 min. Regie, Buch: Uli M. Schueppel, schueppel-films Kontakt: Uli M. Da kommt keiner unbeschadet davon. Katharsis ist kein Wellnessprogramm. Aysel is a devout Muslim, who for many years has lived the well-protected life of a homemaker and mother in the Swabian province. What starts out as a change of scenery for Aysel increasingly challenges her view of the world.
Family traditions, religion, the relationship between the sexes are issues which she was able to evade successfully in her former life but which now become increasingly dominant and confusing. Of course, Aysel has no intention of allowing herself to be brainwashed and sees her part as that of an ambassadress for good traditions and against monolithic stereotypes of the suppressed Turkish woman, too. Being the only headscarf-wearing woman in the chorus of Turkish women, she must and will defend her values and lifestyle against others with more modern ideas, even against parts of the production.
No one will emerge from this without injuries — catharsis is not a wellness treatment. Thomas Lauterbach, Jahrgang , absolvierte — eine Ausbildung zum Mediengestalter in seiner Geburtsstadt Wetzlar. Filmauswahl: Dirty Princess The desert lies behind, the sea in front of him. Here they sit waiting in the desert dust and wind. Waiting until a boat will take them to guaranteed happiness or guaranteed death. Lamiya from Guinea almost died at sea — and would do it again for his dream of becoming a second Ronaldinho.
An atmosphere of languid timelessness, of waiting as a form of being and permanent condition, materialises in precisely framed images full of symbolic detail. Nun soll eine solche Kommunalka im Zentrum von St. Petersburg entmietet, verkauft und umgebaut werden. Ein langer Weg beginnt.
Aber die Sterne stehen schlecht an diesem Tag, wie eine Bewohnerin am Morgen anmerkt. Ob der Verkauf gelingt? Ein Crashkurs in Kapitalismus made in Soviet Union. Perestroika means restructuring. You force different families into a flat and then they have to live together. Petersburg is to be vacated of its tenants, sold and renovated. All four owners must agree to the sale. Then a buyer is needed because only his money will enable the owners to buy new rooms. Everyone wants to improve themselves, everyone has special demands. Not an easy task for the two estate agents.
After several months and after practically everyone has lost faith in the project, they all find suitable new housing spaces. The sales contract for the old flat can be signed. But it is an ill-fated day, as one of the inhabitants remarks in the morning. Will the sale be concluded after all?
A Crash Course in capitalism made in Soviet Union. Petersburg und Moskau. Seither lehrt sie im Bereich Kommunikations- und Mediendesign. Um Arbeit soll es hier gehen, auf eine ungewohnte, raffinierte Weise. Die unglaubliche Geschichte von Franz formt das Raster, in das Ausblicke auf unsere Arbeitswelt eingepasst sind. Das Unternehmen musste ihn in gleicher Position wieder einstellen. Aber sie wollten ihn nicht. Er schildert, was dieses Leben mit einem Menschen macht. Wo leben wir eigentlich? In der erwachsene Menschen geschult werden, sich mit Masken aus der Menge hervorzuheben, um Erfolg und damit Arbeit zu haben.
This is to be about work, in a fresh, sophisticated style: a statement on the value of human beings and the dignity of labour; an exploration of what has actually happened to us. The incredible story of Franz supplies the grid into which different visions of our working environment are fitted. Franz took legal action against his dismissal and the court decided in his favour. The company had to reinstate him.
So Franz, a solid, greyhaired man, keeps sitting in his isolated office for days and months on end, without work, without a task, without dignity. He describes what this life can do to a person. Stephan earns good money as an advertising figure — but is sitting in the middle of a giant billboard 24 metres above ground, secured by a safety harness, eight times 24 hours, is this really work?
Where do we think we live? In a society where applying for a job is so complicated and full of lies that you need special courses to help. In which adults are taught to wear masks in order to stand out from the crowd, in order to succeed, which in turn means having work?
The film follows up the question of what we humans are actually doing to ourselves and where our responsibilities lie, with a good sense of rhythm and with images that leave a lot of space for reflection. Zunehmend konzentriert sie sich auf den Dokumentarfilm und ist auch in diesem Bereich auf internationalen Festivals erfolgreich. For 14 years, the Roma woman from Kosovo has lived in Germany, alone with her three children and a niece. The young filmmaker depicts with admirable sensitivity a family eaten up from the inside not just by poverty, but by migration, war traumas and their unclear legal status.
The camera seems to become a kind of family member to whom mother and children confide what they have long been unable to tell each other. Finally, the conflict between mother and daughter grows into a seemingly inescapable tragedy — while the authorities issue the next extension of their exceptional leave to remain. Silvana Santamaria wurde in Marbach am Neckar geboren. The young filmmaker, who just finished school, stays extraordinarily close to her material with her camera and is unerring in her choice of protagonists: Mariya Bashir is the first and only public prosecutor in Herat — a near impossible task, for the city is not just known for its beautiful buildings and monuments, but also for its fairly typical morass of corruption, booming kidnapping industry and, above all, domestic violence committed by men against women.
The people Mariya Bashir is fighting for are sometimes mere children, married against their will and the law.
DOK08 Katalog by VISIONAUTEN - Issuu
How can a single woman enforce the law in this patriarchal society of threats and coercion? Mariya Bashir pays a high price for her office. The double role of mother and investigator has left its marks on her and her family. She has already survived one attack on her life. At the end the public prosecutor who by virtue of her office can occasionally take the liberty of scolding the men, encourages other women to leave their fear behind and bring charges against injustice. Alka Sadat, 27, Schulabschluss in Herat, macht seit Dokumentarfilme.
Als Autorin, Regisseurin und Kamerafrau ist sie Autodidaktin. Sie erhielt bereits diverse Preise und Einladungen zu nationalen und internationalen Filmfestivals, darunter Trevignano , Almaty sowie Kabul. Das wirkliche Leben spielt sich in der Dunkelkammer ab. Der alte Mann macht Bilder von Bildern.
Real life happens in the dark room, where the old man keeps himself busy, waiting patiently for silhouettes to appear on the paper, images to emerge: images of the city which, like him, has seen better days and is trying to hide its peeling plaster under painted murals. The old man takes pictures of pictures. He keeps sending letters and telegrams to his daughter whom he last saw years ago and who broke all ties with him.
He listens to her taped voice at home, carefully colouring pictures — of her and his formerly intact family. At work in the local cultural centre, he watches the lives of others, though it only gets through to him acoustically. A quiet, intense film about old age, loneliness and the inability to gain a foothold in the present day. Andrei Kuzila, Jahrgang , stammt aus Baranawitschy. Nur noch 59 Menschen leben in Goleshovo. So many impressions, so many images However would a person who travels around the world find enough space in his head for all those images? Only 59 people live in Goleshovo.
The young people moved away, only old women and a slightly deranged aged priest are left. With humour and precision he observes the old women at work in the village, but also sitting together, singing, remembering old Goleshovo, hoping for new life brought by tourists and occasionally treating themselves to a swig of holy Good Friday water matured behind the crucifix for ten years! HD, Farbe, 34 min. Filmauswahl: About Cycling , The Physicist Die Vorgeschichte: Er sagt, was ihm gerade in den Kopf kommt, und provoziert mit seinen oft banalen Fragen und ironischen Kommentaren zur Kunstwelt.
Die Geschichte: Sie flirten vor laufender Kamera. Es folgen Insolvenz, Krankheit und die Suche nach einem neuen Arbeitsfeld. Vielleicht ein Dokumentarfilm? The run-up: H-O interviews bystanders, artists, and collectors at openings in the New York art scene. He says whatever crosses his mind, provoking people with his often banal questions and ironic comments on the art world. The story: The now famous Sherman who has a reputation of being timid and media-shy gives H-O several interviews in her studio. They flirt on camera, becoming a couple in A year later the extrovert ex-artist moves into the Soho loft of the celebrity artist known for playing with her identities.
In , H-O gives up his show, followed by bankruptcy, illness and the search for a new field of activity. A documentary film perhaps? He has found the theme for his film: the New York art world and life in the shadow of a famous partner. Er ist Autor von Texten und Kritiken zur bildenden Kunst. Immer schneller wandelt sich die Umwelt und wir mit ihr.
Geht das? Vom Nomadenzelt ins Dorf in die Stadt? Vom Leben mit den Rentieren in die Arbeitslosigkeit mit dem Alkohol? Die Ewenken leben in einer autonomen Region in der Taiga. Ihr Lebensrhythmus ist seit Jahrhunderten von den Rentieren bestimmt. Die Einheit von Mensch und Tier ist nicht mehr. Was wird nun die Tage der Ewenken strukturieren, ihnen einen Sinn geben? Und neben dem Haus sitzt ein Mann, sternhagelvoll. Change is the buzz word of our age. Our environment is changing faster and faster and so are we. But if man must bridge decades, even centuries of this process of change at once, how can he do it?
Is it possible at all? From nomadic tent to village to city? From living with reindeers to unemployment and alcohol? The Evenks live in an autonomous territory in the taiga. For centuries, the rhythm of their life was dictated by reindeers. The unity of man and animal is gone. No, actually give them meaning? Some of the former nomads continue to live — almost defiantly — in their summer quarters, as if this could lure the reindeers back. The others are trying to settle in at the village, the warm bed in a house, the deceptive comforts of emptiness and memory.
- Langsames Finden (German Edition).
- Amanda & Simon - Dark Guardian 3.
- Garten literarischer Wirrungen / Garden of Literary Confusion: !
Two grannies are sitting in front of a television, talking about a dead woman — was it alcohol or an accident? Huge parabolic aerials pile up outside their wooden cabins, inside the television announces the new access the Evenks have to progress. Kenrap ist ein aufgeweckter Bursche — und er entspricht eher der Vorstellung von einem Frechdachs als der von einem kleinen Heiligen.
In the deep frost of winter, the Buddhist monks of Phukthal leave their mountain monastery in the farthest northwestern corner of the Himalayas to embark on a pilgrimage to the villages situated lower down the mountain. To the young pupils of the monastery, this arduous journey is both a test and a happy class trip that interrupts the freely chosen monotony of monastic life for a few weeks and enables the boys to see their friends and families again. At the age of 5, the boy was taken to the monastery by his family at his own request, because he remembers having been a monk in a previous life and wants to continue on this path.
The camera follows him as if it was in a dance, always close to him and yet at a respectful distance in order not to disturb him when he plays or works with his class and the older monks. Filmauswahl: Himalaya, terres des femmes Toni ist 49 und gesundheitlich am Ende. Seit seiner Jugend hat er exzessiv Drogen genommen, er kennt sich mit allen Sorten aus, Nadeln hat er schon aus Automotoren geklaut.
Und er bereut es nicht. Es war sein Weg, intensiv zu leben. Selbst vom Tod kann er schon aus eigener Erfahrung reden, er kennt die Momente, wo es gerade noch klappt zu bleiben. I am articulate, look normal. Toni is 49 years old and his health is ruined. He has been using drugs excessively since adolescence, knows all types, has stooped to stealing needles out of car engines.
And he regrets nothing — it was his way of living life to the full. He was in Africa once, where he felt himself for the first time, a high without drugs. But it was too late then. He can even talk about death from experience, he knows the moments when he just about manages to stay. Maybe it is his warm and direct manner that is so appealing, even to friends and neighbours who help Toni extend this terribly wonderful life as long as possible. Xavier Baig, Jahrgang , befasst sich seit seiner Teenagerzeit mit der Umsetzung experimenteller und konventioneller Filmideen in verschiedenen Videoformaten.
Unter den eigenen Regiearbeiten sind unter anderem Dokumentationen von Tanzperformances. Wie sie das macht, ist schlicht umwerfend. Da fliegt ihr Protagonist auf einer Jules-Verne-Rakete durch den Weltraum und wird von einem Verkehrsschild gestoppt, das ihm befiehlt, eine universale Theorie zu entwerfen. Juri Lotman verstarb Anfang der er Jahre. How can you make a film about a person who thinks such thoughts over breakfast?
Agne Nelk mastered this challenge by transforming the life of Russian semiotician Juri Lotman into the art of signs — and the way she does it is simply dazzling. She has her protagonist flying through space in a Jules Verne rocket, only to be stopped by a traffic sign that orders him to design a universal theory. This artful narrative is held together by intelligently employed animations and archive material whose dominant subject is signal technology.
Juri Lotman died in the early s and we lost not only a great thinker but a great soul, introduced to us by the creator of this wonderful film through the world of signs. Postmoderne Theoretiker haben unser Zeitalter als das des Sehens und der medial verbreiteten Bilder apostrophiert.
Und verliert dabei — besonders in der dramatischen Schlusssequenz — nicht aus dem Auge, dass Edison letztendlich ein Adept der Industriegesellschaft, des Fortschritts um jeden Preis war. Der Eintritt in die Moderne ist mit Schmerzen erkauft. Postmodern theorists have labelled our era the age of vision and media-transmitted images.
How fundamental to modernity, then, the possibility of recording sound and broadcasting it to the masses must have been, the enthronement of hearing! In , entrepreneur Thomas Alva Edison invented the phonograph in his ongoing struggle against his deafness. On a second level, she manages the feat of creating exciting visualisations of an abstract, physical subject which, moreover, is about sound.
She edits early film material, creaking wax cylinders and diamond disc recordings from the Edison Archive, excerpts from his writings, historical photos and documents, interviews and animations in a poetic collage, while never — especially in the dramatic final sequence — losing sight of the fact that Edison, when all is said and done, was an adept of industrial society, of progress at all costs. The transition to modernity came at a high cost. Ich habe nicht genau gewusst, was passiert ist.
Du hast gesagt, du seiest vergewaltigt worden. The film tells a very personal and deeply moving story of the filmmaker. I know you called me, you were crying. You said you had been raped. Back home in Switzerland, this was followed by a suicide attempt, paranoia, a stay in a psychiatric clinic and finally the slow process of stabilisation. The short interview sequences are interspersed with grainy, often abstract images which open a space for associations called up by the narratives. The director enables us by these simple means to share her story and the tentative hope at the end — because the finished film, too, is a symbol of facing up to this traumatic period and coming to grips with it.
Seit wirkt sie als Tonfrau und Cutterin an verschiedenen Filmprojekten mit. Suchende, verlorene Menschen statt Schablonen. Exzellent gefilmte Bilder statt Parolen. The more complex and confusing — from our perspective — Russian politics become, the simpler the explanation patterns offered by the media are. Now she delves deeper, far below the surface of a grotesque mixture of xenophobia, vulgar communism and populism. She has followed her protagonists over the years and found the stuff great tragedies are made of: a father who sacrifices his son, treason and regret, crime and punishment.
The events around the elections provide the framework for the story of Anatoly, once the second man of the NBP led by Eduard Limonov. Step by step he withdraws into religion, while the church leaders are hand in glove with the NBP and his sons build political careers Political cinema as never seen before — searching, lost human beings instead of cardboard characters, excellently filmed images instead of slogans.
Disconcerting, radical and never simple. Auf alte Pappen, Radkappen, auf alles, was er findet. Die Grenzen des Dokumentarischen beginnen dort, wo es um die Innenwelten der Protagonisten geht. Oder wie er es sieht zumindest. So etwas kann nur der Film, klar. Aber man hatte es schon fast vergessen. A man sits in the streets of Tehran and paints — stylised bodies and nightmarish faces with huge eyes and mouths. He paints on old cardboard, hubcaps, everything he can lay his hands on. Again and again he is chased away by the police or insulted by passers-by, because art — everyone agrees — happens in different, academic circles.
Mentally impaired since childhood, a traditional career was closed to him — until at last luck in the person of a gallery owner and a young Frenchwoman seemes to enter his life. Jamshid dreams of recognition, money and requited love, but all the while things are going the way they usually do — wrong. Life, as it could also be. Only film can do this, we know. But we had almost forgotten.
Keine technische Reproduktion, sondern handwerkliche. In , a small, sleazy gallery in the New York SoHo district organised an exhibition of skilfully forged paintings covering a wide span of art history. The forger was a Czech painter called Pavel Novak, and he must have been the best, by far, that the art market had ever seen. After all, a private collector and a number of renowned museums see themselves faced with some uncomfortable questions regarding the exhibition which make many of the rituals and conventions of the art market appear highly dubious.
A few days after it opened, the exhibition was closed down by the police, and the artist Pavel Novak was never heard of again, until almost 30 years later, when Belgian filmmaker Simon Backes set out to get to the bottom of the story — or possibly re-invent it in line with his own preferences.
Novak, the story has it, was a student at the Prague Academy of Fine Arts, an art guerrillero. A man who applied the issues that Pop Art addressed on a theoretical level to his own existence as an artist. And once it was released, he himself, the forger who became the new original artist, or rather the author behind the works, had to vanish again. A witty cinematic investigation of the art of forgery and the aspect of deception in documentary film. Filmauswahl: Welcome in Utopia , The Investigation Ein schlichter Befund. Die Frau wurde sediert.
Jetzt ist sie ruhig. A simple diagnosis: a woman hears voices, sees strange things and talks to her television set. She writes down page after page of the most outlandish thoughts and is aggressive. The woman was sedated. We are in the psychiatric ward of the Parc Tauli hospital in Sabadell, a suburb of Barcelona. The film follows the stories of five patients whose paths cross here and who are all suffering from the same illness: acute schizophrenia.
The director follows the course of the disorder by facing up to a double challenge: making the spectator experience the mechanisms and functionalities of the human mind through the actual experience of his protagonists, and describing the disruption between their interior world and the outside as a permanent battle with no cease-fire. Daniel ist noch ein kleiner Junge, wie ein Zwerg verschwindet er zwischen den Trommeln, denen er eben dieses Neue, Eigene entlockt. Standstill and silence in a big city?
If you listen closely to this milling mass, maybe a rhythm will grow and merge within you that fuses all this unrest into fireworks, something new, something you own. Daniel is still a little boy, dwarfed by the drums from which he coaxes this new something of his own.
He wanders through Budapest, observing, listening, taking in the sounds of the city, following up isolated strains of rhythm in order to recreate them on his drum kit later. This film follows Daniel on his explorations of the multitude of sounds of a city from morning to midnight, capturing everyday rhythms from unusual angles in an optical drum roll, culminating in the concert Daniel gives together with experienced professionals. A little boy among the tall musicians, he is all there, focused and natural. Nicht in diesem Film. Nicht einmal im Traum. A childhood in the s — boring? Not in this film.
With lots of irony and sometimes fragile visual humour, the filmmaker links memories of her s childhood to found footage from home movies and other archives. Again and again, her images let us glimpse a deeper dimension of the narrative, sometimes explaining, sometimes playfully elaborating or dreamily reflective.
Nothing is straightforward; everything has a meta-level, invites associations, dreams, lateral thinking — or sticking to the fable of the well-adjusted child who wants to break out but is afraid of becoming an outcast. She wants to belong, wants people to be proud of her. Not even in dreams. Kandel ist auch ein Pionier auf dem Gebiet der bildgebenden Verfahren in den Naturwissenschaften.
He always has bananas, fish and yoghurt. Kandel is convinced, and the film beautifully demonstrates this, that his later fondness for studying the human mind, the way people behave, how unpredictable their motives and how permanent their memories are, harkens back to the last year he spent in Vienna as a child. He discovered the protein that plays a key role in transferring events from short-term to long-term memory, which earned him the Nobel Prize for medicine in Kandel also did pioneering work in the field of scientific imaging procedures, which are used in this film to let the audience observe directly how the brain changes when a new memory is generated.
Seit arbeitet sie auch als Kamerafrau und stellt ihre Filme in der eigenen Produktionsfirma fertig. Wegen des unmoralischen Inhalts, argumentiert die Regierung, vermutlich aber vor allem wegen der unzensierten Nachrichten aus aller Welt. Trotzdem boomt die Branche. Selbst auf dem Land gibt es inzwischen Parabolantennen. In illegalen Studios werden diese synchronisiert oder mit Untertiteln versehen und zensiert. Satellite television is prohibited in Iran. Because of its immoral content, the government argues, more likely because of the uncensored news from all over the world it broadcasts.
Every now and again the police mount operations to dismantle satellite dishes. Still the industry is booming. The roofs of Tehran and its suburbs are full of dishes. Parabolic aerials are starting to appear even in the rural regions. A teacher is riding on his motorcycle through the mountains to set up a dish for a nomadic tribe and earn a little extra money. Satellite dishes are produced in a cooking pan factory hidden behind great gates. A woman is waiting for her husband to come home, in constant fear of his arrest, because he too installs and repairs the forbidden aerials.
Others have the films delivered to their homes on pirated DVDs in packs of ten. They are dubbed or subtitled, as well as censored, in illegal studios. An elderly man demands that the people who watch satellite television be punished and sent into exile. How many houses in Iran would still be inhabited then? Oder zumindest versuchen sie, immer unterwegs, den Jack Pot zu knacken. Zu schade eigentlich. The two are in what has been the most sustained cultural achievement Eastern Europe adopted from the West: buizinesss. Or at least they are trying, always about to hit the jackpot.
As we all know, one is more likely to be struck by lightning — and so their winnings are meagre or sometimes nonexistent. The profit from an adventurous plan in the course of which Lali pawns his car and takes a puppy to Cairo which they then sell to a German shepherd fancier vanishes into the thin air of a night club. A shame, really. Zemplenyi war zum Beispiel Manager der ungarischen Schwimmer-Nationalmannschaft, welche er um 10 Millionen Dollar Sponsorengelder betrogen hat. At private occasions, he shone with insider knowledge about the future of the art market, passing on this knowledge generously but always under wraps.
Soon many people wanted to belong to the inner circle around this urbane and pious man. So the clergyman was finally entrusted with a lot of money for certain art transactions, and only on 9 July , when 15 people who had never met before found themselves at the door of their good friend and investment advisor to collect their returns did they realize that they had been duped by a clever fraudster.
The fake Vatican employee had vanished with several million kronas of their savings. No one knows for certain where this artful conman, known to Interpol as Z, is operating right now. Ein kleiner Junge steht am Meer und spielt Dirigent. Alles ist gezeichnet, im Off die Stimme von Chuck Jones — Coyote, sowie vor allem Duffy Duck und Bugs Bunny. A little boy is playing orchestra conductor by the sea. At his signal, seabirds soar up, the surf withdraws and surges back in a single wave. This animated documentary is based on one of the last interviews with Jones, in which he talked about his childhood in Los Angeles during the s — the source of his creativity and inspiration: there was the hole in the fence of the Chaplin Studios which were only two blocks from his home.
His mother turned potatoes into sailing ships so the Spanish Armada could set sail. Coyote and above all Duffy Duck and Bugs Bunny. The drawings created during the interview become animated and illustrate his memories, mixed with old photos and film sequences. Digibeta, Farbe, 26 min. Filmauswahl: Stubborn Hope , Stephanie Vater und Mutter sind inzwischen gestorben.
Bei ihm hatte Renate wohl gefunden, was sie suchte — auch sie brauchte diese Freiheit. Doch dann begann das Streiten. Heute finden wir die Freunde von damals einsam in ihrer jeweiligen kleinen Freiheit. Der eine hat sich angepasst, der andere besteht konsequent auf seinen Idealen.
Und eine wundersame Liebesgeschichte. She stays in India, marries him, has children with him and finally returns to Germany. Their adult son, commuting between India and Germany, traces this unusual relationship. His father and mother are dead, but their companions provide more than an outside view of marriage. Many who had looked for enlightenment gathered around Baba and completely accepted Renate who they called Parvati, the wife of divine Shiva according to the legend.
But then they started arguing. Today we find their former friends lonely in their respective little freedoms. One has conformed to the outside world, the other insists on his ideals. A bridge between hippie dreams, spirituality and resignation emerges, as does a beautiful love story. Krishna Saraswati wurde im indischen Teil des Himalaya geboren und verbrachte dort die ersten Jahre seiner Kindheit. Filmauswahl: Left My Baby Schon die Kleinsten stehen daneben und fideln mit einem Ast auf ihrem Arm. Niemand sieht ihnen an, was sie schon hinter sich haben, wie ihnen der Alltag zusetzt. Various Gipsy musicians flock to a funeral in the formerly Hungarian and now Romanian county of Transylvania in order to pay their last respects to their great master.
Gathered around the grave, they play their merry yet melancholic music. Even the tiniest children are standing there, with a piece of wood for a bow and their arm for a fiddle. When they play, their faces are happy and awake; they radiate power and joy of life. No one sees what they have lived through, how their daily life wears them down. Women, alcohol, and poverty — everyone has their story and none of them feature wealth and fame. They talk openly about their lives, of the blows of fate that marked them and the alcohol which killed many of them.
Er ist Mitglied der European Fim Academy. A cylinder with cut-outs, rotating around a light bulb and, by means of stroboscopic effects, stimulating certain areas of the brain of a person sitting in front of it with eyes closed. For its inventor Brion Gysin it was a chance to change human perception forever, for the Beat Generation it was a chance to spiritually expand their consciousness or simply get high without drugs. The filmmaker Nik Sheehan built such a machine and took it to see former companions of Gysin, like Kenneth Anger or Marianne Faithful, as well as writers, scientists and art experts.
He paints the portrait of a dazzling but tragic artistic personality who kept experimenting with identities and in the process invented things that made others famous. With a wealth of archive material, he creates a living picture of the New York Village culture and its protagonists. Filmauswahl: Symposium. Wie werden Stereotype konstruiert? Und inwiefern kommt der Kunst und den Schauspielern Verantwortung zu?
Intelligent, mutig und informativ — ein Film also mit Seltenheitswert. Arbo Tammiksaar explores the phenomenon of the concept of the enemy in a macabre, spooky setting into which he ingeniously inserts interviews and film clips. It was something they did with mixed feelings but readily, since they regarded the Germans as such as cultured people — not to mention money and celebrity.
An aesthetic practice with disastrous political consequences: Until today, Baltic people tend to be represented as sympathising with fascism — and the Greater Russian media are particularly prone to do this. How are stereotypes constructed? What does it mean to be the personification of the enemy? And what is the responsibility of art and the actors in this? Is there a difference between executing a stage direction and a command? Intelligent, courageous, informative — which makes this a film a rare commodity. Fuera de liga Dreaming in Blue Am Januar um On 12 January at 8.
Because this film about Cuban baseball also featured players who had left Cuba to try their luck in the Major League. You can change your wife or your political views, we hear once, but you never change your team. Protest in Cuba is rarely straightforward, but it works — sooner or later. HansDieter Grabe hatte dies fest vor.
Denn ihm lag die elementare Erfahrung des Regisseurs und vieler seiner wichtigsten Protagonisten zugrunde, dass es Sicherheit nur geben kann, wenn man zu essen hat. Can a documentary filmmaker really retire to live the life of a pensioner? In , on the occasion of his 70th birthday, DOK Leipzig dedicated a tribute programme to the grand old man of German documentary filmmaking which included selected works from the oeuvre of this gentle observer of human lives. Hans-Dieter Grabe opened his archive for this film, interweaving scenes from former films with an autobiographical sketch.
The result is a deeply moving reflection on basic human needs and a tribute to his protagonists. Grabe condensed the narrative into a collective century of experience of war, Holocaust and destruction and still leaves us with the realization that humankind has the strength to survive and to preserve its dignity. Alfred Jahn Doch als Erstgeborener einer schweizerisch-nigerianischen Ehe den in Nigeria verstorbenen Vater zu beerdigen, ist eine ganz andere Geschichte.
Es warten auch die vielen Verwandten, die in erster Linie kein Geld haben. Oder war es eine Ziege? Was sind da schon Euro Schulden? Whichever way you look at it, bereavement is first and foremost a lot of stress: with the bereaved ones, the insurance, the undertaker — anything. But being the first-born son of a Swiss-Nigerian marriage and burying your father who died in Nigeria is a different story. So he finds himself suddenly whisked from his Californian dream and deposited in the Nigerian town of Enugu, where the weather is unbearably hot, drinking water must be boiled and his father has been waiting for his last journey in a badly air-conditioned morgue for the last three months.
His numerous relatives whose prime characteristic is lack of money have also been waiting. From now on, events are dominated by persistent attacks on his purse, superstitions, traditional rites and arbitrariness. Or was it a goat? Anyway, at the end of the day the body is buried, the clans are satisfied and Jarreth has gained a family. Zur Zeit lebt Kevin Merz in Lugano. Aufgrund seines antisemitischen Inhalts ist der Film heute nur noch mit Kommentar und unter Auflagen zu sehen. Als einziger Regisseur wurde Harlan nach dem II. Weltkrieg wegen Verbrechen gegen die Menschlichkeit angeklagt und — freigesprochen.
Mehr als Millionen Menschen in ganz Europa sahen seine Filme. Because of its anti-Semitic content, the film may be shown only with a commentary and under certain conditions today. Harlan was the only filmmaker who was tried for crimes against humanity after WWII — and acquitted. Still, the most famous filmmaker of the Third Reich continued to make films, apparently unperturbed, well after the end of the war, until he died on Capri in More than million people across Europe saw his films. This documentary approaches Veit Harlan and his work through numerous film excerpts and interviews with his children and grandchildren.
They talk about their father or grandfather, reflect on his heydays as a filmmaker and his influence on their own lives. The different viewpoints of the second and third generation give the spectator a fresh perspective on a personal approach to history and distinguish this film from established historic documentary formats. Zugleich geschieht auch immer wieder ein unfassbares Wunder, dass sich unserer Ratio entzieht. In diesem Spannungsfeld bewegt sich Constantin Wulff mit seinem bewegenden Dokumentarfilm, in dem er den Alltag einer Geburtsstation in Wien beobachtet.
Childbirth is hard work — for the mother, the baby and all helpers. At the same time, it is an intangible miracle that reason cannot grasp. What he is interested in is the system, the parallels of dramatic births and the banal procedures of a hospital that must do one thing first and foremost — function. Using a Direct Cinema approach in the tradition of the great American documentary filmmaker Frederick Wiseman, he draws a precise and detailed portrait of an institution and yet produces an emotional roller coaster ride that is hard to evade.
Filmauswahl: Spaziergang nach Syrakus , Heldenplatz, Februar Mariam, eine von ihnen, ist Hochzeitsfotografin. Sie leiden darunter, aber machen der ersten Frau auch das Leben schwer. Ein System, unter dem alle leiden, aber aus dem niemand ausbricht. Approximately forty percent of the Bedouin women in the Negev desert in Israel live in polygamous marriages. The film takes the examples of three women to give us an insight into this closed society. Miriam, one of them, is a wedding photographer.
She lives in constant fear that her husband might start to look for a second wife. The other two women had no choice: Since one of them is divorced, the other, at the age of 29, too old, they had to marry men who were already married. They suffer, but they also make life hard for the first wives.
The women portrayed in this film are confident and well-educated and do not approve of the system. But social constraints are so strong that they support it by cooperating. Everyone suffers under the system, but no one breaks free. Und was ist mit der lustigen Plastikfigur, die da aus der CornflakesSchachtel purzelt? Gar nicht zu reden von der geplanten Reise. Not to mention the planned trip. Finnland 35 mm, Farbe, 90 min. Dort aber ist man unbeeindruckt und wird es bleiben bis zuletzt. The end of a lottery stall that has to make way for an underground line and the dawn of a new era: The construction crane looms majestically, acting like a threatening Goliath.
When its arm swivels, rattling its chain, this menacing gesture is directed against little David, the lottery stall at the edge of the building pit. The people there are unimpressed, though, and will remain so to the end. The friendly couple who owns the stall always have an open ear for their customers, even when the latter tell their stories for the umpteenth time — for example the story of the lost coupon with which the elderly gentleman would have hit the jackpot once again, or the story of the most reliable kidney-stone cure of all, which is to drink only beer and eat nothing for three months.
Melancholic warmth spreads in the viewer who gets to share the decelerated existence of these people for a few months. When this corrugated iron stall will be gone, the city may not have lost any valuable architectural substance, but a piece of everyday culture will have vanished. Soon, hurried passers-by will be served coffee-togo. But: no one will feel invited to linger a little.
Morawskiego 5 p. Filmauswahl: The Teethmen , The Crew Wie begegnet man dem Tod? Wie lebt man weiter? Und was ist letztendlich wirklich wichtig? Sie kann heilen oder helfen, das Unausweichliche anzunehmen. Shock, profound fear — everything will be different. How do you face up to death? How do you continue to live?
And what is really important in the end? Filmmaker Razvan Georgescu was given three years at most by his doctors — a gift of life and at the same time a countdown. The filmmaker set out to visit important artists for whom their own near death is omnipresent. At the end of his journey we know: art can resist death. It can heal or help accept the inevitable.
The artist lives on in his work. He leaves traces — like Razvan Georgescu who creates a hymn to life in the face of death, miraculously giving us comfort, strength and hope. Filmauswahl: Das H. As a young film student in , Kasim Abid left an Iraq ruled by the secret police and state terrorism.
He returned just after the fall of Bagdad as a film director, which was the starting point of this moving film about his family, who survived the dictatorship, the war and the sanctions, welcoming the fall of Saddam Hussein with hope because no one knew what the future had in store for them. Mit der Mutter eines Mordopfers und mit Neonazis.
His personal, painful journey on the trail of anti-Semitism took him across Europe and America and from hidden prejudice to blatant racial hatred. The media that readily report pro or con, fuelling new hatred. He talks to Jews who deny their identity, and to non-Jews who wear a yarmulke and learn Hebrew; to the mother of a murder victim and to neo-Nazis. He goes as far as a walk through the Berlin Holocaust Memorial with Mahler, who dribbles brown propaganda. His concept is the deliberate staging of confrontations: he contrasts abstract attitudes with the concrete presence of his person and history.
He acts in a macabre play whose reins are sometimes seized by his opponents. His questions and comments on the events and his own Jewish identity are pleasantly self-mocking. And he leaves us with the question where anti-Semitism begins with us. Philippe Petit ist ein Besessener. Philippe Petit is an obsessed man. After having conquered the towers of Notre Dame in Paris, he follows only one goal James Marsh cleverly interweaves spectacular archive material and intelligently re-enacted scenes, building a stage for the tightrope walker from which he can tell his breathtaking story of courage, adventure and love.
James Marsh returns them to us in all their grandeur. Filmauswahl: The Animator of Prague , Troubleman. Buthina Canaan Khoury aber fragt nach. Die tragische Geschichte eines Mannes, der beschuldigt wird, die Ehre einer Frau verletzt zu haben, nimmt kafkaeske Dimensionen an. Auch, weil er uns westlichen Betrachtern zeigt, wie pauschal unser Urteil ist und wie wenig wir wissen. Maria, who was killed in the name of honour, is never mentioned in the Christian community of Ramallah. Buthina Canaan Khoury, however, asks questions.
In contrast to the established view of Western media who basically regard the phenomenon of honour killings as an intrinsic part of Islam, she investigates it in all its cultural and political complexity. It demonstrates with terrifying clarity, though, how powerless the Palestinian police and judiciary are against this tribal tradition dating back thousands of years, how they covertly respect it and what a devastating part the Israeli occupation forces play in this. A tribal judge explains how many camels or dinars compensate for a rape and why honour killings are no crime and must not be punished.
Muslim and Christian women make similar statements, which Khoury contrasts with a young female rapper who risks her life by publicly speaking out against honour killings. It takes a lot of courage to make such a film, not least because it shows us Western audiences how superficial our judgement is and how little we know.
Expeditions take us into the big wide world out there, educational journeys into our inexhaustible interior. Great travel writers like Bruce Chatwin, Cees Noteboom or Heinrich Heine found the most perfect expression of their art when they managed to effortlessly combine the two specific types of journeys.
Swiss writer Nicolas Bouvier is also one of their species. He later travelled on to Sri Lanka from where he returned to Geneva. Inspired and drawn in by a nomadic family, his journey ultimately lasted two years instead of the planned six months. Seit dem Studienabschluss ist er als Filmemacher und Journalist in verschiedenen Regionen der Welt unterwegs. Aber es ist wahr. Die sie in die Luft schleudern, wenn ihnen ein Tor gelingt. Die sie rhythmisch aneinander schlagen, um sich auf den Gegner einzustimmen. The field players have only one leg, but two arms.
They need them for the crutches on which they run like mad across the pitch, dribbling, passing and throwing themselves into tackles. They throw them up in the air when they score a goal, bang them together in order to prepare for an opponent. The depressing fate of crippled outcasts awaited them in the camps. But they shared a common passion, which opened their way back into society — soccer. And so they founded a team, trained like hell and organised matches against other victims of the war in order to spread their message: No more war! Sergi Agusti, in Barcelona geboren, arbeitet seit mehreren Jahren als Fotograf und seit auch als Dokumentarfilmer und Produzent.
Eigentlich sind das hier zwei Filme in einem, sie wechseln sich ab und kommunizieren miteinander, werfen sich ironische Blicke zu, wenn sie sich begegnen, und gehen dann wieder ihrer Wege. Ehrlich gesagt: So anders geht es in der Tierwelt auch nicht zu. Jedenfalls zeigt das der Film mit einem Augenzwinkern. This is really two films in one, alternating and communicating with each other, giving each other ironic glances when they meet before they each go their own way again. Frankly speaking, things are not that different in the animal world.
Paraguay fue noticia Paraguay in the Headlines 1. Die Bilanz: Tote, 9 Vermisste und Verwundete. Es folgen jahrelange Gerichtsverhandlungen auf der Suche nach den Schuldigen. Ebenso wie die Antwort auf die Frage, ob es sich um Mord aus Profitgier handelte. It is the biggest disaster in recent history. The outcome: killed, 9 missing, and injured. Survivors talk of their desperation looking for exits in the burning building. Some find a way out, but the doors are barred, presumably to prevent looting. As a result, many are unable to escape the fire. The owner of the department store chain, and his son, the manager of this supermarket, are arrested.
Years in court follow to determine who is responsible for the incident. The film looks at the winners and losers of the trials on different levels, while the boundaries between the parts of victim and criminal occasionally blur. As well as the question whether it was murder for reasons of greed is not really answered. Keine leichte Aufgabe mit dem alles kontrollierenden Harold im Haus. Aber die alte, geheime Liebesgeschichte beginnt erneut. Family pictures, animated scenes, interviews and old home movies are combined to tell a dense and entertaining story in which the gentrified suburban facade of this American-Jewish middle-class marriage is peeled off layer by layer.
She also talks about the love of her life and how she gave him up after five years of leading a double life in her still fresh marriage. The two daughters then arrange a reunion between their mother and her former lover: not an easy task with control freak Harold in the house. But the old secret love story is revived. A drama full of exciting twists, acted out by contradictory characters. Seit Mitte der er Jahre lehrt sie unter anderem an Institutionen in Boston und New York und ist mit ihren Arbeiten erfolgreich auf renommierten Festivals vertreten.
Anstelle des Gewehrs sind sie mit Stift und Notizbuch oder mit der Kamera bewaffnet. Und alle eint der Blick gen Himmel. Ist es eine B. Warm hats, long coats, collars turned up. The wine served in plastic glasses from the trunk of the car, the tea from a thermos, accompanied by homemade sandwiches and crackers. They are armed with pencils and notebooks or a camera instead of guns. And they all are united by their upturned eyes. Is this B. Neben eigenen Filmprojekten dreht er seither vor allem Werbefilme.
Danach arbeitete er als Kameramann. Wenn Krieg zum Normalzustand geworden ist, kann Frieden nur ein Traum sein. Gini Retickers Film wird von kraftvollem Enthusiasmus angetrieben. When war becomes normality, peace can only be a dream. In Liberia, the West African country that has been suffering continuous violent civil wars since , even this dream seems to have become an impossibility.