791 Öffentliche Darbietungen, Film, Rundfunk
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Nolan brings a fairly recognizable style to all his movies, often described as "dark" or "gritty." The tone is relentlessly serious, and the narratives are infused with the ambiguity and pessimism of film noir. His protagonists are, without exception, tortured, obsessed men, struggling with the loss of loved ones or past mistakes. Not only do these men face an uncaring world with murky morality, their sense of self is also unstable. To go along with the faulty memories and self-deceptions of his characters, Nolan also has a knack for misleading his audience with convoluted narratives. As Fisher puts it, he specializes in puzzles that can't be solved. 'Inception', to my mind, makes an excellent showcase for all these themes. Therefore, through an examination of its use of space and architecture as metaphors for the mind, I aim to determine the concept of the malleable self that underlies all of Nolan's movies.
The following list includes all traceable films of at least 30 minutes length, which explicitly address the current financial, economic and debt crisis as a main topic and have been available in English or German via European cinemas, television stations, or the internet. This includes dubbed or subtitled versions of films produced in other languages. The film descriptions mostly come from the films’ or television stations’ websites or other marketing material, so they are not necessarily objective (although often informative).
The list is based on an extensive internet search but nevertheless will probably be incomplete and sometimes imprecise. For instance, there is virtually no information about how often the cinema films have actually been shown in theaters; many of them may have been shown just a few times. There are lots of interesting shorter films like The Financial Crisis (Session I–V) (Denmark 2009, Superflex) or RSA Animate: Crises of Capitalism (GB 2010, RSA/David Harvey). Those short films are not listed here, but often they can be easily found and watched online.
In the first years of cinematography, the exhibitors mostly used magic lantern slides to project films titles before the film’s projection. In Europe and in the United States, around 1902–1903, motion pictures started to be sold with edited titles on films, and edited subtitles on multi shot films. From around 1907, as the length and number of shots, subtitles and words increased, there was a kind of competition between the subtitle and the lecturer to explain the films to the audiences. In the transitional period – 1907–1916 –, the trade press and scenario manuals constantly debated subtitle usefulness and limits. On one hand the dream of cinematography as a universal language was incompatible with this device, and the strong ideal of the titleless film advocated that moving pictures should tell stories by themselves, without the aid of any external narration, like theatre plays. On the other hand, there were more realistic approaches: subtitles were unavoidable, as they were essential to make a film understandable. The main recommendation, however, was to use them very sparingly, and only when it was absolutely necessary, because they might spoil suspense by giving a summary of the action in advance, they were also considered to have an adverse impact on the “reality effect”, to be exterior to the story and to interrupt the flow of images. Despite the reluctances and ambivalences towards it, as the industry organized itself in the 1910’s the subtitle was retooled, and became conventional and largely used for the construction of the classical narrative film.
Seymour Chatman (born 1928) is an American film and literary critic, a professor emeritus of rhetoric at the University of California, Berkeley. He is one of the most significant figures of American narratology, being regarded as a prominent representative of its Structuralist or "classic" branch. Among his works are not only some analyses of Antonionis‘s films, his narratological books and articles – especially on problems of perspectivity – found much interest in filmtheoretical research.
Since the fall of the Wall, a new era of East German literature has emerged. This genre of literature exists even though East Germany’s borders dissolved over a decade and half ago and is challenging the way we think about the former German Democratic Republic. East German author Thomas Brussig is pivotal in this new genre of literature. His novels Helden wie wir (1995), Am kürzeren Ende der Sonnenallee (1999) and Leander Haußmann’s cinematic adaptation, Sonnenallee (1999), confront the negative associations and stereotypes connected with East Germany to deconstruct how formal history has portrayed its past and its citizens. Brussig’s texts take a completely different approach to remembering the GDR, which simultaneously challenges history’s dominant perspective as well as the Ostalgie phenomenon. Through his texts’ recollection, Brussig subverts the East German state in hindsight and begins the construction of a new mythology with which to associate former East Germany.
German Expressionist cinema is a movement that began in 1919. Expressionist film is marked by distinct visual features and performance styles that rebel against prior realist art movements. More than 20 years prior to the Expressionist movement, Sigmund Frued published "The Interpretation of Dreams" in 1899, a ground breaking study that links dreams to unconcious impulses. This thesis argues that the unexplained dream - like imagery found in two Expressionist films, The Cabinet of Dr. Caligari (Robert Wiene, 1920) and Dr. Mabus, the Gambler (Fritz Lang, 1922) - can be seen in terms of Freud's model of dreaming.
This thesis examines three made-for-television ‘Event Movies’ from the German production company teamWorx, made between 2006 and 2007 – Dresden (2006), Nicht alle waren Mörder (2006) and Die Flucht (2007) – within the context of contemporary debates of ‘Vergangenheitsbewältigung’ or ‘coming to terms with the past’ in Germany. It will deal with specific debates in memory of the National Socialist past, namely representations of Germans as victims of the Second World War and memory of the Holocaust. Although in recent years the importance of teamWorx’s television films has begun to be acknowledged by scholars in both Germany and the UK, this thesis represents the first attempt to analyse these three Event Movies as a unit and to explore in-depth the teamWorx company and its attitudes to historical film. As such, two interviews will be relied on throughout this thesis, with chairman of the board Nico Hofmann and Die Flucht’s director Kai Wessel. In order to place the films within the context of contemporary debates on memory of the Nazi past in Germany, the thesis will undertake a filmic analysis of the Event Movies, supported by both the intentions of the filmmakers and critical responses in the contemporary press. Of primary importance for the thesis will be the twin concerns of the authenticity of teamWorx’s productions, as claimed by the filmmakers and the Event Movies’ borrowing of filmmaking devices from Hollywood genres, in particular the melodrama. Following this analysis it will be asked to what extent the Event Movies affect and reflect contemporary debates on the legacy of National Socialism and how these films contribute to the normalisation of the Nazi past in Germany.
Representations of the reasons and actions of terrorists have appeared in German literature tracing back to the age of Sturm und Drang of the 18th century, most notably in Heinrich von Kleist's Michael Kohlhaas and Friedrich Schiller's Die Räuber, and more recently since the radical actions of the Red Army Faction during the late 1960s and early 1970s, such as in Uli Edel's film, The Baader Meinhof Complex. By referring to Walter Benjamin's system of natural law and positive law, which provides definitions of differing codes of ethics with relation to state laws and personal ethics, one should be able to understand that Michael Kohlhaas, Karl Moor, and the members of the RAF are indeed represented as terrorists. However, their actions and motives are not without an internal ethics, which conflicts with that of their respective state-sanctioned authorities. This thesis reveals the similarities and differences in motives, methods, and use of violence in Schiller, Kleist, and representations of the RAF and explores how the turn to terrorism can arise from a logical realization that ideologies of state law do not align with the personal sense of justice and law of the individual.
Krzysztof Zanussi has been an increasingly major figure on the European film scene for the past decade, and today his reputation is beginning to spread throughout America. Critic Roger Ebert has called him "the best living maker of films about ideas" and his presence is constantly demanded by a growing list of American film festivals. The Museum of Fine Arts is most pleased to present the first major American retrospective of this important artist's work in film.
This study analyzes storyline structure in three Hausa home videos; Mai Kudi (The Rich Man), Sanafahna (with time truth shall dawn) and Albashi (Salary). The study measures storyline structure in these films against a Hollywood film industry model of story writing “the Hero's Journey”. It uses narrative analysis as its analytical tool, and narrative theory as its framework. After analyzing these videos, the study found that the major elements of storyline structure in Vogler's model formed the framework of the storyline structure in Hausa home videos analyzed. However, in spite of the preponderance of these elements within the storyline structure, there are significant variations to Vogler's model. Specifically, Vogler's model has some twelve stages spread on the universal structure of storytelling, i.e. beginning, middle and end. Few of these stages were found to exist in Hausa narrative structure, perhaps due to cultural differences between Western, Indian and Hausa cultures. The study therefore recommends screenwriters and producers to be aware of the existence of standard models of scriptwriting. It also recommends more training for script writers in the Hausa film industry.
Hollywood musicals combine two distinctive features: narrative and musical numbers, also referred to as “the real and the expressive” (Telotte 1980a, 4). These two equally important parts of any successful musical have to harmonize such that both seem appropriate in each scene and, ideally, supportive of each other. As musical numbers are traditionally seen as a “source of a tension” (ibid., 2) within the narrative, harmonization is not easy to achieve, and different directors as well as different sub-genres of the film musical have found different ways to deal with this tension. In this work, I will discuss two methods of integrating musical numbers into the plot of Hollywood musicals: the stage-worlds and the world-stages. While the former entails a certain kind of storyline, the latter refers to the setting of single numbers within the plot.
At the beginning of every story of murder there is always a body. If the murderer is a serial killer, there is, of course, more than one. More importantly, the bodies left by the serial killer are not likely to be intact and whole. What he leaves behind and what we, the audience, will get to see is the body in pieces, dismembered, scattered. A series of snapshots, partial views, and close-ups, inflicting cold sharp shocks, is all we may glimpse: the head of Benjamin Raspail floating in a jar of formaldehyde in The Silence of the Lambs, a finger removed by the serial killer from his landlord’s hand in Kalifornia, a ziploc bag of fingers recovered from a flooded drainpipe in When The Bough Breaks, a surgically severed hand used to leave misleading fingerprints on a wall at a crime scene in Seven.
On the following pages you will meet a strange cast of characters: field slaves from Mississippi, steel bands from Trinidad, sheriffs from Puerto Rieo. Mexican campesinos and senioritas, and, of course, the European musical stars who performed these American stereotypes in one of the most disparaged genres of German cinema, the 1950s West German revue film.
Sustained by well-established anti-American stereotypes and clichés, the romance between German and American culture has been a key ingredient of German cinema since its inception. The encounter with American mass culture produced compelling stories of infatuation and seduction, but also of conquest and surrender.
Wunschkonzert
(1994)
Film festivals have been the blank spot of cinema scholarship throughout most of the twentieth century. Although individual festival histories and anniversary books have been published for many years and the topic of film festivals has occasionally been addressed in academic studies – focusing for example on art or national cinemas – the phenomenon of film festivals was, until recently, rarely the main focus of study. In the last few years, academics have turned to study the broad range of film festival constituencies. These works aim to explain, theorize, and historicize film festivals and, in doing so, point to the emergence of a new field of academic study, film festival research, in which knowledge of festivals is considered essential for our understanding of cinema cultures.
Romantic comedies are not renowned for intricate storytelling and have rarely been deemed worthy of the sustained scholarly attention of analytic ‘close readings’. What applies to the genre as a whole applies no less to its music, which has yet to be discovered by film musicology as a field of enquiry. But genre films such as romcoms can be highly self-conscious and self-reflexive, and can show a playfulness in their use of cinematic techniques that may be as much fun for the analyst as for the audience.
Vertov defined the basic qualities of his Cine-Eye by means of a simple negation: it sees what remains inaccessible to the human eye. This means that in his films we see media-based and media-produced images that have nothing to do with the imitation of human perception. According to Vertov, such filmic, telescopic, or microscopic perception develops, educates, and expands the viewer’s analytical abilities. Thus, we have on the one hand a media-induced perception and on the other a new assemblage or montage of the fragments of this mediated perception. This new montage is based on a specific interaction and follows poetic rather than prosaic rules. It is freed from such constraints as time, space, causality, or speed. In other words it is based on properly media-specific qualities and, following the terminology of the Russian Futurists who influenced Vertov in his youth, it constitutes zaum or transrationality.
Far greater liberties can be taken by animation than by live-action films The possibilities of the narratives are enriched by unrestricted visual images that offer unique means of exploring and portraying states of desire, conscious and unconscious realities, as well as different layers of relationships and experiences. This leads to a fusion of the traditional and modern roles of representation. Anime from acclaimed Japanese director Hayao Miyazaki, particularly the Academy Award winner Spirited Away (Sen to Chihiro no Kamikakushi, 2003) and Oscar-nominated Howl’s Moving Castle (Hauru no Ugoku Shiro, 2004), which in recent years have acquired a global cult status, offer new perspectives on human subjectivity. Through their playful use of the motif of transformation, striking similarities in the development of the plots and ambiguous dénouements, the movies problematize the fundamental question of identity, representing a close illustration of some of the core psychoanalytical concepts found in Lacanian theory.
When the concept of the auteur was coined in the 1950s and 1960s, it was an initiative to clarify the obscure matters of authorship in cinema. Because a film must necessarily be a collective work, understood as the result of a large number of creative contributions, it was often unclear who the decisive power behind a certain film was, who contributed the "distinctive quality". The control will usually belong to the director, the producer or the star (or all three in combination), but what singles out a given film could also come from the cinematographer, the scriptwriter, from the author of an adapted literary work, or from traditions in the studio or in the genre. Nothing can be taken for granted about a film's authorship, it can only be decided through a thorough analysis of each film's production process, an analysis that, in most cases, will be impossible to make. ...
If we see a film, we experience the passing time in two ways. On the one hand, it is conveyed as the time in which the film action takes place – felt as “lived” time. On the other hand, via camera travels and movements of objects vertically to the picture plane, time is perceived – in a much more indirect way – as a vehicle for representation of spatial depth. It is this link between space and time where the method of “time tilting” introduced here sets in. When a film scene is “time-tilted”, one of the spatial dimensions (here the horizontal direction of the picture plane) is interchanged with the time dimension: In a first step, the pictures of the scene are digitalized. Then, the thus gained pixels of all pictures of the scene are arranged into a three-dimensional data field. Finally, a new series of pictures is read out, along one of the two former picture axes, which is then shown as a scene of moving pictures. The resulting film will present optical phenomena which are, on the one hand, aesthetically appealing and, on the other hand, informative for film analysis. First examples demonstrate how the procedure operates on basic movements in space as well as on camera travels in space.