German Cinema

This essay arises from the interest for tracing the philosophical basis of Expressionism stating what it stands for as an artistic renewal movement. In this sense, the general problem this study intends to implicitly maintain is the way a philosophical and systematical thinking can directly and indirectly influence the development of a certain artistic movement. Therefore, it is necessary to show the implications an epistemological, anthropological and -most important-metaphysical conceptions have on art. Thus, this writing has the aim to critically evaluate the thoughts of Arthur Schopenhauer and Friedrich Nietzsche under the premise that their postulates prepared the rational ground for Expressionism to appear. In this way, the thesis demonstrated in this paper is that the predominant elements in Expressionism correspond to the way Schopenhauer and Nietzsche conceive mankind, the subject, and the World. Given the above, this study must not be considered as historical but as philosophical. Thus, it is not of main priority to reconstruct the historical context of Expressionism and both philosophies treated in this analysis; instead, it is important to focus on the idea that this relationships are established in a conceptual and metaphysical way. As a consequence, this paper proceeds in a correlational way between philosophy and art. The structure of this paper is: firstly, Expressionism is described as the artistic movement that broke with classical aesthetics which had prevailed in art history and set new ideas of beauty and art in general; afterwards, Schopenhauer´s philosophy is related to Expressionism in its main concepts of the world conceived as Will and representation; subsequently, Nietzsche´s idea of renewal and recreation of mankind, its values and its self-concept is linked to Expressionism as fundamental for the change of rules in art and its entire program for a new idea of the subject. It is essential to delimitate -as far as possible-the concept Expressionism and its implications. First of all, in an intuitive manner, Expressionism would be a self-explanatory concept in the sense that it indicates exactly what it stands for and ends right there. That means Expressionism is, in a very general and immediate way, the artistic movement of expression. However,

This study explores the intersections of craftsmanship, architecture and bureaucracy in eighteenth-century Saxony, focusing particularly on the Saxon Oberbauamt, the state’s supreme building authority. It contextualises the career of Richard Castle (c.1691–1751), Ireland’s most prolific Palladian architect, whose early training has long been uncertain. Recent research reveals Castle’s family connections to Dresden and suggests that the Oberbauamt may have shaped his architectural formation. The paper examines the Oberbauamt’s hybrid character: simultaneously bureaucratic, modelled on the French Royal Building Administration, and rooted in craft-based training comparable to England’s Office of Works. It traces how leading artisans such as Matthäus Daniel Pöppelmann and Johann Christoph Knöffel rose from craft backgrounds to positions of architectural authority, embodying the figure of the “artisan-architect.” Through its analysis, the chapter highlights Saxony’s distinctive contribution to architectural education, professionalisation and state-driven building culture in the Holy Roman Empire. It argues that the Oberbauamt functioned not only as an administrative body but also as a key site of training and innovation, offering vital context for understanding Castle’s career and the broader European networks of eighteenth-century architecture.

According to Andrew (2002, p. 91), although there is no doubt that the dominant theoretical trend in the first decades of cinema was formative, there was an undercurrent, in fact a counter-current, which constituted the beginning of the realist tradition. Theorists such as Siegfried Kracauer and André Bazin, focusing on Realism as a cinematographic theory, made very important considerations and took a new look at narrative in cinema. This article analyzes the film Amarelo manga, directed by Cláudio Assis, in the light of the realist theories of Siegfried Kracauer and André Bazin. Kracauer examines science for its excessive abstraction and proposes a reconnection with concrete reality through cinema, which is capable of recording everyday life with singular fidelity. In line with this, Bazin sees cinematic realism as an opportunity for the viewer to experience a reflexive approach to reality, without merely attempting to reproduce it. Amarelo mango stands out for its deep exploration of Recife's urban daily life, bringing up philosophical and social reflections on alienation and automatism in modern life. In an emblematic sequence, it portrays various forms of eating, reflecting the mechanized and silent social routine, inciting the viewer to critical awareness. The film's visceral narrative is illustrated by characters such as Kika, a symbol of religious and sexual repression, who expresses her internal conflict through a liberating and violent outburst, expressing the underlying social and cultural criticism. The production stands out for the deliberate absence of storyboarding, emphasizing spontaneity and creativity in the construction of scenes, providing an authentic and impactful cinematic experience. The treatment given to eroticism and the constant presence of death in the work remains on an artistic and poetic level, in line with Bazin's ideas on cinematic representation. Amarelo manga transcends simple film narrative by presenting itself as a philosophical and critical exercise, offering the viewer another perception of social reality. Cláudio Assis therefore materializes the aspirations of realist theorists, using cinema as an effective instrument to provoke reflection and cultural transformation.

O presente artigo propõe uma análise do romance Eu receberia as piores notícias dos seus lindos lábios, de Marçal Aquino (2005), com o intuito de observar que efeitos estéticos e de sentido decorrem da "escrita roteirizada" utilizada pelo autor para a construção da narrativa literária. O termo "escrita roteirizada" é usado por Schøllhammer (2009) para designar a produção literária brasileira, que tem início na década de 1990, quando surgem narrativas que se valem de procedimentos análogos aos dos meios audiovisuais e digitais. Logo a perspectiva aqui adotada não diz respeito apenas a comparar duas linguagens diversas, isto é, literatura e cinema, mas a permanecer no domínio da escrita e investigar como ela corrobora traços de uma linguagem ligada à tecnologia icônica.

Own Death, an autobiographical narrative by one of Hungary’s most acclaimed prose writers, tells the story of the author’s heart attack and resuscitation with a focus on the episode that is popularly referred to as a « near-death experience ». In his adaptation,3 the experimental film-maker Péter Forgács turned Nádas’s narrative into a melancholic-poetic-ironic complex of text and images that can be seen as both an adaptation of or homage to Nádas’s literary work and Forgács’s own self-reflexive autobiography in film. In my paper I discuss Forgács’s adaptation as an essayistic answer to Nádas’s philosophical autobiography and try to describe its texture of voice, text, and image as a reflection on the inevitably multi-subjective nature of adaptations of autobiographies

Pepper's ghost effect has been used since its beginnings at the second half of XIX century to generate 3D projections of virtual people in real environments. Nowadays this effect is used by 'holographic' displays for the projection not only of virtual people but also of objects and even animations that can interact with real objects. Marketing and product presentations are some of the most used applications for these displays. Nevertheless, another interesting application is been explored recently: knowledge transfer for both industrial and educational purposes. Regardless the application there is a little problem with these displays: when they are used in a highilluminated place the contents projected are lost. That is the motivation for this project, which seeks to evaluate the use of a PDLC film (that allows to control its transmittance) to minimize these problem. Action research methodology is being used as a guideline for planning and executing the actions required in the project. The results were satisfactory; achieving an improvement in the visualizations of the contents displayed using the PDLC film.

Cultural representations have a plasticity to their meaning, which is ascribed rather than inherent and is thus informed as much by the viewer’s own subjectivities as by the creator’s intentions. For monsters in particular, which represent a generalized Otherness, these interpretations can reinforce existing anxieties and prejudices. Through a study of two well-known "monster" films from the Weimar period, The Golem and Nosferatu, I discuss the ways in which the language of Otherness deployed in both films coincides with antisemitic tropes. While it is likely that neither film was intended to be antisemitic, applying Roland Barthes' framework of the Death of the Author to both films complicates our understanding of how they were interpreted by their original audiences.

Film has the power both to reinforce viewer subjectivities and to be mobilized in service of an ideology. By reconceptualizing film through a functionalist lens whereby we interrogate its tangible impact, we also expand how to think historically about film. Film cannot be reduced to a consumable product or a barometer of societal attitudes, but rather as an agent in its own right.

A monster at the Mostra. How Universal's Frankenstein was received by the Italian audience The monster that is the protagonist of the film Frankenstein-directed by James Whale and produced by Carl Leammle Jr.'s Universal in 1931-is, as of today, undoubtedly one of the best-known symbols of sound films. This film was projected onto the screen of the very first International Exhibition of Cinematographic Art of the Venice Biennale which took place at the Lido from August 6 to August 21, 1932. Through the support of documents from that time we shall make an attempt to identify a set of remarkable elements related to the participation of this film in the Lido's exhibition, the subsequent reactions of the critics, with a short appendix about the first regular distribution of the work in Italy, which only took place a few years after the Exhibition. Indeed, it was received in Italy later than when it was presented in Venice because the film could only get the Ministry's nulla osta (clearance) in November 1935. In 1940 the critic Pietro Bianchi in the magazine «Il Bertoldo», making reference to the sequel Bride of Frankenstein (also directed by Whale, in 1935), wrote: «As good Mediterraneans [we Italians] have no sympathy for horrors. Ghosts, monsters, phantoms are something we gladly leave to the people from the North»; 1 in this way the critic reaffirmed a 1

El cine de la República de Weimar (1918-1933), entendido bajo el parapeto de su expresionismo tortuoso y el realismo descarnado de la Neue Sachlichkeit, resucita en el siglo XXI a través del videojuego Bloodborne (FromSoftware, 2015). Este artículo, más allá de rastrear influencias estéticas (arquitecturas oblicuas, claroscuros angustiantes, figuras liminales), reflexiona acerca de cómo el título de acción subvierte la pasividad del espectador tradicional y reinterpreta la narrativa weimariana. En el videojuego, las calles de Yharnam, que mantienen similitudes a los laberintos oblicuos que recuerdan a El gabinete del Dr. Caligari, son prisiones interactivas donde el jugador encarna la dualidad humana/bestia, heredera de los doppelgängers monstruosos. Mediante un cruce interdisciplinar entre análisis fílmico, teoría de lo siniestro y estudios de ludonarrativa, el artículo revela cómo Bloodborne convierte la alienación posbélica, la corrupción, el inconsciente colectivo hacia el miedo a la otredad en mecánicas jugables. Al forzar elecciones éticas irreversibles (sacrificar civiles para sobrevivir, pactar con dioses amorales), el videojuego trasciende el homenaje estético y actualiza las advertencias de Kracauer: el horror no es una fantasía, es un síntoma de sociedades al borde del colapso. De esta forma, Bloodborne emerge como un espejo deformante de nuestra era: sus plagas digitales y polarizaciones sangrientas dialogan con las pandemias históricas y las crisis identitarias que hoy nos acechan. En este sentido, el legado de Weimar no se repite: se juega.

Argentinien als NS-Fluchtziel. Die Emigration von Kriegsverbrechern und Nationalsozialisten durch Italien an den Rio de la Plata 1946-1955. Mythos und Wirklichkeit l Forschungslage und Fragestellung --Unser Wissen über die Flucht von NS-Kriegsverbrechem nach Übersee ist 60 Jahre nach Kriegsende immer noch dürftig. Dieses Kapitel zählt zu den wenigen großen Grauzonen der NS-Vergangenheit. Das ist keineswegs zufällig, beschäftigt sich doch die Zeitgeschichte erst seit einigen Jahren mit diesem Thema. Es waren Schriftsteller und Journalisten, die sich über viele Jahre der NS-Fluchtwege exklusiv angenommen hatten. Die Schilderungen über Geheimorganisationen, die NS-Täter ins Ausland geschleust haben sollen, trugen in der Regel romanhafte Züge. Unser Bild ist bis heute stark davon geprägt. Spätestens seit dem Buch ,JJie Akte Odessa 46 von Federick Forsyth wurde die Organisation -Dieser Beitrag basiert teilweise auf der Habilitation des Verfassers,.NazIS aUf aer Flucht Wie NS-Kriegsverbrecher und Nationalsozialisten über Italien nach Obersee entkamen 1946-1955", die am Institut für Zeitgeschichte an der Universität Innsbmck im Sommer 2001 eingereicht wurde. Der Verfasser dankt Henn Univ.-Doz. Dr. Hans Heiss und Dr. Georg Mischi für die Durchsicht des Aufsatzes, fi1r wichtige Anregungen und Feedback. Vgl. auch Steinacher,. Gerald, "The Cape of Last Hopen: Tbe Postwar Flight ofNazi War Criminals through Italy/South Tyrol to South America, in: Eisterer, KlausIBischof: Günter (Hg..), Transallantic Relations. Austria and Latin America in the jyJt and 2(j" Century (Transatlantica 1) New-Bnmswick 2006, S. 203-224.

Christian Petzold (b. 1960) is arguably the most prominent filmmaker working in Germany today, with a growing international reputation for his carefully fashioned narrative studies of identity and relationships. Running through the core of his films is the theme of work, in various forms – manual, intellectual, psychological, emotional, ethical, social, political, economic and aesthetic. Focusing on close reading of key scenes, Stephan Hilpert and Andrew J. Webber demonstrate the crucial role of this theme in his filmmaking. Each chapter engages with particular aspects or modes of work, as evidenced by specific films, across the span of the director’s career. The analysis of Petzold’s own ways of working — including the crucial forms of collaboration that he has undertaken — is supported by the inclusion of material drawn from two interviews conducted with the director around the themes of the volume.

Luftsprünge, eine Fernsehserie aus den Jahren 1969-70 mit 13 Folgen, repräsentiert eine frühe Farbserie. Die Koproduktion des Zweiten Deutschen Fernsehens (ZDF) und des Österreichischen Rundfunks (ORF) belegte nicht nur einen prominenten Sendeplatz, sondern stellte auch eine Art hochwertiges Mainstream-Programm dar, das die unterschiedlichen Erwartungen des transnationalen Publikums erfüllen sollte. Neben dem jungen Tiroler Skilehrer Toni (Toni Sailer) spielt der 77-jährige Südtiroler Luis Trenker den temperamentvollen Hotelier und Skischulbesitzer Hannes Kogler� Im Spannungsfeld zwischen sportlichem Vergnügen und touristischer Arbeit bringt die heitere Serie Atouts aus verschiedenen Generationen, Genres und Medienbranchen strategisch zusammen� Die Analyse von Luftsprünge geht so der Frage nach, wie das Fernsehen das Genre des Bergfilms adaptiert. Dieser Anpassungsprozess steht in engem Zusammenhang mit der Bekanntheit Trenkers. Aufgrund seines fortgeschrittenen Alters nutzte er ab Ende der 1950er Jahre geschickt das neue Medium Fernsehen, um sein öffentliches Image zu verändern. Luftsprünge ist ein Paradebeispiel für diese Strategie. Wir argumentieren, dass die Fernsehserie Schlüsselelemente des Bergfilms aufgreift und das Genre entsprechend dem fortgeschrittenen Alter seines Protagonisten, dem in Westeuropa erreichten Wohlstand und der veränderten Medienlandschaft remediatisiert� Die televisuelle Aufarbeitung führt zu einer anderen Darstellungsweise, die von den erzählerischen Anliegen des klassischen Bergfilms abweicht. Während frühere Bergfilme Männlichkeit und Selbstdisziplin im Zusammenhang mit der Eroberung unberührter Berggipfel verherrlichten, schwächt das, was wir Bergfernsehen nennen, diese überholten Werte ab, indem es die Alpen als Ort des transnationalen Tourismus und der touristischen Arbeit inszeniert� Das Bergfernsehen mildert die dem Bergfilmgenre innewohnende Dramatik ab und ersetzt alpine Kämpfe um Leben und Tod durch Komödien-und Li-

Der Begriff der Dekadenz liefert ein wichtiges Instrument, um die große Affinität des Kinos zu Richard Wagner zu erklären. Denn das Kino, das auf der Leinwand jede menschliche Regung ins Unermessliche vergrößert, Augen und Ohren überwältigt und im dunklen Saal zu Tränen rührt, das ohne Pathos und Emotionen im Kern nicht existieren würde, bewegt sich im engsten Umkreis der Dekadenz. Ausgehend von Friedrich Nietzsches Wagner-Kritik wird in den versammelten Beiträgen untersucht, wie weit Nietzsches Analyse auch für ein bestimmtes Filmkonzept gilt, das Wagner’sche Topoi, musikalische oder personelle Konstellationen oder ästhetische Konzepte übernimmt. Das Spektrum der erörterten Themen reicht von Erlösungsfantasien und der Überwindung des Todestriebes im Hollywood-Kino, über Verfallsgeschichten bei Regisseuren wie Luchino Visconti und Hans Jürgen Syberberg bis zu den Wagner-(An-)Klängen im Bereich des Horror- und Fantasyfilms.
Mit Beiträgen von Elisabeth Bronfen, Jörg Buttgereit, Bernd Kiefer, Peter Moormann, Andreas Urs Sommer und Marcus Stiglegger.

Films that deal with World War II-whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath-have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these works reckon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films-Andrzej Wajda's black-and-white 1958 rendition of the war's last 24 hours in "Ashes and Diamonds," the Harlequin prewar chaos of Bob Fosse's 1972 "Cabaret," and the delicate balance of color and black-and-white characterizing the postwar divided Germany of Wim Wenders' 1987 "Wings of Desire"-we may access a richer understanding, not simply of the films' stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text's take on both subjectivity and objectivity.

Through the images and sounds of Wim Wenders' PARIS, TEXAS (1984) and Percy Adlon's BAGDAD CAFÉ (1987), 1 two films that were conceived of by German filmmakers and shot in the US with an international cast and crew, this video essay considers a particular view onto the American landscape and its historical, mythological associations-that of the foreigner, the European, the German visitor to American spaces, places, and icons, whose representations have long circulated abroad. BAGDAD CAFÉ's story directly involves an encounter between two women from different worlds: Bavarian tourist Marianne and American gas station owner Brenda, the matriarch of a struggling black family, living in the middle of nowhere. The film begins with blunt clashes of national, cultural,

Цель исследования – определить особенности военных фильмов Республики Корея в качестве элемента милитаризации культуры в период правления Пак Чонхи (1961-1979). Доказывается, что популярность военного кинематографа в 1960-х гг. была обусловлена как государственной кинополитикой, способствующей производству и потреблению таких фильмов, так и массовым интересом со стороны зрителей и кинокомпаний. Ко второй половине 1960-х гг. динамика производства таких фильмов стала в большей степени определяться вмешательством государства в сферу кино, что привело к снижению качества фильмов и коммерческим провалам в прокате. Став непопулярным, в 1970-е гг. военное кино существовало лишь благодаря государственной поддержке. Одной из основных особенностей военного кино были способы изображения «своих» и «чужих». С позиции государства идеологически верной репрезентацией врага в военном кинематографе был дегуманизированный образ северокорейца, коммуниста, проявляющего жестокость и насилие в отношении к южнокорейским гражданам. Данное требование государства само по себе было противоречивым: с одной стороны, принадлежность северокорейских солдат к одной, пусть и разделенной, корейской нации делала возможным их гуманизацию, а с другой - образ сильного врага, совершающего жестокие действия, мог усилить репрезентацию его милитаризованной маскулинности, что было крайне нежелательно. Автор отмечает, что универсальным решением этого противоречия стала стратегия обезличивания северокорейских персонажей, лишение их индивидуальных черт и удаление на периферию кинонарратива в качестве второстепенных персонажей-функций. В противовес такому образу врага южнокорейских солдат изображали как героев, обладающих индивидуальностью и сильной маскулинностью.

The article reviews two films about animals – Au hasard Balthazar (Robert Bresson, 1966) and Eo (Jerzy Skolimowski, 2022) – which both adopt motives that appeared in Apuleius’ novel Metamorphoses, or the Golden Ass (2nd century AD). Special attention in the article is given to the methods of the animal’s cinematographic representation, which despite the resemblance of Bresson’s and Skolimowski’s premises differ drastically in the two films.

Over the last decades, filmmakers have tended to decline the anthropocentric approach to animals while filming. The concept of sustainable film production with particular concern for environmental and biodiversity issues has been formed and improved.

The article claims two ways of representation of the same character (in the case of two analyzed films – a donkey). The first method is based on the assumption that animals could hold the same mindset as humans, and the second one – on a fantasy and creative latitude in using non-verbal agents to spell out and transmit animals’ feelings. In the first case, an author gains the possibility to show human relationships from an unconventional angle, in the second case he gets a chance to develop new techniques enriching his artistic style and to draw attention to animal rights issues by acting upon the viewer’s perception via non-verbal communication. Both films inherit from the ancient novel and bring it to the present: the first one takes over the participation effect, whereas the second one adopts an affective tone and ludic element.

Die deutsch-argentinische Koproduktion Der deutsche Freund (2012) ist eine Reise durch Zeiten und Welten. Der Film beginnt in einem Vorort in Buenos Aires der Nachkriegszeit, mäandert zwischen Deutschland und Argentinien, um schließlich in den späten 1980er Jahren in den Weiten von Patagonien anzukommen. Es geht um die Beziehung zwischen der jüdischen Sulamit und Friedrich, dem Sohn eines deutschen Nazis. Sie wachsen in der gleichen Straße in Buenos Aires auf und sind Freunde seit Kindertagen. Trotz ihrer gegensätzlichen familiären wie kulturellen Herkunft, Lebensphilosophien, anderer Partner und langer Zeiten der Trennung, werden sie ihr Leben lang nicht voneinander loskommen. Filmkritiker in Deutschland und Argentinien kommentierten den Film unterschiedlich. Hierzulande erschien einigen Der deutsche Freund als eine »naive Sehnsucht nach Versöhnung« und als »Versuch einer Relativierung der deutsch-jüdischen Vergangenheit«. 1 Eine argentinische Rezension befand unterdessen: »Die Synopsis mag simpel erscheinen, ist es aber nicht. Der deutsche Freund ist die Geschichte einer Liebe, die perfekt erzählt wird. Ideale und Gefühle sind zwei Konzepte, mit denen beide Figuren kämpfen. Wichtige historische Momente unserer Kultur werden wahrheitsgetreu wiedergegeben. Deshalb ist der Film nicht schwer anzusehen, da es gelingt, sich mit dem Geschehen im Parallelismus der Charaktere zu identifizieren.« 2 Tatsächlich stellt Jeanine Meerapfel in Der deutsche Freund kulturelle Zentren und ideologische Fixierungen in Frage. Sie erzählt eine Geschichte, die, wie die meisten ihrer Filmprojekte, argentinische Kultur und Gesellschaft in den Vordergrund rücken. Was kennzeichnet die ›argentinische Seele‹ in Der deutsche Freund? Die politischen und sozialen Gegebenheiten sowie die Gegensätze, die das Nachkriegsargentinien und-deutschland prägten, sind im Bewusstsein der Regisseurin Jeanine Meerapfel fest verankert. Als Tochter jüdischer Eltern 1943 in Buenos Aires geboren, fielen ihre argentinischen Kindertage in eine Zeit instabiler Regierungen und militärischer Um

The affection felt in retrospect for the 1930s is akin to what is often felt for any period of adolescence: the time, inevitably troubled, of coming into one's identity, just before being shoved into the realities of a much larger world. For despite its august history and its victory in 1918, France in the 1930s appears as an uncertain youth standing before modernity. A fragile contrivance surrounded by totalitarian nations, its ethos came from a vulnerable humanism already outsized by the realities of the century. France, and particularly Paris, was the beloved refuge of Europe's political refugees. It had already become the cultural refuge of American writers and artists. The H; City of Light simply had to withstand the inhumane political and economic oppression whose dark specter was everywhere evident. If the human still mattered, it mattered most in Paris. This feeling for-or memory of-an adolescent sincerity and vulnerability stands behind |g the affection expressed by critics from the 1930s to our own day for the exceptional II aesthetic that incubated in the era, the so-called school of Poetic Realism, and for its icon, H; Jean Gabin. In films like La Belle Equipe (1936, Jutien Duvivier) Gabin would disingenu-||ously claim to be an everyman, that is, to be no icon at all; but in an entertainment system EARLY CINEMA III!!' that: marketed stars, he was a magnet for aspirations of social justice, if not for simple sociality. While Gabin was not quite the most popular star of the day, just as Poetic Realist films were not always the biggest hits, both have come down to us as the image of the era, as its best and most characteristic face. However, a history of Poetic Realism can hardly stand in for that of a national cinema. To the student of popular culture these eighty films of 'dark pessimism' constitute merely one type among others within the larger system of the French film industry. Moreover, when treated as part of the chief 'popular entertainment medium' of the day, Poetic Realism hardly fulfills the vaunted social claims its apologists have made for it. Short-sighted and morally anemic, Poetic Realism tended to evade pressing political problems and wallow in regret. Indeed, few French films of the time, none of them commercially viable, lifted their heads out of the sand to confront the Depression and the Fascist threat head on. The fact is that none of the writers or directors in the industry came from the working class. This is evident when one tallies up the problems fussed over in film after film (virginity, for example, or paternity); problems that apply to a petit-bourgeois moral code that was officially promulgated in the nation but that did not keep the proletariat awake at night. Too lax in its 'social' ambition, perhaps too pretentious in its 'cultural' ambition, Poetic Realism has been lionized chiefly for a purely aesthetic appeal that may obscure whatever work cinema as a whole performed in its social context. That social context comes clearer when we attend to faces other than Gabin's. Older men like Raimu, Alerme, Harry Baur, comics like Fernandel, Milton, Bach, and ingenues like Simone Simon, Anabella, and Michele Morgan played with and against one another in standard entertainment genres such as the historical drama, the military comedy, the theatrical farce, and the boulevard me/o (melodrama). Seldom before 1960 did cinema anywhere in the world seem so capable of satisfying or equilibrating art and entertainment, and of doing so with minimal state or studio supervision. French cinema would have to await the invasion of the Nazis before serious regulations and government rationalization would be set in place. As for business conditions, the same disorganization made this cinema truly a cottage industry, at least in comparison to the studio system in Hollywood or Japan. Ninety-five per cent of the theaters were owned by individual families, and dozens of distributors cropped up to bid for the scores of films made by oneshot producers. Scattered and without a long-term strategy, French cinema could only adopt a comparatively modest look. Seldom spectacular, these films aimed to speak to a wide social spectrum on a human scale, and they did so neither under the crass guise of rationalized commercial product nor under that of high art, but as the result of the everyday exercise of talent and tradition. The coming of sound It was in an ambience of sound that the films of the period huddled together (not always harmoniously) under the umbrella term 'French cinema of the 1 930s'. New audio technology, including phonographs and radio, helped democratize a notion of culture that an elite had always believed it alone defined. Hybrid musical genres resulted from the mix of classical compositions and ribald singers available on airwaves. Popular modes of theater attracted playwrights like Jean Cocteau and anarchist poets like Robert Desnos. The latter, for instance, prepared a radio version of Fantomas in 1 932, bringing his idiosyncratic sensjbility to thousands of listeners who would never pick up a copy of his Surrrealist poems. In luring to cinema a formidable array of writers, actors, and composers, and with proud traditions in theater and music, sound markedly changed the look and feel of French cinema. Journals and newspapers carried the protests of traditionalists against this amalgamation of media and audiences, while modernists saluted the collapse of artificial distinctions between popular and elite expression, between visual and literary modes, and between the officially mandated categories of 'spectacle' and 'art'. Meanwhile, sound technology advanced irrevocably across the country, driven by Hollywood's financial power and accelerated by German and American technological competition. France could put up little resistance to the new powers of international cinema. Despite a run of famous masterpieces (

Here is a painting to enjoy and to understand, to enjoy because one can understand. Lyonel Feininger may have put off his first viewers in his paintings, but he caters to us. There is always a subject, a painterly subject (buildings, a train; in the case before us, a street scene). The technique announces itself in the extended figures, the orchestrated coloring. Best of all, there is purpose. One assists at a spectacle that has the force of reality (did he photograph the scene first, then ar range it for oil and canvas?), and at the same time one is privy to its in terpretation. Even if we blush when asked what it means or, more ac ceptably, what it expresses, we feel we should be capable of saying something. For surely Pink Sky has, if not a point, at least a point of view. How shall we learn to adopt it? A brush with art history has taught us to "place" this painting. A French street scene, 1909, done by a German-American proto-cuboexpressionist: this work marks a comfortable moment for us at the museum. We are relieved to note that it comes just before the explo sion of Cubism, Futurism, and high Expressionism. On its way to ab straction, it is still, in 1909, responsible to its subject, still hopes to re veal something of the observed world. The artist likewise stands be tween two traditions. German and American, he has obviously im bibed a continental sophistication to temper the New World direct ness visible in both his technique and in the frontal presentation of his subject. Pink Sky is one of fourteen Feininger paintings known to come from Dudley Andrew is the Chairman of the Program in Comparative Literature and the Head of Film Studies in the Department of Communication Studies.

Vadim Shneyder's excellent study contributes to a growing field of economic criticism in Russian literary scholarship. Focusing on the realist epoch, he elucidates how Lev Tolstoi, Fedor Dostoevskii, Anton Chekhov, and other nineteenth-century authors articulated the "economic imaginary" of Russia's capitalist modernity. As Shneyder argues, "Russian realism confronted capitalism as a problem-of social thought, of historical imagination, and of aesthetic representation" (177), and his book thoughtfully explores these three dimensions of this "problem." Initially, capitalist practices resisted methods of realist representation, a limitation that individual works reflexively conceded in literary structure. However, as capitalism became increasingly central to pre-revolutionary Russian life, it influenced representational conventions of setting, character, and plot, to the point of threatening the very viability of the realist project. The book's five chapters focus largely on fiction published after the emancipation of the serfs in 1861, an event that transformed Russia's economy and society. The introduction outlines the evolution and conceptualization of the Russian economy, and assesses the treatment of economic activity and class identity in works by Aleksandr Pushkin, Nikolai Gogol΄, and Ivan Goncharov. Chapter 1 examines realist approaches to the factory site, spanning texts by canonical authors (Gogol΄, Ivan Turgenev, Nikolai Chernyshevskii, Nikolai Leskov), as well as several who are now less commonly read (Dmitrii Grigorovich, Fedor Reshetnikov, Petr Boborykin, Dmitrii Mamin-Sibiriak). These works, Shneyder contends, elaborate a composite poetics of the factory interior, depicted as an incomprehensible space from the estranged perspective of a newcomer. The second chapter explores Tolstoi's engagement with agricultural and industrial labor in Anna Karenina, and the way these systems either enable or suppress realist representation. While the mowing scene on Levin's estate successfully integrates labor and literary technique, it is nonetheless predicated on the social estate and land ownership of the Russian nobility. Chapter 3 interprets Dostoevskii's Idiot as a contest between two money economies, merchant and capitalist, and their corresponding potential for literary representation. Whereas the merchant fortunes inherited by Rogozhin and Myshkin are inert, their money fetishized as physical objects, the fungible capital of Totskii and Epanchin circulates invisibly through conversion. Their capitalist activity ensures future prosperity, but it also eludes realist methods of emplotment and psychological exposition; Myshkin and Rogozhin, by comparison, exhibit the complex interiority and eventful lives essential to realist narrative. The fourth chapter examines how The Brothers Karamazov deconstructs the convertible potential of money, and applies money's transactional equivalency to the novel's ethical and theological discourses. Dostoevskii grounds his model of "human economy" in Zosima's vision of universal responsibility, securing the possibility of narrative beyond the monetary economy. Chapter 5 analyzes how Chekhov's fiction of the 1890s presents a "naturalized" vision of Russian capitalism as an inevitable economic and social order. In this final case study, realism has

This chapter appears in the edited volume Goethe als Literatur-Figur (Wallstein Verlag, 2016), and examines cinematic representations of Johann Wolfgang von Goethe. It traces how filmmakers have reimagined Goethe as a modern mythological figure, oscillating between reverence and reinvention, and reflects on his adaptability as a cultural icon in 20th-century German-language cinema.

The “film.kunst” series presents German-language filmmakers who work at the interface of various artistic disciplines. Ulrike Ottinger is considered one of the most unconventional German filmmakers of international standing. Her oeuvre ranges from the surreal-theatrical and stylized-artificial to the ethnologically depictive, from the fictional to the documentary.

“Ulrike Ottinger’s images are beautiful in a poetic way. The most prosaic, everyday life seems to be capable of transformation into a visual poem through the choreography of her images.” (Annette Deeken)

Rainer Rother: Foreword / Barbara Honrath: Greeting / Annette Deeken: “Like the color of the sky after the rain” The poetic visual worlds of Ulrike Ottinger / Kristina Jaspers and Stefanie Schulte-Strathaus in conversation with Ulrike Ottinger: The View Returned / Kristina Jaspers: film.kunst - Ulrike Ottinger. A tour of the exhibition / List of exhibits / Biography / Filmography / Theatrography / Selected bibliography.

K. D. Gruber gehört sicher zu den Ausnahmeerscheinungen in der deutschen Szenenbildlandschaft, die an herausragenden Filmkünstlern nicht gerade arm ist. Seine Räume zeugen von einer großen Sensibilität, sie kreieren Atmosphären und bleiben in ihren Zuschreibungen stets offen. Grubers Räume laden die Protagonisten ein, eine Zeit lang in ihnen zu verweilen, um dann weiterzuziehen, sich zu verändern. Sie bilden temporäre Behausungen, eine Heimstatt auf Zeit. Das hat unmittelbar mit den Stoffen von Christian Petzolds Filmen zu tun, die Gruber seit 1994 durchgängig ausgestattet hat. Filme wie GESPENSTER oder YELLA werden von transitorischen Räumen dominiert. Die Geschichten sind nicht abgeschlossen, sie bieten ein offenes Davor und Danach.

https://www.kolikfilm.at/sonderheft.php?edition=201625&content=inhalt

Seit der digitalen Revolution hat sich das Production Design im Film grundlegend gewandelt. Moderne Technologien ermöglichen die vollständige digitale Gestaltung und Prä-Visualisierung von Filmwelten, wodurch physische Kulissen zunehmend durch virtuelle und interaktive Umgebungen ersetzt werden. Pionierarbeit leistete Alex McDowell mit dem Konzept des Worldbuilding, das die Entwicklung komplexer, glaubwürdiger Welten in frühen Projektphasen betont. Auch deutsche Szenenbildner wie Uli Hanisch setzen auf die Kombination aus analogen und digitalen Techniken, um flexible, immersive Räume zu schaffen. Diese Entwicklungen erweitern die Möglichkeiten des Storytellings und verändern die Gestaltung von filmischen Räumen grundlegend.

Die Beitrag liefert einen grundlegenden Überblick und eine genaue Analyse zur deutsche Filmarchitektur der Stummfilmzeit mit Schwerrpunkt auf den bildkünstlerischeren Prägungen. Die deutsche Filmarchitektur erlangte in den 1920er-Jahren aufgrund künstlerischer Innovationsfreude und technischer Professionalität internationale Anerkennung. Aufwendige Bauten in der Kombination mit raffinierter Modell- und Tricktechnik machten sie zu einem prägenden und innovativem Bestandteil des filmischen Gesamtkunstwerks. Ikonische Werke wie DER GOLEM (1920), DIE NIBELUNGEN (1924), FAUST (1926) oder METROPOLIS (1927) verdanken ihre visuelle Kraft den visionären Filmarchitekturen von Otto Hunte, Erich Kettelhut, Robert Herlth, Hans und Marlene Poelzig sowie Franz Schroedter. Der Aufsatz zeichnet die verschiedenen Ausbildungswege nach und stellt zahlreiche Entwurfe vor, die in Technik und Stil ein hohes Maß an künstlerischem Anspruch widerspiegeln. Die Analyse exemplarischer Positionen stellt Huntes Stimmungsbilder, Kettelhuts konstruktive Methodik, Herlths künstlerische Dynamik, Schroedters moderne Ästhetik sowie Hans und Marlene Poelzigs skulpturale Raumauffassung vor und zeigt die Vielschichtigkeit der filmarchitektonischen Konzepte. Diese zeugen nicht nur von hohem zeichnerischem Können, sondern auch von ihrer narrativen, technischen und ästhetischen Funktionalität innerhalb des filmischen Erzählraums.

https://tchoban-foundation-shop.de/p/deutsche-filmarchitektur-1918-1933

In ihrer Analyse der Verfilmung von Elfriede Jelineks Die Klavierspielerin durch Michael Haneke untersucht Kristina Jaspers die komplexe Wechselwirkung von Blickregime, Schaulust und filmischer Repräsentation weiblicher Sexualität. Im Zentrum steht die Figur der Erika Kohut, die nicht nur Objekt des Blicks ist, sondern diesen aktiv beansprucht und somit traditionelle Geschlechterrollen im Kino unterwandert. Jaspers zeigt, wie Haneke durch gezielte visuelle Distanz, eine fast dokumentarisch anmutende Kameraführung und die Ambivalenz zwischen Nähe und Fremdheit einen reflexiven Voyeurismus erzeugt, der die Zuschauenden in ihrer eigenen Position als Beobachtende entlarvt. Die Analyse zentraler Szenen – etwa im Pornoshop, im Badezimmer oder im Autokino – macht deutlich, wie Haneke Sexualität, Schmerz und Kontrolle als Ausdruck sublimierter Triebregungen inszeniert. Die filmische Umsetzung differiert sich dabei wesentlich von Jelineks literarischer Vorlage und aktualisiert zugleich deren feministische Perspektive. Jaspers’ Beitrag beleuchtet die filmästhetische Strategie Hanekes als kritisches Kommentar zum Kino selbst – als Ort der Lust, der Projektion und der Selbstbeobachtung.

Der Regisseur Werner Herzog begibt sich mit seinen Filmen auf die Suche nach einer "Exstatischen Wahrheit". Eine tiefere Wahrheit, die er in aussergewöhnlichen Bildern, die schön, fremd und irritierend zugleich sind, einzufangen vermag. Bei der Darstellung des Sublimen verschränkt der Regisseur verschiedene Elemente des Visuellen und Auditiven, insbesondere der Musik kommt dabei eine besondere Funktion zu. Die Verschränkungen und Verwebungen, die Herzog zwischen Musik und Bildern zu spinnen weiß, sind kunstvoll und kenntnisreich, und sie zeugen von einer tiefen Musikalität, die ebenso Herzogs Verhältnis zur Sprache bestimmt. Die poetische Qualität von Herzogs Filmen  wird vielfach bereits in deren Gliederung deutlich. Häufig leiten Prologe die folgenden Abschnitte wie Vorspiele ein, gern unterteilt Herzog die Filme in nummerierte Kapitel, denen Titel, Motti oder (zuweilen von ihm erfundene) Zitate vorangestellt sind. Das Sublime, es offenbart sich bei ihm in der leichtfüßigen Verschmelzung von Landschaftsbild und Musik, von Poesie und Pathos, in der Darstellung halluzinierter Fieberträume und ekstatischer Seelenlandschaften.

Anfang 1960 erlebt Ingmar Bergman eine Hochphase seiner internationalen Anerkennung – insbesondere in den USA. Der junge Stanley Kubrick schreibt ihm einen begeisterten Brief und zeigt sich begeistert von der atmosphärischen Dichte seiner Filme. Auf dem Titelblatt des Time Magazine, wird Bergman als herausragenden Künstler seiner Zeit gefeiert. Werke wie SMULTRONSTÄLLET oder DET SJUNDE INSEGLET erhalten bedeutende Auszeichnungen. Auch Produzenten wie David O. Selznick und Harry Belafonte zeigen Interesse an einer Zusammenarbeit – doch Bergman besteht auf seiner künstlerischen Autonomie. Er lehnt starbesetzte Projekte ebenso ab wie kreative Kompromisse und besteht darauf, nur Filme zu realisieren, die er selbst geschrieben und inszeniert hat.

Holocaust battles have had varying characters. Many of the most protracted and stubborn of them have been intellectual and ideological, fought by scholars and debaters who have presented arguments in favour of or against comparisons between the Nazi genocide and Communist mass murder carried out in Lenin's and Stalin's Soviet Union,

Mehr als fünf Jahrzehnte nach dem Tod der großen Schauspielerin Helene Weigel, die am 12. Mai diesen Jahres 125 geworden wäre, ist ihr künstlerisches Vermächtnis schwer zu fassen. Denn im Gegensatz zu den Texten ihres Mannes, Bertolt Brecht, ist ihr Spiel nicht mehr direkt erlebbar. Es läßt sich nur rekonstruieren: aus den Erinnerungen ihrer Freunde, den Medien ihrer Zeit und den wenigen Zeugnissen, die sie selbst hinterließ. Spuren muß man suchen und eine Sprache finden für das Transitorische. Weigel selbst hat ihren späteren Archivaren kaum zugearbeitet. Als Matthias Braun 1978 daranging, im Bertolt-Brecht-Archiv ein Helene-Weigel-Archiv einzurichten, mußte er mit einiger Bestürzung feststellen, daß fast gar nichts vorhanden war. Schriften von Weigel gibt es im eigentlichen Sinne nicht. Sie schrieb zwar aufschlußreiche und oft schöne Briefe, die von »Theater der Zeit« herausgegeben wurden (»Wir sind zu berühmt, um überall hinzugehen.« Briefwechsel 1935-1971). Aber alle Angebote, Rezensionen oder Artikel zu verfassen, lehnte sie mit extravaganter Bescheidenheit ab: »Ich kann nicht schreiben, bin ein besserer Analphabet, und außerdem, unter uns gesagt, ich hasse die Äußerungssucht.« Das meiste, was wir über ihr Selbstverständnis wissen, läßt sich zwei längeren biographischen Gesprächen entnehmen, zu denen sie sich 1959 von Hans Bunge und 1969 von Werner Hecht überreden ließ. Auszüge aus dem ersten wurden in »helene weigel 100«, aus dem zweiten in Hechts »Helene Weigel. Eine große Frau des 20. Jahrhunderts« abgedruckt. Auch Braun entsann sich seines Tonbandgeräts und führte über hundert Zeitzeugengespräche, um den mageren Bestand zu ergänzen. Sie bleiben eine unschätzbare Quelle für Weigels Leben und Werk und bilden die Basis für Sabine Kebirs maßgebliche Biographie »Helene Weigel. Abstieg in den Ruhm« (2002). Wer aber »die Stimme der Weigel« direkt hören möchte-eine Stimme, die nach Anna Seghers »soviel wert sein könnte wie Zeitungsauflagen oder viele Packen Flugblätter oder ein paar Waggon Munition«-, kann auf Aufnahmen zurückgreifen, die für Rundfunk oder Schallplatten gemacht wurden und im Internet kursieren.

In celebration of the Deutsche Kinemathek's director's retirement, Dr. Rainer Rother has published a massive history of German cinema from its beginnings to the present. With over 960 pages, 437 mini-essays, and numerous illustrations, the volume can be read as a history of German cinema and a journey through the Kinemathek's collections.

Kunst ist nicht das Schwierigste, was man heute tun oder ertragen kann. Schwieriger ist es jedoch, die Kunst ›umzuleiten‹ (wie es die Situationisten formulierten), indem man ihre Aura nutzt, um etwas noch Überraschenderes zu bewirken: öffentliche Bedeutung. Auf diese Weise wird die Kunst zu einer Kunst des Dialogs als Form; eine Form, die sich verselbständigt. Und das würde ich heute ›Poesie‹ nennen«. Jochen Gerz 1

In this paper, the author analyzes Woody Allen's film Vicky Cristina Barcelona through an existential lens, drawing parallels with the philosophies of Jean-Paul Sartre and Albert Camus. The characters Vicky, Cristina, Juan Antonio, and María Elena embody existential dilemmas, exploring themes of individual freedom, choice, and the search for meaning in an indifferent world. The analysis delves into Sartrean concepts of bad faith and radical freedom, contrasting Vicky's societal conformity with Cristina's Camusian pursuit of meaning through experiences. The characters' interactions reflect the unpredictable and absurd nature of human relationships, echoing Camus's exploration of the absurdity of emotions. The non-linear narrative structure aligns with existential themes, emphasizing life's unpredictability, and Barcelona serves as a metaphor for the complexities of existence. Woody Allen's narrative and artistic choices invite viewers to reflect on the intricate interplay of love, desire, and chance encounters in the context of existentialism.

The film dialogues in the multiple German award-winning film “Run Lola, run” (Lola rennt) from 1998, directed by Tom Tykwer, show an interesting trajectory in the creation and shaping of the identity of the main characters. Analyzing the dialogues of the characters, it can be noticed that they contribute to the development of the narrative and actively participate in the construction of their complex identities. Observing specific dialogues, it is noticeable how the language used by the characters and their choice of words, tone, as well as the context in which the dialogues take place, serve as powerful tools in the creation of identity. Interesting repetitive dialogue sequences shape a specific relationship between the characters. It is noticeable how film dialogues reflect broader social and cultural identities and contribute to the discourse on identity within film art. The research seeks to provide insight into the complex interaction between language, identity and film narrative, demonstrating how “Run Lola, Run” uses dialogue not only as a narrative mechanism but also as a means of research and presentation of identity.

Keywords: identities, film dialogues, characters, narration, language

While there is significant literature on Ernst Lubitsch's THE SHOP AROUND THE CORNER, no one has discussed that the film was released in January 1940, when Budapest's Jewry was in peril due to new anti-Semitic laws. In fact,  Lubitsch consciously placed the shop in the Jewish district of Budapest, and virtually all the characters are coded as Jewish.

Assess the art and relevance to the development of Russian modernism of Wassily Kandinsky-using as only one example-the Kleine Welten series from 1922. Kandinsky’s incorporation of  architecture into his art will be discussed as it relates to modernism. Two detailed appendices are included. One the sound of color according to Kandinsky due to synesthesia, the other details for each of the twelve Kleine Welten prints.

La nostalgia de la RDA, llamada Ostalgie, se define como una valoración positiva que los nuevos ciudadanos de Alemania hacen retrospectivamente, tras la caída del muro, de la vida en la Alemania oriental (Neller 2006). Esta temática está presente en obras de literatura y de cine, como la novela Am Kürzeren Ende der Sonnenallee (Brussig 1999) y la película Sonnenallee dirigida por Leander Haußmann. Este artículo estudia la presencia de la Ostalgie en estas obras y lo relaciona con la importancia de la música Rock & Roll en la vida de los personajes. El concepto de la Ostalgie implica una nostalgia hacia el Este y una valoración demasiado positiva de la RDA que, según Bouvier (2002), solo fue posible porque la RDA se integró en la RFA. Pero Ostalgie es también una añoranza por una época en la que dominó una dictadura. Por ello puede decirse que en Sonnenalle se articula una relación compleja entre realidad y ficción, en la que Brussig utiliza el humor para embellecer el recuerdo del pasado.