Relevant bibliographies by topics / Berlin-Film

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Berlin-Film'

Author: Grafiati
Published: 25 January 2025

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Journal articles on the topic "Berlin-Film"

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Tarigan, Oktavia, Surya Masniari Hutagalung, and Rina Evianty. "EINE ANALYSE DER VERLETZUNGEN DES KOOPERATIONSPRINZIP IM FILM ,,TSCHICK (GOODBYE BERLIN)” VON FATIH AKIN." STUDIA Jurnal Pendidikan Bahasa Jerman 7, no. 1 (May 7, 2019): 50. http://dx.doi.org/10.24114/studia.v7i1.9947.

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AUSZUGOktaviaTarigan. Matrikelnummer. 213333201, EineAnalyse der Verletzungen des Kooperationsprinzipim Film,,Tschick(Goodbye Berlin)” von Fatih Akin. PädagogischerTitel, Deutschprogramm, FakultätfürSprache und Kunst, Staatliche Universität Medan.Das ZieldieserUntersuchungistes, um die Verletzungen des Kooperationsprinzipim Film ,,Tschick (Goodbye Berlin)” von Fatih Akin zuanalysieren. In dieserUntersuchungwird die deskriptive qualitative Methodeverwendet. Die DatenquelledieserUntersuchungist der Film,,Tschick (Goodbye Berlin)” von Fatih Akin. Die Analysebenutzt die Theorie von Grice. Die Ergebnissezeigen, dassesvierVerletzungen des Kooperationsprinzipgibt, die dieMaximezeigen. Das sind die Maxime der Quantität, die Maxime der Qualität, die Maxime der Relation und die Maxime der Modalität.Basierend auf die Ergebnisse derUntersuchungwirdzusammengefasst, dassessechsundzwanzigVerletzungen des Kooperationsprinzipgibt, nämlichsiebenMaxime der Quantität, neunMaxime der Qualität, sechs Maxime der Relation und vierMaxime der Modalität. Schlüsselwörter: die Verletzungen des Kooperationsprinzip, der Film Tschick (Goodbye Berlin), Fatih Akin.
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Rich, B. Ruby. "Film Festivals in Winter." Film Quarterly 76, no. 4 (2023): 84–92. http://dx.doi.org/10.1525/fq.2023.76.4.84.

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Dwirika, Leli. "KUALITAS TERJEMAHAN TAKARIR FILM BERLIN, BERLIN: LOLLE ON THE RUN." Prosiding Konferensi Linguistik Tahunan Atma Jaya (KOLITA) 22, Prosiding KOLITA 22 (September 28, 2024): 203–16. http://dx.doi.org/10.25170/kolita.22.5976.

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Dalam menerjemahkan takarir sebuah film diperlukan strategi penerjemahan teks audiovisual yang baik. Salah satu praktik penerjemahan audiovisual dari bahasa lisan ke dalam bahasa tertulis dalam film menurut Gottlieb (1992) disebut subtitling. Hasil dari subtitling disebut subtitle (takarir) yang merupakan sebaris teks yang biasa muncul pada bagian bawah layar film (Luyken, G.T., et al. (1991)). Subtitling memiliki aturan-aturan tersendiri agar hasil terjemahan singkat, jelas, padat, dan berterima, karena keterbatasan karakter dalam telop. Dalam proses penerjemahan, biasanya penerjemah menghadapi berbagai macam tantangan. Penerjemah harus memperhatikan tidak hanya sistem dan struktur bahasa yang berbeda antara bahasa sumber (BSu) dan bahasa sasaran (BSa), melainkan juga unsur budaya yang muncul dalam dialog-dialognya. Takarir ditulis dan disesuaikan dengan dialog dalam bahasa sumber secara kronologis, dengan tujuan agar isi dan pesan dapat dikomunikasikan kepada penonton. Untuk menilai apakah kualitas terjemahan takarir baik atau tidak diperlukan analisis keakuratan, keberterimaan, dan keterbacaan berdasarkan teori dari House (2015) dan Nababan, dkk (2012). Dengan menggunakan metode kualitatif deskriptif dengan model analisis kontrastif, dalam penelitian ini takarir film Berlin, Berlin: Lolle on The Run dari bahasa Jerman ke dalam bahasa Indonesia dianalisis kualitas terjemahannya. Bagaimana keakuratannya, sejauh mana pesan dalam teks sumber (Tsu) dapat tersampaikan dalam teks sasaran (TSa) kepada penonton; Bagaimana keberterimaannya, sejauh mana pesan yang disampaikan dalam TSa dapat dipahami, dan apakah pesan yang ditangkap oleh penonton sama dengan pesan dalam TSu; Bagaimana keterbacaannya, sejauh mana pesan yang disampaikan, apakah wajar dan lazim, sehingga penonton dapat merasa bahwa takarir yang dibacanya adalah teks yang wajar. Data dianalis secara kontrastif antara TSu bahasa Jerman dan TSa bahasa Indonesia. Hasil analisis dibahas secara deskriptif. Tahapan penelitian terpenting adalah mengeksplorasi bagaimana menjaga konsistensi berdasarkan istilah keakuratan dan keberterimaan, serta menjelaskan pentingnya praktik lintas bahasa dalam proses penerjemahan. Tujuan penelitian ini dilakukan untuk mengetahui sejauh mana keakuratan, keberterimaan dan keterbacaan takarir film tersebut. Berdasarkan hasil analisis penilaian kualitas terjemahan takarir film ini yang secara keseluruhan terdiri dari 1082 telop, terdapat hasil terjemahan takarir dialog yang sudah dapat dinilai sebagai akurat, kurang akurat, dan tidak akurat. Dari aspek keberterimaan, ada yang berterima, kurang berterima, dan tidak berterima. Sedangkan dari aspek keterbacaan, ada yang tinggi, sedang, dan rendah. Dapat dikatakan akurat, karena takarir dapat dipahami dengan baik, takarir TSu dan TSa sudah sepadan, karena antara isi atau pesan antar keduanya mempunyai kesamaan. Makna atau pesan TSa juga sama dengan teks bahasa sumbernya. Sedangkan yang kurang atau tidak akurat disebabkan karena ada usaha-usaha untuk mengurangi atau menambahi atau menginterpretasikan secara bebas isi atau pesan TSu dalam TSa yang seharusnya dapat dihindari. Usaha-usaha pengurangan atau penambahan menimbulkan akibat ketidakpahaman pada pembaca sasaran takarir terjemahan. Dari hasil analisis korpus data penerjemahan takarir dinilai tidak atau kurang akurat karena berbagai alasan. Hasil terjemahan takarir tidak dan kurang akurat dalam bentuk, kata, frasa, klausa atau kalimat, karena kesalahan dalam menerjemahkan isi atau pesan teks sumber sehingga menimbulkan ketidakpahaman mencerna isi atau pesan dalam takarir dan pesan tidak tersampaikan kepada pembaca. Selain itu, emosi atau pesan yang terkandung dalam film tidak dapat tersampaikan. Secara otomatis tingkat keberterimaan oleh pembaca/penonton tidak atau kurang berterima dan tingkat keterbacaannya rendah. Takarir tidak wajar atau alamiah, tidak lazim dan tidak familiar. Dalam penerjemahan takarir ini terdapat pengalihan kata, frasa, klausa, dan kalimat yang tidak lazim atau familiar bagi pembaca sasaran. Dalam menerjemahkan ungkapan-ungkapan tertentu, unsur budaya dari kedua TSu dan TSa kurang diperhatikan. Peran penerjemah dalam hal ini untuk mencari padanan yang wajar dan sesuai dengan norma dan budaya pembaca sasaran sangat penting agar pembaca atau penonton dapat memahami isi dan pesan teks dengan baik. Selain itu, gaya bahasa dan struktur kalimat yang kurang tepat dan lazim digunakan dalam bahasa percakapan dalam bahasa Indonesia sebagai bahasa sasaran juga perlu diperhatikan karena sangat mempengaruhi dalam aspek keberterimaan dan dari tingkat keterbacaannya teks takarir suatu terjemahan dapat dengan mudah dapat dibaca dan dipahami.
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Frank, Alison Elizabeth. "Berlin International Film Festival - Berlinale 2011." Film-Philosophy 15, no. 1 (February 2011): 234–39. http://dx.doi.org/10.3366/film.2011.0014.

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Nowakowski, Jacek. "Berlin i Niemcy w dwóch adaptacjach filmowych powieści Alfreda Döblina Berlin Alexanderplatz." Poznańskie Studia Polonistyczne. Seria Literacka, no. 44 (October 10, 2023): 49–68. http://dx.doi.org/10.14746/pspsl.2023.44.3.

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The subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism.
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Nati, Siti Ermi, and Ambo Dalle. "Media Film Hallo Aus Berlin dalam Peningkatan Penguasaan Kosa Kata Bahasa Jerman." Phonologie : Journal of Language and Literature 3, no. 1 (February 13, 2023): 74. http://dx.doi.org/10.26858/phonologie.v3i1.43987.

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Abstract. This study aims to determine the improvement, planning, process, and results of using the film media Hallo aus Berlin in increasing the mastery of German vocabulary in class XI SMAN 2 Makassar. This type of research is classroom action research which consists of two cycles. The subjects in this study were students of class XI SMAN 2 Makassar. The data analysis technique in this study consisted of qualitative and quantitative data. Qualitative data was obtained through observation, while quantitative data was obtained through vocabulary mastery tests in cycle I and cycle II. Data analysis using the percentage technique. The results showed that the increase in vocabulary mastery with the average score obtained by students in the first cycle reached 66.94%, and the second cycle reached 78.19%. These results indicate that the use of the film Hallo aus Berlin media can improve the mastery of German vocabulary in class XI SMAN 2 Makassar.Keywords: Improvement, Hallo Aus Berlin Film Media, Vocabulary Mastery
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Bordo, Jonathan. "The Homer of Potsdamerplatz—Walter Benjamin in Wim Wenders's Sky Over Berlin/Wings of Desire, a Critical Topography." IMAGES 2, no. 1 (2008): 86–109. http://dx.doi.org/10.1163/187180008x408618.

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AbstractThe essay explores the deep and pervasive influence of Walter Benjamin in Wim Wenders's Der Himmel über Berlin (The Sky over Berlin under the English title Wings of Desire). The essay draws its title from the Benjaminean storyteller named “Homer” in the film, whose search for the lost Potsdamerplatz is the theme of his principal recitation. The text offers a chorography of Potsdamerplatz to show why Wim Wenders needs Walter Benjamin as his companion in order to recover the heart and soul of the then divided city of Berlin, still submerged in the nightmare of its recent Nazi past. Wenders's dependency on Walter Benjamin sheds light on and gives content to the filmmaker's ambition to make film as an art of memory. Without making any obvious declarations about the Holocaust, Himmel über Berlin points a way toward a civic remembrance that goes beyond the piety of the monument and the politics of identity to fuse urgency with inwardness in a treasure house of memorable images.
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Allison, Deborah. "Film Noir: From Berlin to Sin City." Film Quarterly 60, no. 2 (2006): 80–81. http://dx.doi.org/10.1525/fq.2006.60.2.79.3.

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Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.

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Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.
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Aurand, Ute. "Bolexwerkstatt/Bolex-Workshop at the Berlin Film School." Moving Image Review & Art Journal (MIRAJ) 9, no. 2 (September 1, 2020): 196–98. http://dx.doi.org/10.1386/miraj_00041_1.

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In 2015 after I gave a two-week 16-mm Bolex Seminar at the Berlin Film School (dffb) an enthusiastic woman film student wanted to continue to work with the Bolex. So I proposed a Bolex-Workshop for all interested film students, no matter if they study directing, camera, production, editing or scriptwriting. They would work by themselves without a team, without actors, without scriptwriting and without technical devises, only with the silent Bolex camera. Simple and alone. The administration agreed to my idea and twenty students attended the first meeting in March 2015.
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Dissertations / Theses on the topic "Berlin-Film"

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Hoelscher-Whiting, Susanne Helene. "Berlin identities : literature and film in the new German capital /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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Lee, Hong Real. "Film festivals as public spaces : the transformation of the Busan and Berlin international film festivals." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10720/.

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This thesis analyses film festivals as public spaces. It asks how publicness configures both contemporary film festivals and the activities of those who participate in them. In order to investigate this mix of theories and the concomitant practices are employed, all of which are intertwined with the notion of public or publicness as the overriding conceptual framework of this research. Jürgen Habermas’s universal and rational notion of public sphere has been subjected to criticisms that have called for an understanding of publicness as more fragmented and multiple, and hence experiential. Here, publicness is defined as performative: it is constituted experientially as the degree of physical, perceptual and sensorial connectedness between film festivals and those present at them. In other words, film festivals are experiential public spaces. On the basis of ethnographic analysis of the Busan and Berlin International Film Festivals (BIFF and the Berlinale) utilising in-depth interviews, participant observation and archival analysis, the thesis argues that film festivals are socioculturally bound and perceptually elastic public spaces that enable their audiences or publics to experience the ambient and environmental sense of public accessibility engendered jointly by film festivals and their surrounding milieus. Three aspects are analysed in more detail. First, public spaces are being used as festival venues within contemporary gentrified urban environments. The thesis argues that the physical and structural expansion and transformation of national and international film festivals affects the changing perceptions local residents have of everyday urban public spaces. Second, question and answer (Q&A) sessions between ordinary festival audiences and filmmakers are examined as communicatively performative activities. The thesis argues that the film festival Q&A format functions as a discursive means of facilitating the active participation of festival audiences in its verbally and emotionally-engaging public atmosphere. Third, the roles of film festival media, specifically online, are examined in order to argue that festivals use new media to facilitate ordinary festival audiences’ or their publics’ engagement with the film festival experience as a whole.
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Küffer, Manon. "La Guerre Froide vue par Hollywood : Berlin au prisme des rapports sociaux de genre (1945-1961)." Electronic Thesis or Diss., Université de Lorraine, 2024. https://docnum.univ-lorraine.fr/ulprive/DDOC_T_2024_0181_KUFFER_diff.pdf.

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Cette thèse se concentre sur une poignée de films hollywoodiens se situant à Berlin (les Berlin- Films) au début de la Guerre froide, plus exactement de la fin de la Seconde Guerre mondiale (1945) à la construction du Mur de Berlin (1961). D'un point de vue théorique, cette thèse se concentre sur la vision que ces films nous offrent de la Guerre froide, une période de tensions et de conflits idéologiques et politiques entre les États Unis et l'URSS (et leurs alliés respectifs). Ici, la Guerre froide sera étudiée au prisme notamment des gender studies et plus précisément des rapports sociaux de genre au sein de la ville de Berlin, symbole de la défaite de l'Allemagne nazie, mais aussi d'une future Allemagne dénazifiée, démilitarisée, décentralisée, désindustrialisée, et démocratique (comme préconisé lors de la conférence de Potsdam, 1945). La ville de Berlin est aussi perçue comme largement féminisée et sous l'égide américaine. En d'autres termes, elle se propose d'analyser la sensibilité du cinéma hollywoodien (mais aussi ouest- et est- allemands) aux bouleversements induits dans le champ des rapports sociaux de genre et familiaux par la Guerre froide, et plus généralement par des facteurs externes (production, distribution, réception, considérations commerciales, diplomatiques et historiques). Bien que revêtant un caractère documentaire indéniable pour les spectateurs américains de l'époque (à qui ces films étaient principalement adressés) en ce qui concerne la défaite de l'Allemagne, la réception des Berlin-Films, tant par la presse que par les spectateurs, est partagée entre un désir de réalisme et une volonté de fuir le quotidien. De nombreux critiques ont souvent pointé du doigt le fait que les films constituant notre corpus réduisaient les relations internationales États Unis/Allemagne à une somme d'invariants ou à un ensemble de stéréotypes. Transformant un conflit politique en un conflit romantique, le couple GI/Fräulein deviendrait alors une allégorie des relations internationales. Or, repenser la victoire des États Unis (ou la défaite de l'Allemagne) au prisme des rapports de genre nous permet de réfléchir au traditionnel antagonisme stéréotypé vainqueur/vaincu, mais aussi à ses évolutions étudiées par des historiens tels que Michaela Hoenicke Moore ou Brian Etheridge. Ces histoires d'amour tournées à l'étranger, dans une quête perpétuelle de réalisme, participeraient ainsi à la réorientation d'un récit centré sur la Seconde Guerre mondiale et le nazisme à un récit centré sur la Guerre froide et le communisme. Elles deviendraient une illustration de la transformation idéologique du rapport américain à leurs anciens adversaires (d'ennemis à alliés), transformation qui, dans les Berlin-Films, serait permise par des personnages aux identités abîmées, fluctuantes et instables, en particulier chez les personnages féminins
This thesis focuses on a handful of Hollywood films set in Berlin (Berlin-Films) in the early years of the Cold War, from the end of World War II (1945) to the construction of the Berlin Wall (1961). In this thesis, theoretical emphasis is placed on the perspective these films provide on the Cold War, a period marked by ideological and political tensions and conflicts between the United States and the USSR (and their respective allies). The Cold War will be examined here through the lens of gender studies, specifically analyzing the gender-based social relations within the city of Berlin, symbolizing the defeat of Nazi Germany and the vision of a future denazified, demilitarized, decentralized, deindustrialized, and democratized Germany (as advocated by the Potsdam Conference in 1945). Berlin is also portrayed as significantly feminized and under American influence. In other words, this thesis aims to analyze the sensitivity of Hollywood cinema (but also West and East German films) to the upheavals induced in the field of gender and family social relations by the Cold War and external factors such as production, distribution, reception, commercial, diplomatic, and historical considerations. Even though they provide undeniable documentary features for the American moviegoers of that time (to whom these films were primarily addressed) regarding Germany's defeat, the reception of these Berlin-Films, both by the press and the spectators, seems divided between a desire for realism and a wish to escape daily life. Many critics have often criticized these films for reducing U.S./Germany international relations to a set of invariants or a collection of stereotypes. Transforming a political conflict into a romantic one, the GI/Fräulein couple becomes an allegory of international relations. However, rethinking the victory of the United-States (or the defeat of Germany) through the lens of gender relations allows us to reconsider the traditional stereotyped victor/vanquished antagonism and its evolutions studied by historians such as Michaela Hoenicke Moore or Brian Etheridge. These runaway romances set abroad, in a perpetual quest for realism, thus help the Americans negotiate the reorientation of a story centered on World War II and Nazism to one focused on the Cold War and Communism. They exemplify the ideological transformation of the American relationship with their former adversaries (from enemies to allies), a transformation illustrated by characters with damaged, fluctuating and unstable identities, especially among female protagonists in the Berlin-Films
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Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.

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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.
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Puteri, Arwen. ""Die Mauer im Kopf": Aesthetic Resistance against West-German Take-Over." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5107.

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Even 24 years after the Fall of the Berlin Wall, modern day Germans are still preoccupied with the contentious dynamics of the post-Wall unification process. Concern with geo-political fractiousness is deeply rooted in German history and the reason for Germany's desire to become a unified nation. The Fall of the Wall, and the subsequent rejection of socialism, was a chance to recover and unify what was perceived to be an "incomplete" nation. Yet, despite these actions, social unity between East and West Germans has never occurred and the Wall still persists as a metaphorical barrier in the minds of German citizens. Thus, the unification process should be critically evaluated so that the lingering (social) disunity between East and West Germans may be better understood and potentially remedied. This thesis examines how two post-Wall films, Good Bye, Lenin! (2003) and Berlin is in Germany (2001) reveal patterns that explain the lingering disunity between East and West from an underrepresented lens: an East German perspective. I do so by investigating whether these films offer insights into the culture of the former GDR, which was ideologically, institutionally, and socio-economically divided from the West for over 40 years. This argument is supported by an analysis of how Good Bye, Lenin! and Berlin is in Germany confront the audience with a new (East German) hero who has to navigate a "foreign" terrain and is expected to adapt to and embrace this entirely new culture. Both films allude to the East German sentiment of longing for GDR culture and values as an attempt to maintain an East German identity while being threatened by overpowering "colonization" by the West.
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Wahbeh, Hossam [Verfasser], Karl [Akademischer Betreuer] Schawelka, and Hans [Akademischer Betreuer] Beller. "Der Musikfilm als Form des Dokumentarfilms : Eine Untersuchung über die Erzeugung einer realistischen Illusion im Dokumentarfilm anhand einer Analyse des Musikfilms Berlin - Die Sinfonie der Grosstadt / Hossam Wahbeh ; Karl Schawelka, Hans Beller." Weimar : Promotionsstudiengang Kunst und Design/Freie Kunst/Medienkunst (Ph.D), 2013. http://d-nb.info/1116298384/34.

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Ebbrecht-Hartmann, Tobias. "Blicke auf das Grauen. German Concentration Camps – Ein Film als Quelle." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2014. https://slub.qucosa.de/id/qucosa%3A35004.

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Pierron, Andréa. ""L'Ombre de votre espérance" : repères pour une histoire plastique des revues d'artistes expérimentaux au XXe siècle." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA085/document.

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Cette thèse de doctorat se consacre à l’analyse de périodiques créés au cours du XXe siècle par des cinéastes et des plasticiens à l’œuvre dans le champ des avant-gardes et du cinéma expérimental. Les revues forment des objets plastiques et spéculatifs, complexes et composites de par les relations qui se nouent entre le texte et l’image, les montages qui se créent et le défi que constitue la transposition des images filmiques. En quoi ces revues d’artistes témoignent-elles d’une recherche expérimentale ? Comment les revues d’artistes participent-elles à une histoire critique et plastique des formes cinématographiques ? L’étude tente de comprendre les manières originales dont les cinéastes et les plasticiens se saisissent des revues afin d’élaborer, défendre, documenter, objectiver et analyser certains paradigmes cinématographiques. À quels titres les revues deviennent elles-mêmes des propositions expérimentales, des laboratoires de recherche sur les liens entre l’image et le texte ? Nous observerons comment, grâce à leurs propositions techniques, graphiques et visuelles propres, les revues exposent certains enjeux matériels, poétiques, plastiques et théoriques propres à l’image cinématographique, comment elles questionnent le regard. Les revues offrent des plateformes de diffusion et de dissémination esthétiques, servent à ouvrir des réseaux de circulation pour les idées, singulières ou collectives, des rédacteurs en chef. Comment accompagnent-elles leurs efforts dans la construction d’un milieu cinématographique alternatif ? Les revues Dada I de Tristan Tzara et Hans Arp (1916), Dada Sinn der Welt de John Heartfield et George Grosz (1921), Le Promenoir de Jean Epstein, Pierre Deval et Jean Lacroix (1921-1922), G. für elementare Geschaltung de Hans Richter (1923-1926), Close Up du groupe Pool composé de Kenneth Macpherson, Bryher et H.D. (1927-1933), Film Culture de Jonas Mekas (1955-1996) et Cantrill’s Filmnotes d’Arthur et Corinne Cantrill (1971-2000) forment le corpus de cette thèse qui vise à contribuer à une histoire plastique des publications expérimentales
This PhD thesis focuses on analyzing periodicals created during the XXth Century by both visual artists and filmmakers operating in the realm of avantgardes and experimental cinema. The journals become plastic, conceptual, complex, and composite objects because of the interplay between text and image as well as the reproduction of images and realization of photomontages. How these artists’ journals show signs of an experimental approach ? How do artists’ journals contribute to the critical and plastic history of film ? The dissertation aims to understand the unique ways the visual artists and filmmakers make use of the journals to create, defend, document, visualize and analyze some cinematic paradigms. To what extent the journals become in turn experimental works about the relationships between text and image ? We will study how magazines exhibit various plastic, aesthetical, theoretical, and poetical dimensions at stake in the cinematic image, relying on specific technical, graphic and visual undertakings, and how they call into question the perception. Journals become instrumentalized in ensuring the movement of the editors’ ideas, either collective or indivuals. How do journals support the editors’ efforts in building an alternative cinema domain ? Dada I edited by Tristan Tzara and Hans Arp (1916), Dada Sinn der Welt by John Heartfield and George Grosz (1921), Le Promenoir by Jean Epstein, Pierre Deval and Jean Lacroix (1921-1922), G. für elementare Geschaltung by Hans Richter (1923-1926), Close Up by Kenneth Macpherson, Bryher and H.D. (1927-1933), Film Culture by Jonas Mekas (1955-1996) and Cantrill’s Filmnotes by Arthur et Corinne Cantrill (1971-2000) form the corpus of this PhD thesis, which aims to contribute to a plastic history of experimental publications
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Manicke, Heidi. "Berlin in Transit(ion)." Thesis, 2010. http://hdl.handle.net/1974/6096.

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This study establishes how rail transportation systems and their filmic and literary representations form and inform culture and identity, particularly in the new German capital and by extension its new Berlin Republic. Where, how, and by whom mobility is practiced influences the city and vice versa. Historically, Berlin’s U-Bahn and S-Bahn system, have mirrored physical and emotional changes in the urban landscape. They have also been an important platform for the exchange of cultural information through networks of shared knowledge among Berlin’s diverse groups of citizens. This situation continues into today. Both studies about urban rail transport and more traditional cultural texts suggest the communicative possibilities of such public mobility infrastructure. Interactions that occur on the Bahn system can engender possibilities for a new nation based on a multicultural society and constitutional patriotism, rather than one based on blood-and-soil type ideologies. Theoretical and fictional work also suggests that public rail transport is a litmus test, registering, for instance, the significant tensions of unification including increasing economic disparity and a resurgence of racialized violence. Cultural texts in particular sketch a mass exodus of citizens from the Bahn system and depict an increase of privately owned vehicles and bicycles being used to access the city. How does the figurative and perhaps real world removal of these travelers from the culture-building dialogues that occur on Berlin’s rail transportation signify for the future? Cultural representations of the Bahns provide unique perspectives into the past, the present, and the prospective future of Berlin. As ciphers, they participate in the rich cultural code of Berlin, a city between worlds and central to German national identity.
Thesis (Master, German) -- Queen's University, 2010-09-24 23:38:12.104
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Chen, Tsuiping, and 陳翠萍. "A Reflection and Discussion on One Decade’s (2007-2016) Culinary Cinema in Berlin International Film Festival." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/88435226986971666546.

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碩士
國立高雄餐旅大學
飲食文化暨餐飲創新研究所
105
The study of food films and documentaries has, since the 1980s, begun to be noticed in the scholarship. According to some literature review, the scholarship on food films focused largely on analysis of food representations in individual films. This aspect of research usually explored the symbolic role or metaphoric role of food and food behaviors play in cinematic narratives and images. The results of the research indeed affirmed that “films’ narratives and images are a legitimate means of observing the changing structures of social interdependence and shifts in cultural identity” (Ferry, 2003, p. 2). However, the success of this aspect of research suggests that there is even more that could be done in this burgeoning area. The study intends to review a decade’s food films selected and demonstrated in Berlin International Film Festival from 2007 to 2016. In the literature review section, 171 food films including new and old food documentaries and short and feature food films from all over the world have been briefly introduced. Also the previous overarching frameworks used to analyze the food films have been reviewed. In order to find out the main themes demonstrated the real roles of food play in people’s life, the researcher have watched the 171 films and studied related reviews, journal articles, and book chapters on these documentaries and films. The researcher also conducted a systematic research synthesis on them. Using Glaser and Strauss’ Grounded Theory (1967) constant comparison method, the researcher did comparative reviews on these documentaries and films. Four main themes emerged from the synthesis are: (1) It is the time to disclose the desire and awakening of human beings for nature and healthy food and for fair and just food; (2) The eternity of human beings is built on the sustainable ecology and biological diversity; (3) The persistence, creativity and ideals of the cooks are the driving force for human food culture transmission and inheritance；(4) Food is the origin of emotional communication between human life and all things. It is anticipated the research results can provide Taiwanese scholars and educators of food culture with a general overview of the current global food culture issues, so that they would study and teach food culture in a broader perspective. It is also expected that the analysis on the 171 selected food films can inspire more Taiwanese film makers and producers to shoot profound and far-reaching dietary documentaries or dramas to spread the long history and plenty of Chinese food culture. By doing so, it is hoped that Taiwanese can sincerely look at the current global concern of the various food issues and its connection to Taiwan society.
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Books on the topic "Berlin-Film"

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1947-, Berg-Ganschow Uta, Jacobsen Wolfgang 1953-, Arnheim Rudolf, and Stiftung Deutsche Kinemathek, eds. Film, Stadt, Kino, Berlin. Berlin: Argon, 1987.

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, Filmmuseum, ed. M: Film Museum Berlin - the exhibition. Berlin: Nicolai, 2000.

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Film-, und Fernsehwissenschaftliches Kolloquium (2nd 1989 Berlin Germany). 2. Film- und Fernsehwissenschaftliches Kolloquium, Berlin, '89. Münster: MAkS Publikationen, 1990.

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1953-, Jacobsen Wolfgang, and Noth Volker 1941-, eds. Berlin im Film: Die Stadt, die Menschen. Berlin: Argon, 1998.

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Sulʹkin, O. Russian cinema at the European film market, Berlin '94. [Moscow]: Reklamfilʹm, 1994.

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DEFA-Stiftung, ed. Kino und Film im Berlin der Nachkriegszeit: 1945-1953. [Berlin]: Die Stiftung, 2004.

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Fritz, Mierau, ed. Russen in Berlin: Literatur, Malerei, Theater, Film, 1918-1933. 2nd ed. Leipzig: P. Reclam, 1990.

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Museum für Fotografie (Berlin, Germany) and Kunstbibliothek (Berlin Germany), eds. Berlin in der Revolution, 1918-1919: Fotografie, Film, Unterhaltungskultur. Berlin: Kunstbibliothek, Staatliche Museen zu Berlin, 2018.

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Internationale Filmfestspiele Berlin (1986 : Berlin), ed. 36. Internationale FilmFest Berlin 1986. Montréal: TeleFilm Canada, 1986.

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Internationale Filmfestspiele Berlin (52 2002 Berlin). Filmindex: 52. internationale Filmfestspiele Berlin, 06.-17.02.2002. Berlin: Filmfestspiele, 2002., 2002.

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Book chapters on the topic "Berlin-Film"

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Mennel, Barbara. "Modernity and the city film: Berlin." In Cities and Cinema, 19–38. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge critical introductions to urbanism and the city: Routledge, 2019. http://dx.doi.org/10.4324/9781351016193-3.

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Heiduschke, Sebastian. "The Gegenwartsfilm, West Berlin as Hostile Other, and East Germany as Homeland: The Rebel Film Berlin—Ecke Schönhauser (Berlin SchöNhauser Corner, Gerhard Klein, 1957)." In East German Cinema, 61–67. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137322326_7.

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Pinkert, Anke. "Rubble Film as Archive of Trauma and Grief: Wolfgang Lamprecht’s Somewhere in Berlin." In German Postwar Films, 61–76. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230616974_5.

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Twark, Jill E. "German Film Comedy in the ‘Berlin Republic’: Wildly Successful and a Lot Funnier than You Think." In European Cinema in the Twenty-First Century, 263–79. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_15.

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Nutt-Kofoth, Rüdiger. "Plurimedialität, Intermedialität, Transmedialität Theoretische, methodische und praktische Implikationen einer Text-Ton- Film-Edition von Alfred Döblins Berlin-Alexanderplatz-Werkkomplex (1929–1931)." In Aufführung und Edition, edited by Thomas Betzwieser and Markus Schneider, 183–94. Berlin, Boston: De Gruyter, 2020. http://dx.doi.org/10.1515/9783110639261-015.

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Cairns, Graham. "Berlin on film:." In Filming the City, 145–62. Intellect Books, 2016. http://dx.doi.org/10.2307/j.ctv36xvpjv.14.

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"DAS NEUE BERLIN. Affirmation und Kritik der Moderne im Berlin-Film der Nachkriegszeit." In Schauplatz Berlin, edited by Hans Richard Brittnacher, 125–43. edition text + kritik im Richard Boorberg Verlag, 2018. http://dx.doi.org/10.5771/9783967072150-125.

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Preece, Julian. "Erich Kästner und der internationale Berlin-Film-Komplex." In Politik und Moral, 131–44. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110743418-010.

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Panahi, Jafar. "An Open Letter to the Berlin Film Festival." In Jafar Panahi, 128–29. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/jj.399518.26.

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Lyons, Owen. "Finance, Liquidity, and the Crisis of Masculinity in Weimar Cinema." In Finance and the World Economy in Weimar Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727136_ch04.

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Chapter 4 addresses depictions of finance and masculinity in Weimar cinema, addressing the many ‘moments of liquidity’ to be found in key films. Continuing from the previous chapter, it discusses the conflation of women and water in Berlin: Die Sinfonie der Großstadt (‘Berlin: Symphony of a Great City,’ 1927) in order to further develop the conflation of finance, liquidity, and a crisis of gender in Der letzte Mann (‘The Last Laugh,’ 1924) and L’Argent (‘Money,’ 1929). This chapter then turns to Gerhard Lamprecht’s film Hanseaten (1925) – an important yet unknown film, which has escaped inclusion in the Weimar film canon altogether, and provides a key image of reactionary stabilization to this study.
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Conference papers on the topic "Berlin-Film"

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yuanliang, Chen. "On the Exploration of Qimen Prediction in the 70th Berlin International Film Festival." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.007.

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Ramanagar Sridhara, Shreyas, Antonio Andreini, Marc D. Polanka, and Myles D. Bohon. "LES Investigation of Film Cooling in Rotating Detonation Combustors." In ASME Turbo Expo 2024: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2024. http://dx.doi.org/10.1115/gt2024-123796.

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Abstract High-power density combustors like Rotating Detonation Combustors (RDC) offer significant benefits. However, they must overcome many challenges to be integrated into a gas turbine. Cooling the RDC is one of the most significant, due to the high heat loads generated by the combustion process. Preliminary analysis of the required cooling system has shown that cold-side convective cooling is insufficient to cool combustor walls unless a protective barrier is applied to the hot side surface. Therefore, this work explores the feasibility of film cooling a RDC. A high-fidelity LES investigation was employed due to the uniqueness of this problem. Namely, it was expected that the detonation wave and the downstream oblique shock wave would have a significant impact on the flow exiting cooling holes for this type of combustor. This investigation represents the first attempt to integrate a full coverage film cooling scheme in a RDC. The reference RDC geometry is provided by TU Berlin. Three different coolant plenum pressures were simulated generating three different coolant mass flows in the post-detonation region. The results showed there is a period when each hole is effectively ‘blocked’, and coolant does not flow out of the hole. As the detonation wave passes, the film is able to recover and reform along the outer wall of the RDC. This process occurs at the detonation frequency of 7.5 kHz creating an unsteady, periodic flow behavior. Overall, the average gas temperature near the wall shows a significant reduction with the use of film cooling. These early results suggest that film cooling can be applied in an RDC flowfield.
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Hepper, Dietmar. "Investigating properties of film grain noise for film grain management." In 2013 IEEE Third International Conference on Consumer Electronics ¿ Berlin (ICCE-Berlin). IEEE, 2013. http://dx.doi.org/10.1109/icce-berlin.2013.6698054.

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Haendler, M., D. Raake, and M. Scheurlen. "Aero-Thermal Design and Testing of Advanced Turbine Blades." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-066.

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Based on the experience gained with more than 80 machines operating worldwide in 50 and 60 Hz electrical systems respectively, Siemens has developed a new generation of advanced gas turbines which yield substantially improved performance at a higher output level. This “3A-Series” comprises three gas turbine models ranging from 70 MW to 240 MW for 50 Hz and 60 Hz power generation applications. The first of the new advanced gas turbines with 170 MW and 3600 rpm was tested in the Berlin factory test facility under the full range of operation conditions. It was equipped with various measurement systems to monitor pressures, gas and metal temperatures, clearances, strains, vibrations and exhaust emissions. This paper presents the aero-thermal design procedure of the highly thermal loaded film cooled first stage blading. The predictions are compared with the extensive optical pyrometer measurements taken at the Siemens test facility on the V84.3A machine under full load conditions. The pyrometer was inserted at several locations in the turbine and radially moved giving a complete surface temperature information of the first stage vanes and blades.
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Anđić, Jovo. "Literary tourism: Literary guide through Belgrade, good practice expirence." In Zbornik radova – VI Kongres geografa Srbije sa medunarodnim ucešcem, 164–74. University of Belgrade - Faculty of Geography, Belgrade, 2024. https://doi.org/10.5937/kongef24077a.

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Literary tourism is related with cultural tourism and cultural heritage. Its looks like that it is a phenomena of new age, but for it are connected mainteend terms, and it is, by itself, much older. A long time ago exist a need for traveling on pilgrimage trying to fi nd the cradle of ancient art and poetry in Old Rome and Ancient Greece, Keats, Shelly, Byron...The birthplace of tourism is England, which was born with first tour travel by train from Loughborough to Lester in July 1841, which was organized by Thomas Cook, future founder of first tourist agency. There is some opinion that literary tourism actually started in England too, when actor David Garrick in the year 1769. "discovered" Shakespeare's birthplace Stratford upon Avon. As a huge Shakespeare admirer and actor of his playing figures, on demand of local people he donated a writers statue for city hall. He decided too, to organized a three days festival in month September on the name "Jubilee" which was announced in newspapers. In spite of catastrophe of the first festival because of big rain, Shamilion kespears birth place become a famous and the biggest center of literary tourism in Britain with 2,5 tourist every year. We are presented a theoretical frame of literary tourism, but in focus we have a "Literary guide trough Belgrade" as an example of good practise. We are following all phases of this project, from idea, editing in specialised magazines, making tours on the ground, publishing book and finally shooting a documentary film based on the model of city tours. Inspired by writers Dragan Velikich essay about Berlin, in which he wrote about enciclopedic perfect guide-book "Literary guide trough Berlin".It recovered remembrance on the past and registered presence of hundred writers and artists. On path of it author is trying trough lives and works couple of dozen co-called Belgrades writers to paint the picture of cultural and historical uprise of Serbian capital, making a net of itineraries which connected different points.
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Pfennig, Anja, and Jörg Maier-Rothe. "Successfully planning and implementing peer-to-peer lecture films – “Making of”." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7504.

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Videos implemented in higher education are widely used by students and provide an audio and visual stimulus covering different learning methodologies. Lecture videos that are analogous to the desired learning outcomes of the lecture are considered a reinforcement. These videos covering scientific background on short sequences need to be of a certain standard to gain students` interest and become a fully accepted learning material. Since summer 2015 lecture videos are implemented in “inverted classroom” teaching scenarios to teach material science to first year students studying mechanical and automotive engineering at HTW Berlin. These videos were initially inspired by students resulting in the conduction of a set of lecture videos during a one term semester project each semester. The “making-of” is supervised by lecturers and film experts (peer-to-peer approach). The peer-to-peer approach is an important aspect because students` needs and their perspective on teaching material is included directly in the videos. Because we were asked many times: what does it take to prepare successful peer-to-peer lecture films this paper practically contributes to those who are thinking about producing lecture videos and implementing these in face-to-face lectures or online/blended learning scenarios.
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Pfennig, Anja. "Lessons learnt – The role of peer-to-peer lecture films in a first year material science laboratory course." In Sixth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.10953.

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At HTW Berlin material science is taught to first year students in combination with laboratory exercises on materials testing. Still, basic knowledge upon theory is necessary to work practically during lab sessions. Therefore homework reading is assigned and additionally lecture films guide students through the laboratory routine prior to class. Initially inspired by students these lecture films were conducted during a one term student semester project according to the peer-to-peer approach supervised by lecturers and film experts. Since establishing the lecture films in summer semester 2015 time consuming explanations were redundant and the students were prepared better gaining more knowledge during practical work than those who did not have access to the films. After watching the introductory films download activities increased and online lectures were prepared carefully. However, the initial increase in final test results is not valid taken into account all grades from 2015 up to now. Still, even if the academic output is not better with our without the implementation of lecture films, the better handling of laboratory equipment and the more smoothly running lab courses account for at least a part time success.
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Um, Keehong, and Dong-Soo Lee. "Designing two-dimensional film speakers using piezoelectric materials." In 2011 IEEE First International Conference on Consumer Electronics - Berlin (ICCE-Berlin). IEEE, 2011. http://dx.doi.org/10.1109/icce-berlin.2011.6031837.

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Pfennig, Anja. "Successfully planning and implementing peer-to-peer lecture films – “Making it work”." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7503.

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Since summer 2015 lecture videos are implemented in “inverted classroom” teaching scenarios to teach material science to first year students studying mechanical and automotive engineering at HTW Berlin. Lecture videos so far cover subjects such as material testing, corrosion, composites, defects in crystals, hardening mechanisms and materials families. These videos were initially inspired by students. Each semester a set of lecture videos is conducted during a one term semester project supervised by lecturers and film experts (peer-to-peer approach). The peer-to-peer approach is an important aspect because students` needs and their perspective on teaching material is directly included in the videos. Recordings of lectures were also successfully implemented teaching general phase diagrams and the iron-carbon-phase diagram. Both, lecture films and recordings of lectures were used to study themes after class, prepare for classes (inverted classroom scenarios) and the final exam. Students are familiar with videos as learning source, enjoyed to work independently and not only according to contact hours and were generally more active and better prepared during class resulting in better grades. The teaching method “inverted classroom” and class results directly relate to the quality of the video material. Practice examples introduce the teaching method and evaluation of both, videos and teaching method.
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Haselbach, F., and H. P. Schiffer. "Aerothermal Investigations on Turbine Endwalls and Blades (AITEB)." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-53078.

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This paper delivers an overview on the European research project AITEB (Aerothermal Investigations on Turbine Endwalls and Blades), which started in year 2000 in the course of the 5th Framework Programme (GROWTH). The project shall deliver an integrated technology and design tool package for the advanced, aerothermal highly loaded design of turbine endwalls and blades. It focuses on the following technical tasks : A) Heat transfer/cooling in separated flow areas: Experimental and numerical investigation of heat transfer and film-cooling in separated flow for highly loaded blades including advanced trailing edge cooling (Work Package 1&2). B) Heat transfer/ improved cooling of turbine endwalls: Experimental and numerical work on heat transfer and cooling of turbine endwalls (Work Package 3, 4 & 5). These work packages comprise new technologies for passive shroud cooling and unshrouded blade tip groove cooling. C) Optimised CFD-process, which aims to validate and optimise the whole CFD-process (drawing-grid-modelling-postprocessing-risk assessment) in order to derive the,, best practice” for engineers to use CFD as a risk reduction and time effective tool. (WP6) Experimental results of test series at various test sites are presented and compared to numerical simulations of the eight industrial partners (Rolls-Royce Deutschland (co-ordinator), ALSTOM Power, Avio, ITP, MTU Aero Engines, Turbomeca, Volvo Aero Corp., Snecma Moteurs) and eight research establishments and Universities (DLR, VKI, Univ. of Cambridge, Univ. of Karlsruhe, Univ. of Florence, Univ. of German Armed forces Munich, Polisch Academy of Science, Techn. Univ. of Berlin). Key results of AITEB are in the development of physical understanding and validation of CFD for aerothermal purposes in the area of complex and separated flows. Furthermore, in case of tip regions of blades (either shouded or shroudless) existing cooling technologies are investigated in order to derive a basis for an optimization of the specific cooling technology.
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