Tesi sul tema "Berlin-Film"

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.

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

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.

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.

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

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

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.

By examining the distinctions made by Lessing between word and picture, I present the hypothesis that cinema and literature have essentially the same range of expression possibilities. However, the ways of expression are differently organized so that there are no linear correspondences between the two artistic modes. The result is that a cinematic adaptation is less a translation of a literary work than a recreation. The examination of Doblin's and Fassbinder's texts shows that there are essential differences in the presentation of the plot. While the novel captures in a mode of citation and montage the violence of collective life in the city, the movie demonstrates in its concentration on psychological types and figures the violence within sexual, interpersonal relationships. The emergence of two different contents that is based upon differences in representation underscores the essential equality in the two modes of expression, cinema and literature.

Indiana University-Purdue University Indianapolis (IUPUI)
In 2001, Home Box Office aired Conspiracy, a dramatization of the infamous Wannsee Conference organized by Reinhard Heydrich and Adolf Eichmann. The Conference took place in Berlin on 20 January 1942 and was intended to coordinate the Final Solution by asserting the dominance of Heydrich and the SS over other governmental departments. The surviving Wannsee Protocol stands as one of the most compelling pieces of evidence for the Third Reich’s genocidal intent and emblematic of its shift from mass shootings in the occupied East to industrial-scale murder. Conspiracy, written by Loring Mandel and directed by Frank Pierson, is an unusual historical film because it reenacts the Wannsee Conference in real time, devoid of the usual clichés prevalent throughout Holocaust films. It also engages with historiographical arguments and makes a few of its own. This thesis argues that dramatic film has been relatively ignored by the public history field and uses Conspiracy as a case study for how dramatic film and television can be used to further the goals of public history, especially that of making complex and difficult histories accessible to wide audiences. Grounded in a thorough reading of script drafts, production notes, HBO meeting minutes, and correspondence, this thesis examines Conspiracy from the vantage point of scholarship in public history, film studies, and Holocaust studies. It details the film’s production history, the sources used for the film, the claims it makes, and advocates for dramatic film as a powerful public history outlet. Ultimately, this thesis argues that Conspiracy is exactly the type of historical film that historians should be making themselves.

Since the fall of the Wall, a new era of East German literature has emerged. This genre of literature exists even though East Germany’s borders dissolved over a decade and half ago and is challenging the way we think about the former German Democratic Republic. East German author Thomas Brussig is pivotal in this new genre of literature. His novels Helden wie wir (1995), Am kürzeren Ende der Sonnenallee (1999) and Leander Haußmann’s cinematic adaptation, Sonnenallee (1999), confront the negative associations and stereotypes connected with East Germany to deconstruct how formal history has portrayed its past and its citizens. Brussig’s texts take a completely different approach to remembering the GDR, which simultaneously challenges history’s dominant perspective as well as the Ostalgie phenomenon. Through his texts’ recollection, Brussig subverts the East German state in hindsight and begins the construction of a new mythology with which to associate former East Germany.