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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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерела
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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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Liyanti, Lisda, and Febri Dahara. "Analisis Generation Gap dan Kafkaesque Modern dalam Film A Coffee in Berlin (Generation Gap and Modern Kafkaesque Analysis in A Coffee in Berlin Movie)." MOZAIK HUMANIORA 20, no. 2 (November 10, 2021): 155. http://dx.doi.org/10.20473/mozaik.v20i2.17821.
Повний текст джерелаАнотація:
AbstrakSetelah Chlöe Swarbrick, seorang politikus asal New Zealand mengungkapkan frasa ‘OK Boomer’ pada pidatonya mengenai perubahan iklim, frasa tersebut marak digunakan di sosial media dalam menanggapi isu perbedaan opini dan pandangan antar generasi. Dalam memahami isu tersebut dibutuhkan pemahaman mengenai fenomena generation gap. Fenomena tersebut tercemin dalam film A Coffee in Berlin (2014) karya Jan-Ole Gerster yang menjadi korpus dalam penelitian. Penelitian ini bertujuan untuk menjelaskan aspek pembentuk generation gap dalam film serta kaitannya dengan unsur kafkaesque lalu menghubungkan keduanya dengan simbolisme kopi. Fokus penelitian ini terletak pada interaksi the silent generation, baby boomer dan millennials dan dampaknya terhadap Niko Fischer, tokoh utama dalam film, sebagai milenial. Teori generasi oleh Karl Mannheim, metode kualitatif dengan cara tinjauan pustaka serta pendekatan semiotika digunakan untuk mencari makna dari percakapan dan adegan dalam film. Hasil penelitian menunjukan bahwa fenomena generation gap dalam film mengandung dua relasi kuasa yang berbeda yaitu berupa kekecewaan dan harapan baru bagi milenial. Terdapat pula simbolisme kopi dalam film. Dalam konteks generation gap, kopi menyimbolkan harapan baru bagi generasi muda. Sedangkan dalam konteks kafkaesque kopi tersebut menyimbolkan ironi dan perasaan frustasi untuk mendapatkan sesuatu yang diinginkan Kata kunci: Generation Gap, A Coffee in Berlin, Kafkaesque Modern, Kopi AbstractSince Chlöe Swarbrick, a politician from New Zealand stated the phrase ‘OK Boomer’ in her speech about the climate change, the phrase is now widely used in social media in response to the issue of differences of opinion and views between generations. To understand this issue, we need to understand the phenomenon of generation gap. This phenomenon is reflected in the film A Coffee in Berlin (2014) by Jan-Ole Gerster, which becomes a corpus of this research. This research aims to explain the aspects behind the generation gap phenomenon and its relation to kafkaesque elements with coffee as the media to symbolize both. This research will focus on the generation gap phenomenon between the silent generation, baby boomers, and millennials, as well as the impact felt by Niko Fischer, the main character in the film, as a millennial. Theory of Generations by Karl Mannheim, qualitative methods, literature review and semiotics approach are used to find the meaning from conversation and scences in the film. The results show that the generation gap phenomenon contains two different power relations in the form of dissapointment and new hope for millennials. The generation gap and kafkaesque situations are displayed through coffee symbolism in the film. In the context of the generation gap, coffee symbolizes new hope for younger generation. In the context of kafkaesque, it symbolizes irony and the frustation of obtaining something that is desired. Keywords: Generation Gap, A Coffee in Berlin, Modern Kafkaesque, Coffee
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Alter, Nora M. "Two or Three Things I Know about Harun Farocki." October 151 (January 2015): 151–58. http://dx.doi.org/10.1162/octo_a_00206.
Повний текст джерелаАнотація:
I last saw my friend Harun Farocki a few days before the opening of his exhibition at the Hamburger Bahnhof in late January 2014. Astonishingly, this was his first major one-person show in Berlin, a city that he called home and that had shaped his intellectual and artistic sensibility for over half a century. “I should have been born in Berlin,” he muses in his autobiographical “Written Trailers” (2009). Farocki was initially drawn to West Berlin in the early 1960s because the island city had been spared the Wirtschaftswunder (economic miracle) of the 1950s that had reshaped the rest of West Germany. It retained a forlorn rawness, a sense of bohemia, and a countercultural public sphere that attracted hippies, draft dodgers, political outcasts, and artists of all kinds. Farocki was a member of the first Deutsche Film und Fernsehakademie (Berlin Film Academy) class, along with Helke Sander, Holger Meins, and Wolfgang Petersen. He lived in a commune, wrote criticism, and produced relatively obscure agitprop films such as Herstellung eines Molotow-Cocktails (How to Make a Molotov Cocktail) (1968), Anleitung, Polizisten den Helm abzurissen (How to Remove a Police Helmet) (1969), and the better-known Nicht löschbares Feuer (Inextinguishable Fire) (1969). As Berlin changed over the years, however, so, too, did Farocki and his filmmaking practice.
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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.
Повний текст джерелаАнотація:
German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
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Kacmaz Erk, Gul, and Christopher Wilson. "Framed Memories of Berlin: Film, Architecture and Remembrance." Architecture and Culture 6, no. 2 (May 4, 2018): 243–63. http://dx.doi.org/10.1080/20507828.2018.1478513.
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Ryan, David. "Sedimentations: Some Thoughts on Schoenberg’s Musical Accompaniment to a Cinematographic Scene." CINEJ Cinema Journal 1 (October 6, 2011): 64–75. http://dx.doi.org/10.5195/cinej.2011.11.
Повний текст джерелаАнотація:
This article examines Arnold Schoenberg’s Begleitmusik zu einer Lichtspielszene of 1930. This, essentially, is a soundtrack in search of a film (no film was actually created with it in mind), and clearly speaks of Schoenberg’s bleak premonitions of the coming decade with its cue titles of ‘threatening fear’ – ‘danger’ – and ‘catastrophe’. The article further explores Schoenberg’s music in relation to the musical/ cinematic practices of his day. This leads to a discussion of Jean-Marie Straub and Danielle Huillet’s utilization of the score from 1973 which uses film as a self-reflexive device to explore the personal, cultural and the political. Having received permission to create a new film for this piece (currently in planning) the author of this article hopes to explore how the cities of Vienna and Berlin might form a visual hinge through which to view the tumultuous exile of the composer from Vienna to Berlin and on to the USA after the rise of National Socialism in 1933. Like Straub and Huillet the author aims to use, and discuss, the potential of film to map the historical onto the present.
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Palmer, Christoph E. "Die Strategie der Film- und TV-Produzenten in der digitalen Welt." MedienWirtschaft 10, no. 3 (2013): 8–9. http://dx.doi.org/10.15358/1613-0669-2013-3-8.
Повний текст джерелаАнотація:
Dr. Christoph E. Palmer ist seit 2005 selbständiger Unternehmensberater. Seit 2008 ist er auch Vorsitzender der Geschaftsführung der Allianz Deutscher Produzenten Film & Fernsehen e.V. (Produzentenallianz) in Berlin und München. ln dieser Funktion besteht seit 2009 Mitgliedschaft im Verwaltungsrat der Filmförderungsanstalt des Bundes (FFA) in Berlin. 1996-2008 war er Aufsichtsratsvorsitzender der Filmakademie Baden-Württemberg, 1998-2004 Aufsichtsratsvorsitzender der Medien- und Filmgesellschaft Baden-Württemberg. Sein Hintergrund: Geistes- und sozialwissenschaftliches Studium an der Universität Tübingen. 1992 Promotion. 1994-96 Professor für Politikwissenschaft an der Polizeihochschule Villingen-Schwenningen. 1996-98 Staatssekretär für Wissenschaft Baden-Württemberg. 1998-2004 Staats- und Europaminister Baden-Württemberg.
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Wang, Yunning. "Film Literary Criticism and Image Aesthetics: Around Film Criticism." SHS Web of Conferences 167 (2023): 01014. http://dx.doi.org/10.1051/shsconf/202316701014.
Повний текст джерелаАнотація:
Film criticism has been carried out in the form of activities since its inception, in which many outstanding intellectuals and artists have participated.Especially in this respect, European intellectuals can contrast with American intellectuals, who have long held films in contempt. “In Europe, intellectuals have been fascinated by filmmaking since the beginning of their media,” writes Tim Bewart and Thomas Szobak.It is not surprising, therefore, that in the 1920s, throughout Europe, Paris, Berlin, Moscow, a group of intellectuals dedicated to all corners of the art and other artists on the same basis as art, came together to discuss and write about film. “Unlike the U.S., where movies were excluded from intellectual reflection until the late 1950s, film criticism was a battleground for intellectuals in France.
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Ingram, Susan. "Berlin." Space and Culture 17, no. 4 (November 2014): 366–78. http://dx.doi.org/10.1177/1206331214543867.
Повний текст джерелаАнотація:
Historical films about Hitler and Nazi Germany are perennially popular both within and beyond the academy. However, even in films not set in, or in any way involving, Nazi Berlin but rather only filmed on location in the city, material memories of the city’s fascist spaces can be shown to exert their influence. In comparing the eerily similar geo-aesthetic styles of two relatively obscure, relatively recent science fiction action films—Kurt Wimmer’s Equilibrium (2002) and Karen Kusama’s Aeon Flux (2005)—this contribution seeks to understand how the historically inflected spatial dimension of its urban imaginary has translated into a discernibly dark and spectacularly gendered film style.
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Gieselmann, Martin. "Chinese Films At the 1995 Berlin International Film Festival." China Information 9, no. 4 (March 1995): 73–77. http://dx.doi.org/10.1177/0920203x9500900404.
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Liu, Qiongyu. "A Study on Subtitling Translation from a Multimodal Pragmatic Perspective: A Case Study of the English Subtitles of Return to Dust." Frontiers in Humanities and Social Sciences 4, no. 9 (September 20, 2024): 192–99. http://dx.doi.org/10.54691/b8msrs06.
Повний текст джерелаАнотація:
Return to Dust is an outstanding mainland Chinese film that was nominated for the Golden Bear at the Berlin International Film Festival. This paper, using the theories of conversational implicature and the relevance principle, explores the implicit meanings in the film's subtitles from a multimodal perspective. It also examines whether the subtitling translation of the film is reasonable and appropriate. The paper argues that the subtitling translation should pay more attention to the cultural context of the dialogues and the pragmatic ambiguities within the film. By doing so, it can better convey the plot and adopt more suitable translation techniques and methods.
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Smits, Roderik. "Tournaments of values at the European film market." Arts and the Market 8, no. 1 (May 8, 2018): 64–79. http://dx.doi.org/10.1108/aam-01-2018-0001.
Повний текст джерелаАнотація:
Purpose With film sales markets becoming increasingly popular events where the film business gathers several times each year, the purpose of this paper is to demonstrate that they should be understood as events where important gatekeeping process are taking place. That is to say, sales markets are the point where important decisions about films are made, where sales agencies negotiate access to international markets, and where they exert influence over the sort of access given to specific films. Design/methodology/approach Drawing on qualitative methods such as participant observation and interviews, the author develops a case study of the European Film Market (EFM) in Berlin. The author analyses value creation processes at the EFM, focussing specifically on the disposition of exhibition space and the importance of film screenings. Findings Drawing on the literature about tournaments of value, the author demonstrates that sales markets endow films with significant values, exercising a powerful role over the process of enabling cultural flow. The author also demonstrates that there is a symbiotic relationship between the EFM sales market and the Berlin International Film Festival, providing a context from which films can generate attention. Originality/value The author provides new insights into film sales processes within sales markets, and the role of sales agents in influencing such processes. The author argues that sales markets exert an important influence over gatekeeping by creating social and cultural hierarchies that impact on the sales process of films.
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Wickwire, Andrew. "Modern Film Dramaturgy: An Introduction, Kristen Stutterheim (2019)." Journal of Screenwriting 11, no. 3 (September 1, 2020): 382–84. http://dx.doi.org/10.1386/josc_00041_5.
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Review of: Modern Film Dramaturgy: An Introduction, Kristen Stutterheim (2019) Berlin: Peter Lang GmbH, 211 pp., ISBN 978-3-631-79650-4, p/bk, $50.95 E-ISBN 978-3-631-79874-4, E-PDF, $50.95 E-ISBN 978-3-631-79875-1, EPUB, $50.95 E-ISBN 978-3-631-79876-8, MOBI, $50.95
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Felgendreher, Daniel. "Soft, Sexy, Fantastic. Inflating public space." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 41–74. http://dx.doi.org/10.32891/jps.v3i2.1109.
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Plastique Fantastique has been operating as a platform for temporary architecture at the interface between art, architecture and urban practice since its founding 1999 in Berlin. Influenced by the unique cultural and spatial conditions that made Berlin a laboratory for testing new ways of acting in public space at the time, the studio has specialised in creating immersive, pneumatic installations made of plastic film as mutant, low energy architectures for ephemeral activities. With their temporary urban interventions they intend to involve citizens in creative processes provoking them to activate, and enjoy public space.
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Henkel, Brook. "Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television." New German Critique 49, no. 2 (August 1, 2022): 161–86. http://dx.doi.org/10.1215/0094033x-9734861.
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Fritz Lang’s film The Thousand Eyes of Dr. Mabuse (1960) stands out among West German cinema of the Adenauer years for its attention to urban space and the afterlife of Nazism in the postwar era. This article rereads the film as an incisive representation of the new mobilities and historically layered spaces and infrastructure of 1950s Berlin, a representation informed by Lang’s exile experience and Hollywood film noir. By newly contextualizing the film in relation to the history of Nazi television, as well as Siegfried Kracauer’s and Theodor W. Adorno’s early postwar writings, the article reconstructs the film’s interconnections with critical discourses on the afterlife of fascist terror, authoritarianism, and irrationality in postwar urban space, media, and astrology. It demonstrates further the importance of rereading Lang, and cinema in general, in close relation to other media like television.
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Baumeister, Elena, Fiona Berg, Charlotte S. Eitelbach, Sophie Holzberger, and Arisa Purkpong. "feminist elsewheres. A Making(-)Of Three Festivals in the Making." Feminist Media Histories 10, no. 2-3 (2024): 180–97. http://dx.doi.org/10.1525/fmh.2024.10.2-3.180.
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feminist elsewheres takes the question of an elsewhere of feminist film history as a foundation of its engagement with two events that took place at the Arsenal cinema in Berlin: the First International Women’s Film Seminar in 1973, which is considered the starting point of the feminist film movement in West Germany, as well as its 1997 revisitation titled…the point is to change it. Films, Festivals, Feminism. In 2023, feminist elsewheres celebrated over fifty years of feminist film work with a film program, workshops, and an exhibition. This text is collectively authored by feminist elsewheres and its objective is twofold: introducing the historical present of these events while at the same time reflecting on feminist modes of collaborations as central strategies in shaping film history. No film stands alone, No history is stable, feminist elsewheres is many.
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Skare, Roswitha. ""Kann jemand, der diese Musik gehört hat, […] noch ein schlechter Mensch sein?" – om Wieslers forandring og kunstens påståtte rolle i denne prosessen." Nordlit 16, no. 2 (October 23, 2012): 35. http://dx.doi.org/10.7557/13.2371.
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The Life of Others (2006) has been a successful film, winning the Oscar for Best Foreign Feature in 2007. It is a film about surveillance, but also about the lives of artists and writers in East Berlin in the middle of the 1980s, and about what role literature and art played in the GDR and in the events of autumn 1989. The article focuses on the way the film portrays Wiesler’s transformation from hard-boiled Stasi officer into the guardian angel of his target, and shows how art – both literature and music – plays an important role in this process.
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Vasudevan, Alexander. "Celluloid Critique: Documentary Filmmaking and the Politics of Housing in Berlin’s Märkisches Viertel." Radical Housing Journal 3, no. 2 (December 17, 2021): 119–42. http://dx.doi.org/10.54825/wdbz3534.
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This is a paper about radical filmmaking and housing justice in the Märkisches Viertel in the 1970s. The satellite estate on the outskirts of West Berlin was one of the largest housing projects in West Germany and, for many residents, a space of increasing marginality and insecurity. As this paper argues, it was also a site of experimental filmmaking that documented the conditions faced by residents living in the Märkisches Viertel. The paper focuses on a group of students closely connected to the Deutschen Film- und Fernsehnakademie (dffb or the German Film and Television Academy) who began in the late 1960s to film various political activities and discussions in the neighbourhood. It places particular emphasis on the work of Helga Reidemeister, a social worker and student at the dffb whose documentary films adopted a working practice that depended on the direct participation of the families and women, in particular, with which she collaborated. Through a close reading of her 1979 film, Von wegen ‚Schicksal’ (1979), the paper foregrounds Reidemeister’s role as a feminist filmmaker whose work explored the mechanisms of displacement faced by tenants living in the Märkisches Viertel and the wider ‘structures of feeling’ that they generated. At stake here, is a broader commentary on the history of housing struggles in West Berlin and the importance of documentary filmmaking as a methodology for housing justice.
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del Río, Elena. "Violently Oscillating: Science, Repetition and Affective Transmutation in Fassbinder's Berlin Alexanderplatz." Deleuze Studies 3, no. 1 (June 2009): 73–96. http://dx.doi.org/10.3366/e175022410900049x.
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This essay looks at Fassbinder's Berlin Alexanderplatz to trace the film's transformation of a mechanistic scientific discourse into affective indeterminacy. Through patterns of repetition of a key event, the film considers its protagonist as a complex web of constantly shifting forces – a network of biological, social, political and semiotic flows coalescing in a body that exists in a state of perpetual oscillation between force and mutilation, ecstasy and pain. The role of physics and other materialist discourses in the film is thus not to fixate subjectivity, but rather to provide a passage into its affective transformations and the intense desubjectification that results.
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Röhrborn, Anne. "Against Aspiration: The Psychogeography of Berlin-Kreuzberg in Stephan Geene’s Umsonst." New German Critique 46, no. 3 (November 1, 2019): 79–101. http://dx.doi.org/10.1215/0094033x-7727427.
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Abstract Stephan Geene’s film Umsonst premiered in the Forum program at the 2014 Berlinale. A portrait of postmillennial Berlin-Kreuzberg, the film in crucial ways takes its inspiration from the French New Wave and the Situationist International. It focuses on members of a young generation who oppose the economic determinations that frame experience in advanced capitalism. They refuse to fit in and “aspire” and instead become drifters. Employing what the Situationists called a psychogeographic approach, Umsonst probes the prevalent discourses and historical mythologies of Kreuzberg and, in so doing, furthers understanding of how the people who now inhabit it exist and interact.
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Rippey, Theodore F. "Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture." Monatshefte 100, no. 1 (2008): 169–72. http://dx.doi.org/10.1353/mon.2008.0044.
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Thompson, Bruce. "Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture." History: Reviews of New Books 34, no. 3 (March 2006): 94. http://dx.doi.org/10.1080/03612759.2006.10526885.
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Swett, Pamela E. "Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture." Central European History 40, no. 3 (August 20, 2007): 561–63. http://dx.doi.org/10.1017/s0008938907000921.
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Flickinger, Brigitte. "Cinemas in the City: Berlin‘s Public Space in the 1910s and 1920s." Film Studies 10, no. 1 (2007): 72–86. http://dx.doi.org/10.7227/fs.10.9.
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In the early years of the cinema and into the 1910s and 1920s, it was less the film than cinema-going itself that attracted urban publics. In this era, people were enthusiastic about technology and the achievements of modernity; while at the same time they felt anxious about the rapid and radical changes in their social and economic life. In Germany, this contradictory experience was especially harsh and perceptible in the urban metropolis of Berlin. The article demonstrates how within city life, Berlin cinemas – offering the excitement of innovation as well as optimal distraction and entertainment – provided an urban space where, by cinema-going, appeal and uncertainty could be positively reconciled.
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An, Grace. "Filmmaking at a Crossroads." Transfers 8, no. 1 (March 1, 2018): 130–33. http://dx.doi.org/10.3167/trans.2018.080112.
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Johanna d’Arc of Mongolia, West Germany/France, 1989, produced by Ulrike Ottinger. Filmproduktion Berlin in coproduction with Popular-Film GmbH Leinfelden, ZDF Mainz, and La Sept, directed and written by Ulrike Ottinger, starring Delphine Seyrig, Irm Hermann, Xu Re Huar, Gillian Scalicim Inés Sastre, Peter Kern, Sevimbike Elibay, Jacinta, and Else Nabu.
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Delbecke, Jasper. "Essayistic Tendencies in the Performing Arts." CounterText 9, no. 3 (December 2023): 356–72. http://dx.doi.org/10.3366/count.2023.0320.
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This article reflects on five recent performances described in different ways as essay or as essayistic by the artists themselves. Inspired by how the essay form has disseminated, over the last decades, into film, resulting in the established genre of the essay film, it explores what the transposition of the essay onto the stage looks like. The works of Ogutu Muraya, Silke Huysmans and Hannes Dereere, Ho Rui An, Mobile Akademie Berlin, and Jozef Wouters serve as case studies to examine how a performance can be discussed as an essay or as being essayistic.
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Sabyrova, Aliya, and Aigerim Baribayeva. "Overview of the documentary film "The first audio recording of Kazakh music. Road of people"." Central Asian Journal of Art Studies 6, no. 1 (March 31, 2021): 165–75. http://dx.doi.org/10.47940/cajas.v6i1.347.
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Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.
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Anggraini, Sazkia Noor. "Expedition Content: Suara Melampaui Sinema." Lembaran Antropologi 1, no. 2 (December 23, 2022): 234–38. http://dx.doi.org/10.22146/la.6472.
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Expedition Content (2020) disutradari oleh seniman suara dan sutradara Amerika, Ernst Karel dan antropolog Indonesia, Veronika Kusumaryani. Film yang telah menjadi official selection dalam Berlin International Film Festival dan Vision du Reel tahun 2020 ini menjadi salah satu pilihan dalam program Perspektif pada Festival Film Dokumenter (FFD) 2022. Diputarkan di Gedung Ex Bioskop Permata, Yogyakarta, FFD untuk pertama kalinya memberikan ruang pada publik Indonesia untuk mengalami film ini. Expedition Content adalah karya kompilasi suara yang disusun dari rekaman arsip selama 37 jam. Karya ini mendokumentasikan pertemuan antara ekspedisi yang dilakukan para peneliti dari Amerika dengan orang-orang Hubula. Expedition Content adalah bagian dari produksi Sensory Ethnography Lab di Harvard University. Sensory Ethnography Lab (SEL) adalah laboratorium eksperimental yang berinovasi melalui kombinasi estetika dan etnografi. Lebih dari catatan etnografi konvensional, film ini membangun interaksi, yang dalam benak penonton, menciptakan relasi antara etnografer dan subjek yang diteliti. Interpretasi tekstual dari apa yang disajikan dalam film ini, maupun kontekstual dari subteks-nya, muncul dari ketiadaan perangkat visual yang memadai. Alih-alih membatasi, ketiadaan visual justru menjadi kekuatan film ini.
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Thüna, Ulrich V. "Uta Berg-Ganschow / Wolfgang Jacobsen (Hrsg.): … Film … Stadt … Kino … Berlin … — Berlin: Argon Verlag 1987, 207 Seiten mit Abb." Publizistik 35, no. 4 (December 1990): 541–42. http://dx.doi.org/10.1007/bf03653377.
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Nadeau, Chantal. "Are you talking to me? Les enjeux du women’s cinema pour un regard féministe." Cinémas 2, no. 2-3 (March 8, 2011): 171–91. http://dx.doi.org/10.7202/1001083ar.
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À partir d’une analyse critique et féministe de la construction d’un regard sexué au cinéma, le présent texte confronte deux pratiques cinématographiques divergentes : le women’s cinema et le woman’s film. L’argumentation vise principalement à voir comment chacune des pratiques cinématographiques articule une représentation de la femme selon l’axe objet/sujet du regard. Trois analyses filmiques sont ainsi menées de front : The Berlin Affair de Liliana Cavani et A Winter Tan de Jackie Burroughs, reconnues comme des stratégies de référence, répondant au projet politique du women’s cinema et Thelma & Louise de Ridley Scott positionné sous l’angle remodelé mais traditionnel du woman’s film.
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Bátori, Anna. "The Flux of Transmigrant Identities in Thomas Arslan’s Brothers and Sisters." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 51–69. http://dx.doi.org/10.1515/ausfm-2017-0003.
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Abstract The paper investigates Brothers and Sisters (Geschwister-Kardeşler, 1995), the first piece of Thomas Arslan’s Berlin-trilogy. While putting the film into the socio-historical context of the newly united German Republic, the study aims to highlight the characters’ struggle and constant shift between their Turkish and German identity. Through the narrative and textual analysis of Brothers and Sisters, the paper reveals the visual forms of social exclusion and concludes that in Arslan’s film, the characters bear with no social identity but various stages of identification, which keep them in an in-between, insecure position.
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Lumholdt, Jan. "Around the Circuit: Berlin International Film Festival, 11–21 February 2010." Film International 8, no. 2 (June 2010): 95–97. http://dx.doi.org/10.1386/fiin.8.2.95.
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Thiele, Ulrich. "Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture (review)." Seminar: A Journal of Germanic Studies 43, no. 1 (2007): 85–87. http://dx.doi.org/10.1353/smr.2007.0022.
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Fritzsche, Peter. "Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture (review)." Modernism/modernity 13, no. 3 (2006): 584–85. http://dx.doi.org/10.1353/mod.2006.0060.
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HEATH, WILLIAM. "Human, All Too Human: Thomas Berger's Crazy in Berlin." Journal of American Studies 53, no. 1 (May 2, 2017): 172–96. http://dx.doi.org/10.1017/s0021875817000421.
Повний текст джерелаАнотація:
Thomas Berger is best known for his western, Little Big Man, made into a film starring Dustin Hoffman, yet his Reinhart tetralogy is at least as important an achievement. Crazy in Berlin (1958), the first volume and the author's first novel, is a very ambitious work that captures postwar Berlin in telling detail. Based on Berger's experiences in the American Army during the occupation, the book displays his tragicomic vision of the human condition. The opening sections of the essay provide information about Berger's German American background while growing up in Cincinnati, a discussion of how Berger studied the political novels of his time to shape his craft, and a succinct account of the harrowing situation in postwar Berlin that Berger witnessed firsthand. Having established the most relevant contexts, the latter half of the essay provides an interpretation of the novel's central themes as well as an aesthetic evaluation of its merits as a work of fiction. While Crazy in Berlin is not without significant flaws, it is in the last analysis an impressively accomplished work, distinguished both by its memorable characters and by the author's philosophical depth. It deserves to be much better known as one of the most challenging works of his distinguished career.
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Fiuk, Ewa. "Gwinejczyk na Alexanderplatz, czyli o możliwości zanieczyszczenia dominującej narracji." Kwartalnik Filmowy, no. 114 (August 17, 2021): 31–49. http://dx.doi.org/10.36744/kf.792.
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Czy między życiem w Republice Weimarskiej i współczesnej Republice Federalnej Niemiec istnieją jakieś punkty styczne? Czy los niemieckiego robotnika, mieszkańca Berlina pod koniec lat 20. XX w. można porównać do egzystencji afrykańskiego uchodźcy mieszkającego w stolicy Niemiec dziś? I w końcu: czy możliwe jest takie uwspółcześnienie i remediatyzacja opowieści, by różnica czasowa (niemal sto lat) i medialna (książka – film) istniejąca między jej jedną i drugą wersją nie pozbawiła tejże opowieści uroku i mądrości, jednym słowem: sensu? Odpowiedź na wszystkie pytania brzmi: tak. Autorka artykułu analizuje podobieństwa i różnice między powieścią Berlin Alexanderplatz: Dzieje Franciszka Biberkopfa Alfreda Döblina (1929) i filmem Berlin Alexanderplatz Burhana Qurbaniego (2020) w kontekście wybranych wątków teorii postkolonialnej, determinizmu społecznego oraz kategorii abiektu i ofiary Thomasa Elsaessera.
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Wiedemann, Thomas, and Tanja C. Krainhöfer. "The Berlin International Film Festival: A powerful springboard and gatekeeping mechanism for domestic filmmaking." Communications 45, no. 4 (November 26, 2020): 389–413. http://dx.doi.org/10.1515/commun-2019-2052.
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AbstractFilm festivals have become key agents in the movie business, with major competitive festivals enjoying outstanding importance. Based on this assumption, this paper focuses on the example of Germany and asks to what extent the Berlin International Film Festival offers a venue for domestic films, and which types of filmmakers, in particular, benefit from this springboard and gatekeeping mechanism. More precisely, given the diverging interests confronting the Berlinale as a platform for the film community, a quantitative program analysis was conducted of the festival’s most significant sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016. The findings demonstrate that even good-faith efforts to strengthen domestic filmmaking in regard to weight and diversity have hardly changed the power structures that underlie the curatorial decision-making process. Respectively, the share of national film productions has been stagnating for many years. Moreover, female and young filmmakers are still broadly underrepresented.
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Wilson, Emma. "Telephone calls in Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016)." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 12–23. http://dx.doi.org/10.33178/alpha.18.02.
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The Hollywood Reporter feature on Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016) reads: “Where journalism leaves off, Fire at Sea begins”. The director spent months living alone on Lampedusa looking for ways to film the current refugee tragedy in the Mediterranean. The poetic film that he made (and that won the Golden Bear at Berlin) is an indirect reckoning with its subject, and, I argue no less political for this. Referring to the work of Adriana Cavarero, Christina Sharpe, Anne Dufourmantelle and Judith Butler, this article explores the uses of recorded telephone calls and other transmitted voices and songs in the film. These calls and voices offer forms of appeal and aural, non-visual, but bodily, affective traces. The film emphasises the political importance of listening, and of attending to these calls and voices, envisaging a mesh of connectedness, of threads of human attachment.
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Johnson, Rachel. "A brutal humanism for the new millennium? The legacy of Neorealism in contemporary cinema of migration." Journal of Italian Cinema & Media Studies 8, no. 1 (January 1, 2020): 61–77. http://dx.doi.org/10.1386/jicms_00005_1.
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Abstract This article proposes that the institutional construction of Italian cinema of migration in the new millennium may be conditioned by an enduring, implicit aspect of Neorealism's legacy: a 'brutal humanism' that posits the witnessing of bodies in crisis as an ethical act. Supplementing Karl Schoonover's theory of brutal humanism with Lacanian gaze theory, I argue that the Berlin International Film Festival's synopsis of a recent cause célèbre of Italian cinema, Fuocoammare (Fire at Sea) (Rosi, 2016), instantiates a 'brutal vision' directed towards the figure of the refugee, while the film text's depiction of the 'objective gaze' of these characters challenges such relations of power and looking. The article underlines the importance of competitive European film festivals and paratexts in the international circulation and ideological construction of Italian cinema, while arguing that the film text itself can offer a site of resistance to the meanings that institutions ascribe to it.
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Maskarinec, Malika. "Rethinking Montage: Berlin Alexanderplatz’s Paper Trails." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 95, no. 1 (February 23, 2021): 115–35. http://dx.doi.org/10.1007/s41245-021-00125-7.
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AbstractThis article takes up the concept of montage that has defined scholarship on Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf (1929) since its publication. Against interpretations that understand the novel’s technique of montage as related to film and the avant-garde, I show that the novel is more strongly tied to paper objects and practices, above all the nineteenth-century serial novel and its medial environment in the newspaper. Approaching the novel from this perspective directs attention – in opposition to the scholarship that has emphasized the experience of disruption produced by montage – to the significance of the plot and its highly gendered violence.
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Brzezińska-Pająk, Marta. "Mur berliński jako symbol zimnowojennego militaryzmu w filmie niemieckim po 1989 roku." Niemcoznawstwo 26 (November 26, 2018): 29–41. http://dx.doi.org/10.19195/2084-252x.26.3.
Повний текст джерелаАнотація:
DIE BERLINER MAUER ALS EIN ZEICHEN DES MILITARISMUS DES KALTEN KRIEGES IM DEUTSCHEN FILM NACH 1989Der deutsche Film nach 1989 brachte zahlreiche interessante Interpretationen der jüngsten Geschichte. Sie knüpften erneut an die Berliner Mauer an und stellten dieses besondere Bauwerk im Zusammenhang mit der DDR-Problematik und den Fragestellungen betreff end die deutsche Wiedervereinigung dar. Die Berliner Mauer wurde in den Filmen nicht nur zum Symbol der bewältigten Vergangenheit und der Traumbewältigung, sondern sie nutzte auch die Tradition des Teilungsimages. Berücksichtigt wurden dabei diverse Gesichtspunkte, wie z.B. ihre militärische Eigenschaft, die sich in einigen, in diesem Artikel erwähnten und besprochenen Elementen, widerspiegelte. Vor allem in den Filmen lebt die deutsch-deutsche Teilung visuell zweierlei — als Schilderung der Berliner Mauer und der innerdeutschen Grenze außerhalb von Berlin. Das zieht nach sich eine unterschiedliche Wahrnehmung der Grenze und eine etwas andere Nutzung der Grenzeästhetik. Die Ikonographie der Teilung ist off ensichtlich mit Berlin verbunden und sie unterstützt sein visuelles Bild.Die Berliner Mauer, ihre Gesichter und ihr Abbild in den Filmen nach 1989 dient einigen Zielen: der Veranschaulichung des historischen Prozesses der Wiedervereinigung und der Ausschreibung der deutsch-deutschen Verhältnisse, merklich wird sie auch ein Teil der Ikonographie, die mit der DDR-Problematik verbunden ist. Da sie eine besondere Art der Grenze darstellte, ist sie an zahlreiche Hintergründe gebunden, unterliegt dem Mythologisieren und ist vor allem in den Medien parat.Der Kaltkriegkontext, der die Filmikonographie ordnet und sie beeinfl usst, ergibt sich aus der Verwendung und Anknüpfung an diverse Archivalien, die mit dem Bau der Mauer und der politischen Spannung bei der Errichtung und dem Dasein der Grenze verbunden waren. Der sogenannte Fall der Berliner Mauer und ihr Abriss lieferte eine Fülle von visuellem Material, das laufend gedreht war und in den Dokumentarfi lmen seinen Platz fand. In den Filmen dagegen kommen die ganze Geschichte der Teilung und ihre militärische Herkunft zum Ausdruck.Die Präsenz der Mauer — medial vermerkt, z.B. mittels berühmter Fotographien — wird an den Bedarf des Films angepasst, z.B. der sog. — Sprung in die Freiheit von Conrad Schumann im Film Der Tunnel, 2001 von Roland Suso Richter. Die Zeit der Errichtung der Mauer wird in den Filmen nach dem Muster eines Kriegskonfl iktes geschildert, der das Filmleben der Helden stark ändert. Selbst die Setzung der Grenze zieht Opfer nach sich, was in den Filmen mittels dramatischer Szenen gestaltet wird wie z.B. in dem Film Die Mauer — Berlin ’61, 2006 von Hartmut Schoen.Die Berliner Mauer und die deutsch-deutsche Grenze werden in den Filmen mittels ihrer militärischen Elemente — Panzerabwehrbarrieren, sämtlicher Zaunarten und Drähte, Betonschutz, Wachtürme u. dgl. geschildert. Sie rufen ästhetische Anknüpfungen an Kriegsfi lme hervor, wie das im Film von Urs Egger An die Grenze, 2006/2007 der Fall ist, und erlauben, Spannung zu bilden und die Dramatik der Geschichte durch die Hyperbolisierung der Gefahrsituation zu steigern. Die militärische Ikonographie Stacheldrahtverhau, Armee, Fahrzeuge, die mit der ersten Etappe der Mauererrichtung verbunden ist, wird auch in den Filmen genutzt, die mit dieser Periode der deutschen Geschichte nicht direkt verbunden sind, sondern in den Realien des gegenwärtigen Deutschland spielen, wie im Film Die Grenze, 2010 von Roland Suso Richter.Die Filme knüpfen nicht nur an das Aufbauen der Grenze, sondern auch an die spätere Präsenz der Mauer. Das ermöglicht, die Problematik der sog. Opfer der Mauer und das Motiv der Flucht über die Grenze einzuführen, die in dem Werk von Thomas Berger Wir sind das Volk — Liebe kennt keine Grenzen, 2007, zu fi nden sind. Und wieder ermöglicht das, die Befestigungen und Fortifi kationen der Grenze insbesondere außerhalb von Berlin darzustellen, die die Gewalt und zugleich die Sinnlosigkeit der Teilung symbolisieren sowie die alten Helden neu zu erfahren, als Wächter an der Mauer oder als Grenzschutzsoldaten.In dem Artikel wurde die Publikation der Verfasserin Spektakel-Grenze-Leinwand. Die Berliner Mauer im deutschen Film Spektakl-granica-ekran. Mur berliński w fi lmie niemieckim genutzt, die einer der weltberühmtesten Grenzen und ihrer Popularität im deutschen Film hauptsächlich nach 1989 gewidmet wurde.