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Artículos de revistas sobre el tema "Berlin-Film"

Autor: Grafiati

Publicado: 25 de enero de 2025

Última modificación: 31 de julio de 2025

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1

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 (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 Erge

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2

Hennessy, Mary. ""Ein altes Thema, neu gesehen": Remediating Weimar Modernity in Wolfgang Liebeneiner's Großstadtmelodie (1943)." German Studies Review 48, no. 1 (2025): 93–110. https://doi.org/10.1353/gsr.2025.a951978.

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abstract: This article examines Wolfgang Liebeneiner's popular film Großstadtmelodie (Metropolitan melody). Released in 1943 but set in 1937–1938, the film repurposes Weimar's New Woman and prewar newsreel footage of Berlin to transport audiences, especially women on the home front, to interwar Berlin, not only to distract from the war but also to envision a future Berlin that would be achieved only after the war was won. I suggest that remediation in the film works ultimately to counter the aesthetic, social, and historical fragmentation of war, captured by the feminine "melody" of the film's

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3

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 (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 menghada

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5

Frank, Alison Elizabeth. "Berlin International Film Festival - Berlinale 2011." Film-Philosophy 15, no. 1 (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 port

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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 (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 anal

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8

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. Wende

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9

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 the

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10

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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Aurand, Ute. "Bolexwerkstatt/Bolex-Workshop at the Berlin Film School." Moving Image Review & Art Journal (MIRAJ) 9, no. 2 (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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12

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 (2021): 155. http://dx.doi.org/10.20473/mozaik.v20i2.17821.

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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 menghubun

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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.

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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 G

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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 (2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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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 int

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15

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.

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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

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16

Kacmaz Erk, Gul, and Christopher Wilson. "Framed Memories of Berlin: Film, Architecture and Remembrance." Architecture and Culture 6, no. 2 (2018): 243–63. http://dx.doi.org/10.1080/20507828.2018.1478513.

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17

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.

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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 Unive

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18

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 (2024): 192–99. http://dx.doi.org/10.54691/b8msrs06.

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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 co

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19

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.

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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 sa

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Ingram, Susan. "Berlin." Space and Culture 17, no. 4 (2014): 366–78. http://dx.doi.org/10.1177/1206331214543867.

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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 i

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Smits, Roderik. "Tournaments of values at the European film market." Arts and the Market 8, no. 1 (2018): 64–79. http://dx.doi.org/10.1108/aam-01-2018-0001.

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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 inte

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Gieselmann, Martin. "Chinese Films At the 1995 Berlin International Film Festival." China Information 9, no. 4 (1995): 73–77. http://dx.doi.org/10.1177/0920203x9500900404.

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Wickwire, Andrew. "Modern Film Dramaturgy: An Introduction, Kristen Stutterheim (2019)." Journal of Screenwriting 11, no. 3 (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 acti

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Henkel, Brook. "Mabuse Returns: Fritz Lang, 1950s Berlin, and the Afterlife of Nazi Television." New German Critique 49, no. 2 (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 rec

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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 elsewhere

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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 (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 (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 i

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del Río, Elena. "Violently Oscillating: Science, Repetition and Affective Transmutation in Fassbinder's Berlin Alexanderplatz." Deleuze Studies 3, no. 1 (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

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Röhrborn, Anne. "Against Aspiration: The Psychogeography of Berlin-Kreuzberg in Stephan Geene’s Umsonst." New German Critique 46, no. 3 (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

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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 (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 (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 entertai

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An, Grace. "Filmmaking at a Crossroads." Transfers 8, no. 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 (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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Peña-Fernández, Simón. "The World of Film Through the Eyes of Reporter 'Billie' Wilder." Film International 14, no. 2 (2016): 43–56. https://doi.org/10.5281/zenodo.3766606.

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Billy Wilder’s output as a young reporter for the tabloid press in Vienna and Berlin (1925–31) revealed his love for the world of cinema. From his interviews with movie stars to his film reviews and the other sundry articles he wrote, the passion the future director and scriptwriter felt for what would be his profession for more than half a century shines through.

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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 (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 material

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Melling, Rowan. "Entrepreneurialism and the Return of the Bildungsroman: Mapping Racial Capitalism in Burhan Qurbani's Berlin Alexanderplatz." JCMS: Journal of Cinema and Media Studies 64, no. 5 (2024): 53–75. https://doi.org/10.1353/cj.2024.a952898.

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abstract: This article offers a reading of Burhan Qurbani's 2020 film Berlin Alexanderplatz to critique racial capitalism in European migration politics. By comparing it to the 1929 source text, I show how the film maps contemporary racial capitalism and grapples with a counter-politics to an entrepreneurial model of racial integration. Facilitated by a new media regime, this entrepreneurial model recuperates the narrative of the Bildungsroman to offer self-mediated overcoming to individuals—but it only allows repetition at the system level. This points toward a politics that attempts to recla

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40

Anggraini, Sazkia Noor. "Expedition Content: Suara Melampaui Sinema." Lembaran Antropologi 1, no. 2 (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

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41

Nadeau, Chantal. "Are you talking to me? Les enjeux du women’s cinema pour un regard féministe." Cinémas 2, no. 2-3 (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 Thel

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42

Bátori, Anna. "The Flux of Transmigrant Identities in Thomas Arslan’s Brothers and Sisters." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 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 the

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43

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 (1990): 541–42. http://dx.doi.org/10.1007/bf03653377.

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44

Waltenspül, Sarine. "Reusable and Nonreusable Films: From Ballistic Films to the Encyclopaedia Cinematographica." Isis 112, no. 2 (2021): 342, 351. https://doi.org/10.5281/zenodo.7216005.

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The film Fracture Phenomena in Glass is a noteworthy case of a film reuse: it was published in the Encyclopaedia Cinematographica (EC) in 1976, bearing the signature E 2355. In this instance, surprisingly, the Institut für den Wissenschaftlichen Film (Institute for Scientific Film [IWF]), which produced, edited, distributed, and archived the EC films, reused ballistic film recordings from World War II. Produced at the Ballistic Institute of the Berlin-Gatow Air War Academy in 1942–1943 under the direction of Hubert Schardin, they were first published in 1944 as C 433 by the National

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45

HEATH, WILLIAM. "Human, All Too Human: Thomas Berger's Crazy in Berlin." Journal of American Studies 53, no. 1 (2017): 172–96. http://dx.doi.org/10.1017/s0021875817000421.

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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

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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

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47

Lumholdt, Jan. "Around the Circuit: Berlin International Film Festival, 11–21 February 2010." Film International 8, no. 2 (2010): 95–97. http://dx.doi.org/10.1386/fiin.8.2.95.

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48

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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49

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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50

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 transmit

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