Search Results for German film industry

... film authorship, namely: feminist structures (WIFTG), demands for a quota system (PQF), and a grassroots feminist mentoring collective of film school graduates (ITW). gender parity German film industry quota system film collectives Verband der Filmarbeiterinnen Copyright © 2018 Camera...

... of women’s cinema at present, visible in the rise of the Berlin School, the development of women-oriented production collectives, and the resurgence of feminist organizing on behalf of gender parity in the contemporary German film industry. feminist film theory German women’s movement neo-liberalism...

.... PQF has been making significant strides in improving funding structures, work climate, and training opportunities for women in all sectors of the German film industry. In the interview, Turanskyj also elaborates on the auto­didactic and collaborative nature of her film practice, significant influences...

... to the German film industry, Negri remained ethni- 162 • Camera Obscura cally vague in the public imagination. Indeed, in The Twenties in Vogue, (a collection of selected writings from the magazine in that period) the actress is recalled as “the German Pola Negri, with her smoldering eyes and blackened...

... of auteurist New German Cinema (NGC) and all its attendant difficult, heavy themes. A new generation of filmmakers rode the wave. With the directors of the Comedy Wave, producers and new star figures also rose to prominence in a film industry that had previously...

... on topics ranging from antihomosexuality in the Frankfurt School to queer film analyses of contemporary German film. Current projects include a volume on German popular film coedited with Margaret McCarthy and the book manuscript of “Queer Readings in German Social Philosophy from Kant to Adorno.” He...

.... Department of English University of Chicago NOTES 1. My understanding of the term “public sphere” is indebted to the German debate, in particular Jiirgen Habermas, The Structural Transformation of the Public...

..., distribution, the creation of television programming, and professional associations resulted in West Germany having “proportionally more women film-makers than any other film-producing country” (185). But, as the example of the German director Treut indicates, that situation changed...

... Jahrhundert (1994), as well as various articles in the fields of nineteenth- and twentieth-century literature, critical theory, modernism, film, and cultural studies, which have been published in journals such as New German Critique, Critical Inquiry, German Quarterly, Monatshefte, Modernism/Modernity...

... articles that explore the Turkish-German cultural exchange in European film productions. 04-Fenner 104-149=46pgs 1/25/01 1:46 PM Page 104 German print ad (detail) for Berlin in Berlin (dir. Sinan Çetin, Germany, 1993). 04-Fenner 104-149=46pgs 1/25/01 1:46 PM...

...- guage, in casting) to ensure the future of Europe’s national film industries. And although he praises Lars von Trier’s Europa (Zen- tropa in the US, 1992)—a film made and financed by Swedish, Danish, German, and French partners, filmed in English and Ger...

...- pected in the United States, but there has been next to no opportunity to see their films here. Ths lack of attention to a whole segment of recent German filmmalung-both in terms of distribution and critical writing-needs to be, and can be, remedied. The West German gov- ernment (whch has been...

... and television industries. Linda Reisman received an MFA degree in film production from the San Francisco Art Institute, and is currently associated with Zoetrope Studios. Marc Silberman is Assistant Professor of German and Humanities at the University of Texas at San Antonio...

... unity. “Kante” in German also means “edge,” “border,” and 66margin which could function as the film’s nominal designation of the 11 hesitation at social, sexual and spatial borders. 13 More importantly, Petra’s “bitter” tears (bitteren Triinen) also suggest a contrary sentiment, “bitte...

... sound film, Flame of Love / Hai-Tang (dir. Richard Eichberg, Walter Summers, and Jean Kemm, 1930), was a German, French, and British joint production in three languages; its German audience thought she had a German double who dubbed the voice for her. 48 According to this source, the German papers...

... Institute, 1989. Stardom: Industry of Desire edited by Christine Gledhill. Routledge, 1991. The Gorgon’s Gaze: German Cinema, Expressionism, and the Image ofHorror by Paul Coates. Cambridge University Press, 1991. $49.50 Close Viewings: An Anthology of New Film...

... for my early considerations on the topic. Written in 1978, my essay “Why Women Go to Men’s Films’’ first appeared in 1980 in a collection that included the German translation of Laura Mulvey’s essay on “Visual Pleasure.” In it I argued that the valorization of gender was a social issue...

... German cinema, Schliipmann analyzes two genres, melodrama and social drama. While film melodrama of this period in German history can be seen as a (sometimes less than successful) attempt to meet the theatrical standards of the cultured middle class, social drama retained affiliations...

... and in contemporary German and Austrian literature and film. Escape Fantasy (The Princess and the Warrior, dir. Tom Tykwer, Germany, 2000). Courtesy X-Verleih Melodrama’s Other: Entrapment and Escape in the Films of Tom Tykwer Heidi Schlipphacke The closing tableau of each of German filmmaker...

... of successful German businessmen. Men of German descent were the heads of Chi- cago’s industrial, political and commercial institutions and dominated the controls over civic life Emphasizing that Riverview’s owner, George Schmidt, had also been the former president of the German Sharp Shooters...