Die weiße Frau von Malte (German Edition)

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To a large extent, Weimar cinema was playing a vibrant and important role by leading public debate on those issues. As early as , Richard Oswald 's film Different from the Others portrayed a man torn between his homosexual tendencies and the moral and social conventions. It is considered to be the first German film to deal with homosexuality and some researchers even believe it to be the first in the world to examine this issue explicitly.

This film was the first to make the German public aware of the consequences of anti-Semitism and xenophobia. It portrayed a " pogrom " which is carried out against the Jewish inhabitants of a village in Tsarist Russia. In the background, a love story also evolves between a young Russian student and the daughter of the leader of the Jewish community, something that was considered a taboo at the time. Later on, in an attempt to reflect the rapidly growing anti-Semitic atmosphere, Oswald confronted the same issue with his film Dreyfus , which portrayed the political scandal of the " Dreyfus Affair ", which until today remains one of the most striking examples of miscarriage of justice and blatant anti-Semitism.

The polarised politics of the Weimar period were also reflected in some of its films. Another dark chapter of the Weimar period was reflected in Joseph Delmont 's film Humanity Unleashed The film was an adaptation of a novel by the same name, written by Max Glass and published in The novel described a dark world consumed by disease and war. The filmmakers decided to take the story to a more contemporary context by reflecting the growing fear among the German public of political radicalization.

Cinema of Germany

They produced what was to become the first fictional account of the events of January in Berlin, the so-called " Spartacist Uprising ". This film is also considered one of the anti- Bolshevik films of that era. Another important film genre of the Weimar years was the Kammerspiel or "chamber drama", which was borrowed from the theater and developed by stage director, who would later become a film producer and director himself, Max Reinhardt. This style was in many ways a reaction against the spectacle of expressionism and thus tended to revolve around ordinary people from the lower-middle-class.

Films of this genre were often called "instinct" films because they emphasized the impulses and intimate psychology of the characters. The sets were kept to a minimum and there was abundant use of camera movements in order to add complexity to the rather intimate and simple spaces. Associated with this particular style is also screenwriter Carl Mayer and films such as Murnau's Last Laugh Nature films, a genre referred to as Bergfilm , also became popular.

Most known in this category are the films by director Arnold Fanck , in which individuals were shown battling against nature in the mountains. Animators and directors of experimental films such as; Lotte Reiniger , Oskar Fischinger and Walter Ruttmann , were also very active in Germany in the s. Ruttman's experimental documentary Berlin: Symphony of a Metropolis epitomised the energy of s Berlin. The arrival of sound at the very end of the s, produced a final artistic flourish of German film before the collapse of the Weimar Republic in As early as , three inventors came up with the Tri-Ergon sound-on-film system and tried to introduce it to the industry between and UFA showed an interest, but possibly due to financial difficulties, never made a sound film.

The first filmmakers who experimented with the new technology often shot the film in several versions, using several soundtracks in different languages.

The film The Blue angel , directed by the Austrian Josef von Sternberg and produced by Erich Pommer , was also shot in two versions - German and English, with a different supporting cast in each version. It is considered to be Germany's first " talkie " and will always be remembered as the film that made an international superstar of its lead actress Marlene Dietrich. Brecht was also one of the creators of the explicitly communist film Kuhle Wampe , which was banned soon after its release. Eisner in the Filmkurier. The uncertain economic and political situation in Weimar Germany had already led to a number of film-makers and performers leaving the country, primarily for the United States; Ernst Lubitsch moved to Hollywood as early as , the Hungarian-born Michael Curtiz in Some 1, directors, producers, actors and other film professionals emigrated in the years after the Nazis came to power.

Lang's exodus to America is legendary; it is said that Metropolis so greatly impressed Joseph Goebbels that he asked Lang to become the head of his propaganda film unit. Lang fled to America instead, where he had a long and prosperous career. Many up-and-coming German directors also fled to the U.

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Not all those in the film industry threatened by the Nazi regime were able to escape; the actor and director Kurt Gerron , for example, perished in a concentration camp. Within weeks of the Machtergreifung , Alfred Hugenberg had effectively turned over Ufa to the ends of the Nazis, excluding Jews from employment in the company in March , several months before the foundation in June of the Reichsfilmkammer Reich Chamber of Film , the body of the Nazi state charged with control of the film industry, which marked the official exclusion of Jews and foreigners from employment in the German film industry.

As part of the process of Gleichschaltung all film production in Germany was subordinate to the Reichsfilmkammer , which was directly responsible to Goebbel's Propaganda ministry , and all those employed in the industry had to be members of the Reichsfachschaft Film. Some 3, individuals were affected by this employment ban. In addition, as journalists were also organised as a division of the Propaganda Ministry, Goebbels was able to abolish film criticism in and replace it with Filmbeobachtung film observation ; journalists could only report on the content of a film, not offer judgement on its artistic or other worth.

With the German film industry now effectively an arm of the totalitarian state, no films could be made that were not ostensibly in accord with the views of the ruling regime. The import of foreign films was legally restricted after and the German industry, which was effectively nationalised in , had to make up for the missing foreign films above all American productions.

Entertainment also became increasingly important in the later years of World War II when the cinema provided a distraction from Allied bombing and a string of German defeats.

Titanic was another big-budget epic that arguably inspired other films about the ill-fated ocean liner. Despite the emigration of many film-makers and the political restrictions, the period was not without technical and aesthetic innovations, the introduction of Agfacolor film production being a notable example. Technical and aesthetic achievement could also be turned to the specific ends of the Nazi state, most spectacularly in the work of Leni Riefenstahl.

Riefenstahl's Triumph of the Will , documenting the Nuremberg Rally , and Olympia , documenting the Summer Olympics , pioneered techniques of camera movement and editing that have influenced many later films. Both films, particularly Triumph of the Will , remain highly controversial, as their aesthetic merit is inseparable from their propagandising of Nazi ideals.

East German cinema initially profited from the fact that much of the country's film infrastructure, notably the former UFA studios, lay in the Soviet occupation zone which enabled film production to get off the ground more quickly than in the Western sectors. The authorities in the Soviet Zone were keen to re-establish the film industry in their sector and an order was issued to re-open cinemas in Berlin in May within three weeks of German capitulation. The film production company DEFA was founded on 17 May , and took control of the film production facilities in the Soviet Zone which had been confiscated by order of the Soviet Military Administration in Germany in October A sister "company", Progress Film , had also been established as a similar monopoly for domestic film distribution, its principal "competition" being Sovexportfilm, which handled distribution of Soviet films.

In total DEFA produced some feature films during its existence as well as around animated films and over documentaries and short films. In its early years, production was limited due to strict controls imposed by the authorities which restricted the subject-matter of films to topics that directly contributed to the Communist project of the state. Excluding newsreels and educational films, only 50 films were produced between and However, in later years numerous films were produced on a variety of themes.

Many of these genre films were co-productions with other Warsaw Pact countries. However, film-making in the GDR was always constrained and oriented by the political situation in the country at any given time. For example, DEFA's full slate of contemporary films from were denied distribution, among them Frank Beyer's Traces of Stones which was pulled from distribution after three days, not because it was antipathetic to communist principles, but because it showed that such principles, which it fostered, were not put into practice at all times in East Germany.

The huge box-office hit The Legend of Paul and Paula was initially threatened with a distribution ban because of its satirical elements and supposedly only allowed a release on the say-so of Party General Secretary Erich Honecker. Many had been signatories of a petition opposing the expatriation of socially critical singer-songwriter Wolf Biermann and had had their ability to work restricted as a result.

In the final years of the GDR, the availability of television and the programming and films on television broadcasts reaching into the GDR via the uncontrollable airwaves, DEFA's productions' importance was reduced, although its continuing role in producing shows for East German television channel remained.

Following the Wende , DEFA had ceased production altogether, and its studios and equipment was sold off by the Treuhand in , but its intellectual property rights were handed to the charitable DEFA-Stiftung DEFA Foundation which exploits these rights in conjunction with a series of private companies, especially the quickly privatized Progress Film GmbH, which has issued several East German films with English subtitles since the mids.

The occupation and reconstruction of Germany by the Four Powers in the period immediately after the end of World War II brought a major and long-lasting change to the economic conditions under which the industry in Germany had previously operated. The holdings of Ufa were confiscated by the Allies and, as part of the process of decartelisation , licences to produce films were shared between a range of much smaller companies. In addition, the Occupation Statute of , which granted partial independence to the newly created Federal Republic of Germany , specifically forbade the imposition of import quotas to protect German film production from foreign competition, the result of lobbying by the American industry as represented by the MPAA.

Amidst the devastation of the Stunde Null year of cinema attendance was unsurprisingly down to a fraction of its wartime heights, but already by the end of the decade it had reached levels that exceeded the pre-war period. Nonetheless, the share of the film market for German films in this period and into the s remained relatively large, taking up some 40 percent of the total market. American films took up around 30 percent of the market despite having around twice as many films in distribution as the German industry in the same time frame. These films show strong affinities with the work of Italian neorealists , not least Roberto Rossellini 's neorealist trilogy which included Germany Year Zero , and are concerned primarily with day-to-day life in the devastated Germany and an initial reaction to the events of the Nazi period the full horror of which was first experienced by many in documentary footage from liberated concentration camps.

Despite the advent of a regular television service in the Federal Republic in , cinema attendances continued to grow through much of the s, reaching a peak of The defining genre of the period was arguably the Heimatfilm "homeland film" , in which morally simplistic tales of love and family were played out in a rural setting, often in the mountains of Bavaria , Austria or Switzerland. In their day Heimatfilms were of little interest to more scholarly film critics, but in recent years they have been the subject of study in relation to what they say about the culture of West Germany in the years of the Wirtschaftswunder.

Other film genres typical of this period were adaptations of operettas , hospital melodramas , comedies and musicals. Many films were remakes of earlier Ufa productions. Rearmament and the founding of the Bundeswehr in brought with it a wave of war films which tended to depict the ordinary German soldiers of World War II as brave and apolitical. Dogs, do you want to live forever? In Des Teufels General The Devil's General of , a Luftwaffe general named Harras loosely modeled after Ernst Udet , appears at first to be cynical fool, but turns out to an anti-Nazi who is secretly sabotaging the German war effort by designing faulty planes.

Even though there are countless film adaptations of Edgar Wallace novels worldwide, the crime films produced by the German company Rialto Film between and are the best-known of those, to the extent that they form their own subgenre known as Krimis abbreviation for the German term "Kriminalfilm" or "Kriminalroman".

The international significance of the West German film industry of the s could no longer measure up to that of France , Italy , or Japan. German films were only rarely distributed internationally as they were perceived as provincial. International co-productions of the kind which were becoming common in France and Italy tended to be rejected by German producers Schneider In the late s, the growth in cinema attendance of the preceding decade first stagnated and then went into freefall throughout the s. By West German cinema attendance at Initially, the crisis was perceived as a problem of overproduction.

Consequently, the German film industry cut back on production. However, many German film companies followed the s trends of international co-productions with Italy and Spain in such genres as spaghetti westerns and Eurospy films with films shot in those nations or in Yugoslavia that featured German actors in the casts. The roots of the problem lay deeper in changing economic and social circumstances. Average incomes in the Federal Republic rose sharply and this opened up alternative leisure activities to compete with cinema-going.

At this time too, television was developing into a mass medium that could compete with the cinema. In there were only 1,, sets in West Germany; by there were 7 million Connor The majority of films produced in the Federal Republic in the s were genre works: West Germany also made several horror films including ones starring Christopher Lee.

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The two genres were combined in the return of Doctor Mabuse in a series of several films of the early s. Such movies were commercially successful and often enjoyed international distribution, but won little acclaim from critics. In the s more than three quarters of the regular cinema audience were lost as consequence of the rising popularity of TV sets at home. As a reaction to the artistic and economic stagnation of German cinema, a group of young film-makers issued the Oberhausen Manifesto on February 28, Wir glauben an den neuen" "The old cinema is dead.

We believe in the new cinema". Most of these directors organized themselves in, or partially co-operated with, the film production and distribution company Filmverlag der Autoren established in , which throughout the s brought forth a number of critically acclaimed films. Despite the foundation of the Kuratorium Junger Deutscher Film Young German Film Committee in , set up under the auspices of the Federal Ministry of the Interior to support new German films financially, the directors of this New German Cinema were consequently often dependent on money from television.

Young filmmakers had the opportunity to test their mettle in such programmes as the stand-alone drama and documentary series Das kleine Fernsehspiel The Little TV Play or the television films of the crime series Tatort. However, the broadcasters sought TV premieres for the films which they had supported financially, with theatrical showings only occurring later.

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As a consequence, such films tended to be unsuccessful at the box office. The amount of money provided by the public broadcasters has varied between 4. Under the terms of the accord, films produced using these funds can only be screened on television 24 months after their theatrical release.

They may appear on video or DVD no sooner than six months after cinema release. Nevertheless, the New German Cinema found it difficult to attract a large domestic or international audience. The socially critical films of the New German Cinema strove to delineate themselves from what had gone before and the works of auteur film-makers such as Kluge and Fassbinder are examples of this, although Fassbinder in his use of stars from German cinema history also sought a reconciliation between the new cinema and the old.

In addition, a distinction is sometimes drawn between the avantgarde "Young German Cinema" of the s and the more accessible "New German Cinema" of the s. For their influences the new generation of film-makers looked to Italian neorealism , the French Nouvelle Vague and the British New Wave but combined this eclectically with references to the well-established genres of Hollywood cinema.

The New German Cinema dealt with contemporary German social problems in a direct way; the Nazi past, the plight of the Gastarbeiter "guest workers" , and modern social developments, were all subjects prominent in New German Cinema films. Often the work of these auteurs was first recognised abroad rather than in Germany itself. The New German Cinema also allowed for female directors to come to the fore and for the development of a feminist cinema which encompassed the works of directors such as Margarethe von Trotta , Helma Sanders-Brahms , Helke Sander and Cristina Perincioli.

German production companies have been quite commonly involved in expensive French and Italian productions from Spaghetti Westerns to French comic book adaptations. Having achieved some of its goals, among them the establishment of state funding for the film industry and renewed international recognition for German films, the New German Cinema had begun to show signs of fatigue by the s, even though many of its proponents continued to enjoy individual success. Among the commercial successes for German films of the s were the Otto film series beginning in starring comedian Otto Waalkes , Wolfgang Petersen 's adaptation of The NeverEnding Story , and the internationally successful Das Boot , which still holds the record for most Academy Award nominations for a German film six.

The development of arthouse cinemas Programmkinos from the s onwards provided a venue for the works of less mainstream film-makers. From the mids the spread of videocassette recorders and the arrival of private TV channels such as RTL Television provided new competition for theatrical film distribution. In den Kampf am Februar ging er wie eine Art Auftragskiller. In den ersten beiden Runden tanzte Ali um Liston herum, ohne schlimm getroffen zu werden. Dann schlug Clay zu. Liston blutete unter dem linken Auge und aus der Nase.

Clays Augen begannen zu brennen, er geriet in Panik, schrie: Der Gong rettete ihn. Liston blieb stehen, dann taumelte er langsam zu seinem Hocker. Dann spuckte er den Mundschutz aus. Alle trinken Wasser aus kleinen Plastikflaschen. Schaut auf dieses Foto. Das Foto von Liston auf seinem roten Hocker.

Die alte Ordnung, sie stand noch, aber mit dem Knockout ihres Auftragkillers Liston hatte sie die ersten Risse bekommen. Diese Sekte war ein Haufen von paranoiden, machtbesessenen Spinnern, die es auf Clays Geld abgesehen hatten und auf seinen Ruhm. Heute ist er ein friedlicher Muslim.

Allah hat mich oft getestet in meinem Leben. Parkinson ist der letzte Test. Man bittet um Vergebung. Glauben Sie immer noch, dass Allah schwarz ist?

Gott isst nicht, und er geht nicht aufs Klo. Gott hat die Erde gemacht und die Sonne, alle Planeten. Ich bin nicht sicher, ob ich dich mag. Ernie Terrell, ein braver, schwarzer Christ, hatte den Fehler begangen, Ali nicht mit seinem neuen Namen anzusprechen, sondern mit seinem alten.

Zwei Jahre vorher, , war er ausgemustert worden, wegen mangelnder Intelligenz. Nun sollte er nach Vietnam. Gleich danach rief einer von der Zeitung an. Und Ali sagte diesen Satz, der zum wichtigsten Ausspruch seines Lebens wurde. Das amerikanische Establishment schrie auf. Er war noch der Netteste. Sie boten Ali einen Kompromiss an. Aber sie waren an den Falschen geraten.

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Ali war nicht Elvis, den man mit einem Bananenmus-Sandwich und einer Blondine befrieden konnte. Ali wusste nicht genau, wo Vietnam lag, aber er war sich sicher, dass er dort nichts verloren hatte. Er mag Angst und Zweifel um seine Zukunft gehabt haben, aber er zeigte sie nicht. Gegen eine Kaution von Dollar blieb Ali frei, aber es war eine bescheidene Freiheit. Er lebte in einem kleinen Haus der South Side von Chicago. Er sagte, er sei bereit, ein Priester Allahs zu werden. Nach dreieinhalb Jahren war es so weit. Oktober stieg Ali in Atlanta wieder durch die Seile.

Ali war wieder da, und er besiegte nicht nur Jerry Quarry an diesem Abend, sondern all die, die ihn wegsperren wollten. Ohne einen einzigen Bodyguard. Allah passt auf mich auf. Ein Mann, der Angst hat, lebt nicht. Obwohl er im Ring nie mehr so tanzte wie vorher. Das Alter hatte ihm die Schnelligkeit geraubt. Er hatte, wie man in der Ringsprache sagt, "seine Beine verloren". Er war eine motorisierte Version von Sonny Liston.

Schauplatz des Kampfes war Kinshasa, Zaire, Afrika. Er blickte Foreman in die Augen und sagte: Du hast mich verfolgt, seit du ein Junge warst. Jetzt musst du mir begegnen, deinem Meister. Sie sind erstaunlich klein. Nur dass er in diesem Augenblick nicht Ali in Kinshasa ist, sondern Foreman. Und dann, in der achten Runde, erwischte ihn Ali mit einem linken Haken und einem rechten Cross. Danach geschah das Undenkbare. Er hat sich die Frage damals nicht gestellt, und heute will er sie nicht beantworten.

Ali stellt sich schlafend. Dann blinzeln seine schweren Augenlider. Es ist die Frage, mit der man ihn am meisten genervt hat in den vergangenen 30 Jahren.

In der ersten Phase seiner Karriere, bis zum Jahr etwa, stand er durchschnittlich 5. In der zweiten Phase, zu Foremans Zeiten in Zaire, waren es 9. In der dritten Phase, von bis , musste er Die dritte Phase war eine Art Selbstmord auf Raten. Ali deutet auf das Buch, das auf dem Glastisch liegt. Als ein Mann, der nie auf die herunterschaute, die zu ihm hochschauten, und der so vielen seiner Leute half, wie er nur konnte - finanziell, aber auch in ihrem Kampf um Freiheit, Gerechtigkeit und Gleichheit.

Damals, nach dem Kampf gegen Foreman, blieb er die ganze Nacht wach. Er war es, aber ohne Parlament und Parteiapparat und festgeschriebenem Programm. Vielleicht machte er deshalb weiter. Holmes wurde zum traurigsten Sieger aller Zeiten. Das meiste ist weg. Ali bleibt in Bewegung. Bingham ist Alis bester Freund - seit mehr als 40 Jahren. Aber auch Lonnie hat wenig zu melden, wenn Ali reisen will. Es gibt keinen Plan. Er geht, wohin er will, wann er will.

Dann traf er sich mit dem Dalai Lama. Wenn er nach unten geht, habe ich nichts damit zu tun. In dieser Woche wird er auf der Frankfurter Buchmesse antreten.

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