- Το πρώτο, ίσως, δημόσιο nip slip στην ιστορία του Hollywood.
- Distributed-SGD/jozomibola.tk at master · michaelfarrell76/Distributed-SGD · GitHub
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Als umfangreiche Online-Plattform bietet das Corporate Health Netzwerk kostenlosen Zugang zu einem umfassenden Leistungsportfolio rund um das betriebliche Gesundheitsmanagement. Gemeinsam mit unseren Kunden entwickeln wir Veranstaltungskonzepte und setzen sie erfolgreich um. Die psychische Gesundheit wird damit zum Wettbewerbsvorteil. Die Arbeitswelt kann dabei sowohl ein Belastungsfaktor sein, kann aber auch das psychische Befinden stabilisieren.
Das beinhaltet auch flexible selbstgesteuerte Arbeitsinhalte und -zeiten. Gesund Leben. Gesund Arbeiten. Weitere Themen. Fit wie ein Turnschuh. Mehr Infos. Frei machen! Alle gegen einen Mobbing keine Chance lassen. New Work Die Arbeitswelt 4. Wichtige Termine. Zukunft Personal Europe - September Digital Mind Change Vol.
Oktober Magazin - Abonnement. Doch wer sind diese? Hier gibt es eine Parallele zur Kunst und zum Film. Doch Kunst ist insgesamt weniger teuer als Sport. Und: Sport hat klare Regeln. Alles findet innerhalb eines klaren Systems statt. Im Filmbetrieb geht es eben nicht nach klaren Regeln zu und Filmemacher leben alles andere als gesund.
Dem fertigen Film sieht man die Arbeit nicht mehr an. Diese wirken insbesondere dann als gelungene Werke, wenn die Arbeit all der vielen Beteiligten hinter dem Werk verschwindt udn mand avon nichts mehr sieht oder ahnt. Je nach Sportart kann die nationale Verwandtschaft auch auf Europa oder die Westliche Welt erweitert werden.
Es geht um Identifikation und Heldentum. Was hat das nun mit den Krimis zu tun, die das Fernsehen vergleichbar exzessiv produziert und zeigt? Und warum setze ich diese hier in Beziehung zueinander? In den TV-Krimis sieht man einem anderen Wettbewerb zu. Es gibt ebenfalls klare Regeln, an denen sich nicht nur die Figuren orientieren — die der Normen des zivilen Zusammenlebens, sondern auch Autorinnen und Regie — dramaturgische oder Formatvorgaben. In einer Gesellschaft, in der immer mehr auf Messbarkeit und Vergleichbarkeit gesetzt wird, sind Sport und Krimis die idealen Programme.
Beim Sport hingegen gibt es diese kulturellen Feinheiten nicht. Dramaturgie-Studierende mit dem Schwerpunkt Medien stellen ihre Semesterarbeiten vor. November Allgemein Kommentare 1. Angloamerikanische Serien vermitteln noch allzu oft althergebrachte Frauenbilder, meint die Filmwissenschafterin Kerstin Stutterheim. November Allgemein Kommentar.
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- Il tempo senza lavoro (Varia) (Italian Edition).
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Gertrud Stein once wrote that it takes hundred years, three generations, to change habits and narratives. Is Generation One still in charge? Frenz , Stutterheim , pp give us a model for living today and the future? Fiedler , Gelfert And that specific form of designing the narrative, and much more importantly the implicit dramaturgy, mirrors the culture and feeds back into the understanding of gender, hierarchies and more into the Anglo-American film industry, thus the global world as well.
An unwritten rule of designing a successful movie or series for US-American or British audiences involves the narrative referring to conservative Jewish-Christian believes, which are mingled with historical experiences thus priming the Cultural Memory cf. Assmann , Assmann , , Gelfert of these nations. The novel emerged as the new mass medium.
Fiedler Jane Campion and Gerard Lee wrote the series. Season one is directed by Campion and Garth Davis. The first season is about sexual abuse and paedophilia intertwined with questions of fatherhood, relationships and family. The mother-daughter-relationship is overshadowed by an event from their past, fitting the model of an analytical drama as well as a crime story. Robin remembers her father as the better parent. Soon after her arrival Robin becomes involved in a case of sexual abuse of a very young girl, Tui Jaqueline Joe.
Robin is set up as a detective who tries her best to solve the case. In the beginning, her character acts professionally in as much as she has to keep voyeuristic policemen at a distance and to be the only one Tui is communicating with. Thus, the narration is split into different levels — central is the case, secondary the private story of Robin. The latter brings us clearly back to patriarchal Christian-puritanical worldviews cf.
Campbell As one can see, these are dominant against the modern approach of using an open form. In the backstory, in the private thread, it is told that Robin was raped as a year-old girl and got pregnant as result of it. Her Catholic mother did not allow an abortion. Thus Robin became a mother but gave her baby away for adoption the very next day after giving birth.
These women have different stories to tell and to overcome, all related to relationships with men. At some point as well Tui and Robin have to ask for shelter there. Paradise is situated at the end of a dead-end street close to the end of the world surrounded by a most beautiful landscape. While Robin is working on the case, she has to encounter not only voyeuristic colleagues but as well an increasingly abusive boss and one of her rapists.
With a closer look, it becomes evident that the action of season one is designed in such a way that the enthusiasm Robin is investing in solving the case appears more and more like displacement behaviour to processing her own traumata and not so much the action of a professional detective. The first one is that working women are acting more emotionally than logically and that they are working intensely and passionately only to overcome trauma, disappointment or misbehaviour excluding them from their social group — as becoming a single mother no matter the circumstances.
For example, when Robin finds out that everyone in the police department knows she has been raped as a young girl and Elisabeth Moss as Robin is directed as sitting there stunned and tears forming in her eyes or stunned and tearful. By surviving all this she is not only proving her ability to solving the case, rescuing the girl and the baby, but as a reward, the prospect of sentimental love lies ahead for her. China Girl tells the story of Robin coming back to Sydney, after years of having a not-much-defined break from the police work.
The authors trigger a presumption seeing her having been at home with her beloved Jonno. An intense emotional private disappointment spurred her to return to the police force she left years ago, but no one other than her boss seems to know her from these earlier times. With the very first episode, the character becomes damaged. Firstly, when Robin is inappropriate reacting to a provocation in a common situation, in front of the whole department and some superior men observing the event.
Secondly, she is presented drinking beer regularly after duty. By doing so, she is endangering her brother who managed to overcome his drinking habits. Soon she gets her new case — a murdered China Girl. She is supposed to solve this case together with her colleague Miranda Hilmarson Gwendoline Christie and all other staff of the department, one of them attracted to Robin from the very first meeting at the corpse. He is trying every possible way to start any kind of relationship with her. The murder case leads Robin and her team into a milieu of prostitution and surrogacy.
Correspondingly, the theme of season two mirrors and potentiates themes of season one — now it is biological motherhood, prostitution, abuse, and men seeing themselves as superior to women. From a dramaturgical point of view interestingly, Robin is no longer the main character. Pervasive is the character not only as lousy character dominating and exploiting a group of women, terrifying people around him but more importantly as a character who is designed to be controlling the progress of the action.
Actions this character got from the author-directors bolstering him driving the story, not the detective. She is designed as a much more reacting character than in season one. He has a stream of dialogues written, and the character can present this thinking in a variety of argumentations. Accordingly, he can declare prostitution as a profession and portray himself as a feminist who is supporting women to earn money to be able to support their families. This character is situated as the antagonist to Robin on both levels — the murder case and the private level of the narration.
Sure, a bad persona has to say and do terrible things fitting the designed character; this is not the point I want to question here. There are decisions to be made within the process of how to use dramaturgy to balance the dynamic between characters. By invoking that model in a combination of giving that persona this ample opportunity to make the point of the misogynist, he gets more influence on the action, thus he is a main character.
From a dramaturgical point of view, the character of Puss is designed as the potentially morally good outlaw, in which he is allowed to see himself, hence the one questioning the Sherriff. On the contrary, Puss is shown as the active and smart persona, while Robin is deliberately designed as a most vulnerable Female. The main task given to the character of Robin by the creators Campion and Lee is to understand herself as a mother. Her salvation is to understand and accept her motherhood and to get a new perspective on herself. Bonus Material, Making Robin.
Campion and Kleiman Thus, she has to meet her daughter Mary and her new parents. Through her actions, and since she is designed as another most vulnerable and at the same time exceptionally stupidly-behaving young woman, Robin is brought into challenging situations — in the private as well as the crime level of the narration. Throughout this action, her character is again and increasingly taken into circumstances in which she is challenged to react on her emotions or to act professionally. Her character also gets no chance to become a role model. Her character has been set up as being in a new relationship with her married boss, lying to Robin and others.
A similar traditional layer of traditional, as well as conservative American Dramaturgy pattern, is recognisable for the development written for Robin within the action.
In addition to aspects mentioned earlier, two other issues can be emphasised here as well. Firstly, the promise of a sentimental love-relationship is used as reward for Robin, of a man who appears as a mixture of her father and Jonno Thomas M. Wright as we remember both from season one. When Robin is shown as understanding herself as the mother of Mary and acting accordingly, the dynamics between her and Pyke are good. In situations, Robin is working as the detective, and given the construct of the crime story acting against the interests of Mary, Pyke has to backtrack from her. And, since this relationship is against standards of morality, the situation when they are having sex has to be interrupted by a call of high importance.
The other weird issue, dramaturgically speaking, is the situation of the encounter of Robin and her former senior Al Parker David Wenham for a hearing. The overall story gives the impression that some years lay between the end of season one — Robin shooting Al — and beginning of season two. Robin had three miscarriages, and as we can see, Al has a new family and two children.
The boy must be about five or at least four years old, to estimate from the appearance and dialogue. What made them wait so long to set up the hearing about the events happening at end of season one? What took the authorities four to five years to arrange that? That situation — of meeting again for the hearing — enables the authors and the director to display a violent attack against Robin.
Mary manages to free herself from her relationship with Puss and goes back to her adoptive mother; who herself has returned to her marriage and gets rewarded for doing so by getting Mary back. Just the Thai-women are still in the hands of Puss, and all those couples that were about to buy themselves the service of substitutes were penalised as well. Thus, the dramaturgical analysis disappointingly reveals a white-male supremacy worldview dominating the layout and construct, the motivation and design of the narration and characters; as well the aesthetic representation.
Both seasons of Top of the Lake were perceived as exceptional productions making a difference in presenting female characters within TV productions. Nevertheless, it is pleasant to watch excellent actresses in exciting, challenging and rewarding roles; the implicit message is still questioning women in their rights and their economic, social as well as mental independence. Assmann, Aleida. Memory in a global age: discourses, practices and trajectories.
Basingstoke: Palgrave Macmillan. Assmann, Jan. Campion, Jane, and A. Top of the Lake — China Girl. In Top of the Lake. Gabler, Neal. An empire of their own: How the Jews invented Hollywood. New York: Doubleday. Typisch amerikanisch: Wie die Amerikaner wurden, was sie sind. Hawthorne, Nathaniel, and Ross C. The scarlet letter: complete, authoritative text with biographical, historical, and cultural contexts, critical history, and essays from contemporary critical perspectives.
Boston u. Maras, Steven Ed. London, UK: Palgrave Macmillan. The word goes that more women behind the scene would change the way women are treated and represented. Yes, that is step one, long overdue. But will that be the definite solution — or do we think of some further aspects to change this kind of behaviour? What about productions written and directed or produced by female professionals? Agnieszka Holland , Vera Chytilova , Deepa Mehta , Chantal Ackerman and Agnes Varda are for sure some and they are important role models in this regard, but other female writer-directors are still telling the same old stories.
Gertrud Stein once wrote that it takes a hundred years, three generations, to change habits and narratives. Media productions, in particular mainstream TV and cinema productions, are in more or less subtle ways influential in priming gender constructions. This is true in particular for productions made in Hollywood or by HBO, which are seen as working opportunities as nearest to heaven as one could imagine. The last decade or two one had to experience an on-going backlash in presenting female characters — in TV as on the big screen. The unwritten rule of designing a successful movie or series for US-American or British audiences involves the narrative referring to conservative Jewish-Christian beliefs, which are mingled with historical experiences thus priming the Cultural Memory  of these nations.
And, apparently, one can find here traditions, topics, and themes from the American Novel in film narratives. The American novel is a result of the change from Catholicism or other religions towards the father-cantered Protestantism, which was the religion of the mass of that time in the developing US. The novel as medium emerged as the new mass medium. One can understand how influential the priming of conservative Jewish-Christian gender construction is when it is found in the implicit dramaturgy of modern productions, when one looks at most recent productions.
Examples could be endless, I am choosing here randomly some out of the highest ranked and most discussed productions of this year , so far. One can find several layers of association given the style the film is made in — the Nazis were brutal and bombarded Red Cross ships, but also: the weak are first victims, always.
For this sequel , women are reduced to appearing either as an attractive killing machine, or predesigned after the physical appearance of that figure but as most lovingly acting holograms. One other female character is set up as an asexual being focussed on her duty, thus she has to die early. But in total, the movie is dedicated to men and their desires for power and total independence, which allows just as much love as it can to enable them to become part of a real biological family, although this may happen just for a short time, not for life.
The option indicated in an earlier scene, that this young woman is a result of true love and hence not designed, could just by her existence change the life of female characters shown as living underground, is not strong enough to be part of the solution — or a set up to develop another sequel. Those women hoping for change are shown as prostitutes and spies in one, which is an old figure one can always find, for example in Deuteronomy the Old Testament , as the story about Rahab and the Canaanites.
Frenz, ; Stutterheim, Assmann, , ; J. Assmann, ; Gelfert, , Assmann, A. Memory in a global age: discourses, practices and trajectories 1. Memory and political change 1. Basingstoke, Hampshire u. Assmann, J. Fiedler, L. Love and death in the American novel 3rd printing Dalkey Archive ed. Frenz, H. Amerikanische Dramaturgie. Reinbek bei Hamburg: Rowohlt Verlag. Gelfert, H. Typisch amerikanisch: Wie die Amerikaner wurden, was sie sind 3. Maras, S. Ethics in Screenwriting — New Perspectives.
Maras Ed. XXV, p. Feminist rereadings of rabbinic literature K. Fish, Trans. Waltham, Massachusetts: Brandeis University Press. Stein, G. Four lectures by Gertrude Stein. Frankfurt am Main: Suhrkamp Verlag. Stutterheim, K. Eine Schallplatte wird produziert Dir. September Allgemein Kommentar. Arya Stark Maisie Williams is in the very first sequence of VII-1 crystallizing herself out of Walder Frey David Bradley —a wonderful theatrical trick to bring us back into the style and tempo of the series.
At the same time, this gives a short summary of one of the main events of the Stark-narration which were happening before. Arya is still shown as an independent and brave character. She joins soldiers after being invited, she eats and drinks like men, and she is not panicking when surrounded by a horde of wolves. Dressed like the little but strong sister of Jon Snow she works on her revenge.
In contrast to Cersei Lena Headey , Arya is acting neither blindly nor driven by bitterness. As in the seasons before, she is shown as a character who is careful but not afraid, able to plan her steps and being precise and prepared for what she is about to confront herself with. Arya seems to be the less traumatized, less play-acting figure within the ensemble of main characters.
And—in contrast to Sansa—she refuses to be protected. The character is still designed as independent and trusting to be able to protecting herself best. And trusts that she is able to protect herself. Sansa Stark Sophie Turner —back in Winterfell and safely protected. Brienne of Tarth Gwendoline Christie is always close by having a watchful eye on her. She, Brienne, still a strong, confident character, true to her oath and principles but caring as well. Thus, she still has feminine features.
Dramaturgically seen she can be understood as an older variation of Arya, a dramaturgical pendent to her. Sansa is shown as still torn between her desires for power thus including revenge and being the good-good girl . Arguments between them again give us information, backstories and potential developments, on the threats they are facing—every one of them emphasising a different threat. Sansa is shown through these two new episodes as a young woman with a strong will, stronger than her wounds.
Interesting is her admiring Cersei, telling us she has learned a great deal from her. What does this mean for Sansa and her future steps? Will she develop towards a Stark-version of Cersei? No matter her desire to rule her character is designed in a way that she was taken by surprise when Jon announced her to be his substitute whilst he will be away, meeting Daenerys Emilia Clark.
The cliff hangers for episode three are pointing us to the question of how the meetings will act out between Arya coming back and being confronted with her sister who betrayed her in the beginning, and Jon meeting his half-sister Daenerys, which both are not aware of. Cersei Lannister-Baratheon is still shown as mainly hungry for power. Thus, she appears a thus crazy as she was developed to during last season.
She wants to start a dynasty lasting years, anyhow there are no Lannister children who could take over who are still alive—as far as we know at present. Following the implicit principles of the series, it is no wonder the attack happens exactly when Asha and Ellaria Sand Indira Varna are about to start kissing and touching each other. Thus, the daughters of Ellaria are killed during the battle—by Euron himself, the man who just proposed a heterosexual marriage. The fate Asha Greyjoy and Ellaria Sand ate facing will be reviled in one of the next episodes.
They seem to be the precious gift he promised Cersei he would come back with. Daenerys Targaryen arrives at Dragonstone , the place she was born, on a stormy night. Accompanied, surrounded and counselled by her entourage. When Lady Olenna Tyrell , who was also arranged to be at Dragonstone to become an ally against Cersei, advises her to ignore men this would open the door to Daenerys the Mad Queen one could estimate after the dramaturgical development of the character during the last seasons. She is the populist using the feelings of the people—represented here by Lord Varys Conleth Hill to ensure her personal power.
Thus, her anti-establishment actions are on the surface giving freedom to the common people, but by replacing the former governing elite by herself. Lady Olenna Tyrell is portrayed within the Dragonstone-sequence as not being so convinced by this potential new queen. In her eyes the perfect queen and thus a role model would have been her granddaughter Margaery Natalie Dormer. Margaery truly went to meet the common people, the poorest of the poor to do a good deed to them.
This is how Margaery should be remembered. And this is a character clearly opposite to the one Daenerys is representing. Overall the female part of the main ensemble is arranged in a wide diverse group of characters. One can be curious about how long Lady Olena Tyrell will withstand the intrigue set up by Cersei against her—dramaturgically seen she could be one of the characters who have to leave the game soon; the same is true for Asha Greyjoy and Elliana Sand. Another dramatic highlight in episode VII-3 will be the meeting between Jon Snow-Stark-Tagaryen—who was not made aware of Daenerys Tagaryen expecting him to bow his knee to her—and Daenerys.
Insbesondere jedoch ist es die Form der Inszenierung im Bild, die hier eine Besonderheit darstellt und erreicht. Dieser Aspekt wird im Set-Design entsprechend gestaltet. Man mag einwenden, dass dies naheliegende Situationen sind. Anders in Game of Thrones — hier werden Auftritte und Wege zelebriert. Die Frage, die sich mir wie Studierenden und Filminteressierten stellt, ist die danach, warum ausgerechnet diese Serie weltweit so erfolgreich ist. Und damit verbunden ist die Frage danach, wie sie gemacht wurde. Sie widersprechen diesen nicht, wie oft vermutet wird.
Ich schreibe hier aus dem Wissen um die ersten sechs Staffeln. Doch dramaturgisches Wissen hilft, dem nahe zu kommen. Eine filmische Produktion, auch eine Adaption, folgt spezifischen dramaturgischen Regeln und Produktionsbedingungen, die den Besonderheiten der medialen Gegebenheiten entsprechen. Indem postmoderne Kinokonventionen genutzt werden, kann das Team von Game of Thrones radikal mit einer Wirklichkeitsillusion brechen, die traditionell Fernsehproduktionen eigen ist.
Dennoch ist die Serie durchaus ambivalent zu diskutieren. Diese Sequenz stimmt das Publikum ein und vermittelt wichtige Informationen. Drei Reiter unterschiedlichen Alters und Aussehens werden hinter einem Gitter wartend im ersten Bild so in Szene gesetzt, dass erst ein schweres Eisentor hochgezogen werden muss, durch das sie hindurch reiten werden.
Am Ende des Tunnels wird erneut ein Tor hochgezogen. Nun wird — in der weiten Totalen — die extrem hohe und sich in den Horizont erstreckende Eiswand gezeigt. Dies ist eine Szenerie, die sich von unserer wirklichen Welt und unserem Wissen um diese unterscheidet. Tarkovskij, UdSSR Dies geht einher mit der Darstellung fester Ordnungen und Hierarchien, die in einer bis ins Detail ausgearbeiteten, aber klar umrissenen und von unserer Wirklichkeitserfahrung verschiedenen Welt angesiedelt ist.
Implizit ist diese Handlung, wie es im Genre Fantasy Konvention ist,  in Bezug zu Mythologie und insbesondere der christlichen Religion motiviert. Die jeweiligen Motive der Figuren und Handlungsschritte sollen so indirekt legitimiert werden und gleichzeitig eine metaphorische Spiegelung der erlebten Gegenwart zulassen. Diese ovale Lichtung wirkt wie ein ritueller Ort. Und nun stehen diese quasi vor den Toren der als zivilisiert zu verstehenden Menschheit. Weniger vertraut sind der Begriff und die Kunst der Dramaturgie.
Dramaturgie, das muss hier unbedingt betont werden, bezieht sich stets auf das gesamte Werk, also die Filme oder die Serie, die wir sehen — nicht alleine auf das Drehbuch oder die Dialoggestaltung. Andererseits kann man mithilfe dramaturgischer Grundkenntnisse in der Analyse auch verstehen, warum bestimmte Filme uns begeistern oder langweilen, faszinieren oder weniger ansprechen.
Eine Grundkenntnis oder noch besser Erfahrungen aus der Praxis von Filmproduktionen hilft in der dramaturgischen Analyse ebenso wie in der Beratung. Juni Allgemein Kommentare 1. Stories are all around us — in the books we read, games we play and films we watch. The best stories are those that draw us in, captivate us and make us empathise with the characters and their situations. But can you create a story that will thrill and engage your audience?
As part of her inaugural lecture, Professor Stutterheim will share insights from her research and professional practice as a documentary filmmaker. She will explain how to tell a story that will interest, inform and excite your audience, illustrated with a wide range of examples from documentary film, and the games industry. Professor Kerstin Stutterheim joined Bournemouth University in , where she teaches a range of subjects, including film studies, directing of documentary and fiction films.
She is currently involved in a research project exploring the cultural legacy of the Paralympics, as well as undertaking research into the storytelling of HBO hit TV show — Game of Thrones. For further information on the inaugural lecture series, please visit www. In many ways Incoming is about the body.
So, under test situations, the camera has proven to detect the human body from a distance of You have to remember that the curvature of the earth obscures vision at sea level in only a few kilometres. So those tests would have carried out from raised evaluation. I am not sure why I find this resistance fruitful — maybe it forces the artist to try harder? Quite by accident, the device produces a beautiful monochrome tonality; human skin is rendered as a mottled patina disclosing an intimate system of body heat. Yet the camera carries a certain aesthetic violence, stripping the individual from the body and portraying a human as a mere biological trace.
It does this without describing skin colour — the camera is colour-blind — registering only the contures of relative heat difference within a given scene. Mortality is foregrounded. Richard Mosse on Incoming, a striking new installation. Every frisson is a response to surprise, to an unexpected comparison or the revelation of a hitherto unnoticed reality.
Here, it is the meeting of kitsch and death. All this is kitsch, the hidden, tender, and sweet vice—and who can live without vices? It is the juxtaposition of the kitsch aesthetic and of the themes of death that creates the surprise, that special frisson so characteristic not only for the new discourse but also, it appears, of Nazism itself. Is it necessary to see in this the will to reconstitute an atmosphere or a fascination? Both, no doubt. There is a kitsch of death. There is even a kitsch of the apocalypse: the livid sky slashed by immense purple reflections, flames surging from cities, flocks and men fleeing toward the glowing horizon, and far, very far away, four horsemen.
And yet this kitsch of death, of destruction, of apocalypse is a special kitsch, a representation of reality that does not integrate into the vision of ordinary kitsch. As I have just mentioned, whatever the kitsch images are surrounding one, death creates an authentic feeling of loneliness and dread. Basically, at the level of individual experience, kitsch and death remain incompatible. The juxtaposition of these two contradictory elements represents the foundation of a certain religious aesthetic, and, in my opinion, the bedrock of Nazi aesthetics as well as the new evocation of Nazism.
Now, this fusion is only the expression of a kind of malaise in civilisation, linked to the acceptance of civilization, but also to its fundamental rejection. Modern society and the bourgeois order are perceived both as an accomplishment and as an unbearable yoke. Hence this constant coming and going between the need for submission and the reveries of total destruction, between love of harmony and the phantasms of apocalypse, between the enchantment of Good Friday and the twilight of the gods.
Submission nourishes fury, fury clears its conscience in the submission. To these opposing needs, Nazism—in the constant duality of its representations—offers an outlet; in fact, Nazism found itself to be the expression of these opposing needs. Today these aspirations are still there, and their reflections in the imaginary as well.
New York, Psychology of Kitsch. The Art of Happiness. Paris: Denoel, , pp. Folglich kann diese Art Kitsch die tieferen Schichten der Glaubensbereitschaft nicht ansprechen. Diese Mixtur von Eros und Thanatos war geeignet, in der extremsten politischen Mobilisierung der Neuzeit Massen in den Wahn zu treiben.
Grendacher und G. Selb; S. Dementsprechend ist das visuelle Element, die visuelle Poesie, das besondere Merkmal des Genres seit Beginn an. Dies gilt bis heute. Dies erinnert an die Unterscheidung, die Rudolf Arnheim bereits in seinem erschienenen Buch Film als Kunst getroffen hat:. Bunte Ansichtspostkarten zum Beispiel sind nicht Kunst und wollen auch keine sein. Und Kientopp ist nicht Film. Das Alte geht, das Neue kommt.
Arnheim, R. Film als Kunst 1 ed. Frankfurt am Main: Suhrkamp. Inglehart, R. Norris Ed. New York: Oxford University Press. Wolf, F. Nach Beendigung meiner Dissertation zum fotografischen Werk wollte ich mich nun auch dem Filmemacher Ehrhardt zuwenden. Die Aufnahmen lagern noch heute bei Manfred. Das Projekt nahm unerwartete Dimensionen an. Im Zentrum steht die Frage, was ein Abbild vermag, wie es funktioniert und wie es rezipiert wird. Aber meine Euphorie hing eindeutig auch mit der kongenialen Verbindung zwischen Sujet und Autor zusammen.
Niels ist wie Alfred Ehrhardt Fotograf und er geht wie dieser vom fotografischen Standbild aus. Vielleicht hatte Niels mehr bei Alfred gelernt als ihm das selber deutlich war. Schrecklich aufregend war es, vor der Kamera zu stehen.
Το πρώτο, ίσως, δημόσιο nip slip στην ιστορία του Hollywood.
Irgendwann, nach Monaten, hatte ich dann auch gelernt, gelassener zu agieren. Aber er hatte ja Recht. Nur: warum sagte er mir das erst nach so vielen Drehtagen? Ich hab kein Problem damit Dinge zu schleppen. Danach war Ruhe in der Kiste und ging auch das Mitdenken besser. Etwas filmisches Material lag schon vor, unter anderem ein Interview mit dem mittlerweile verstorbenen Direktor des Ernst Haeckel Hauses, Prof. Dieser Film der Regisseurin Corinna Belz wurde ein durchschlagender Erfolg, auch weil er einfach aufgebaut ist und auf die Bilder vertraut. Touch is the most personal of the senses.
Hearing and touch meet where the lower frequencies of audible sound pass over to tactile vibrations at about 20 hertz. Hearing is a way of touching at a distance and the intimacy of the first sense is fused with sociability whenever people gather together to hear something special. These two features seem to co-exist. The sense of hearing cannot be closed off at will. There are no earlids. When we go to sleep, our perception of sound is the last door to close and it is also the first to open when we awaken.
The eye points outward; the ear draws inward. It soaks up information. Listening to beautiful sounds, for instance the sounds of music, is like the tongue of a lover in your ear. Of its own nature then, the ear demands that insouciant and distracting sounds would be stopped in order that it may concentrate on those which truly matter.
Murray Schafer: The Soundscape. Our Sonic Environment and the Tuning of the World. New York, Knopf, Why I think that talking about the audience as a measurement or an aim is a mistake when it comes to writing and directing film or time-based media? As a filmmaker as well as an academic myself, I often come across the demand to think about the audience before and while making a film or writing or conceptualizing art work. This always irritates me. Having been educated in the Faculty of Philosophy at Humboldt University Berlin and in one of the oldest and most established, but at the same time most modern, theaters, my immediate answer is that this is against all tradition.
This may look like a very academic answer. From my academic and artistic education, my infinite reading, my excitement about great art — theatre, painting, performance, writing — I am deeply convinced that all great artists are in dialog with their audience in dealing with tradition and everyday life at the same time.
No one starts a work outside of life and reality. Starting to write or direct or perform takes place in communication with existing work. That means to get to know, to test and to challenge what the basic elements are that one has to respect. To respect means to think about what is basic and what can be changed and how, to be modified, to be tested or to be ignored, played with. This fulfils thinking about audience, but more in an abstract or academic way. Will the audience understand and like this?
Will they pay for it? Will they keep watching it? The last question includes money and a calculated economic success as well.
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There is no such thing as THE audience. There is not one audience, everyone feeling the same or demanding the same story, aesthetic, style, whatever. Would you, my reader, choose the same book or the same story or the same style every day? Would you dress every day in the same colours? Or can you predict that next Friday you will for sure be up for wearing a red Jacket, eating potatoes for lunch, listening to the Beatles for driving to work, and watching a Tarantino film in the evening? What about midsummer in two years? Will you be up that day for a romantic comedy or for a thriller, and should the main cast be Julia Roberts, Tom Hiddleston or Kit Herrington?
Thus, I have to rely on tradition, on basic knowledge and on artistic wisdom. What I am here calling artistic wisdom is very well reflected and not mystic or metaphysic knowledge. Philosophy is one discipline reflecting on aesthetics since ancient times, the other is a sub-discipline of philosophy called dramaturgy. When I think about experiences with actual audiences, there are two different fields I can refer to, which I will do here in just a short overview.
My first experiences go back to my time as dramaturgy assistant at the Deutsches Theater Berlin. There were some great directors, e. But two were dominating the discourse, discussions and debates, fascinating the audience and splitting the colleagues into two groups. Friedo Solter was, in a nutshell, directing in a traditional way, modern, but moderate, up-to-date but not too provoking. On the other side was Alexander Lang. He was the postmodern director of the ensemble. Provoking, excellent, fascinating. There was a lot of brainwork done before they started to rehearse and during the process.
And the audience liked it too. All performances of both directors were always sold out. And ran for a long time. Shows I watched again and again as a member of the audience—more than ten times—were e. The audience was different every day. There were some evenings when most of the audience came because they were curious to see the new interpretation of something they knew or knew about, others came to see the actors in a new performance, others to see the new work of the directors and some just because they had a season ticket or someone had asked them out, it was a social event organised through work or an educational trip from school.
And thus, the performance was a little bit different every day or perhaps just the atmosphere differed. I have similar experiences from showing our own films. When a film is new, a premiere or a first screening at an important festival, the audience expects something special, they are mostly open minded, interested, excited, too. Do they get the joke or the irony in this dialog, do they see the emotional picture, do they hold their breath at this moment or not? And along that every discussion has a few similar questions, the standards, but more often completely different reactions, responds and queries.
Some US-media primed colleagues view European Documentaries as boring and old fashioned; others world wide are still working in poetic cinema , documentaries and fiction. Some filmmaker are still able to make poetic documentaries, being more visual, more artistic, and less outspoken or fast or hybrid; others invite these films to competitions in A-Festivals and sometimes these films receive an award too.
Teaching courses in Bangladesh, the UAE or Brazil, I found that the students were socialized and hence primed differently, but all of them were attracted by similar aspects of telling and directing a story. All of them discovered their specific style and narration to make their own projects, but all of them were in the given circumstances successful after they started to trust in artistic wisdom, the traditions, and the balance of constants and variants in storytelling. The movie was not well received in the US, and Western Europe, thus it was marked as a flop. Or Barry Lyndon—over decades described as difficult and not very successful—this film was just re-released and shown in cinemas.
There is no such thing as THE audience which you can calculate upfront. But, and this is the good news, we can trust that our audience in its variety, its broad interests and moods, will enjoy a good or excellently told story, when the auteur is aware of traditions and artistic wisdom, is creative and open minded, simply an artist, not a formatted industry worker.
One has again to trust the writers, directors, the creative team and the artists, if we still want to get good and great stories told. Looking for a formula to calculate the mood and interests of the people is like reinventing alchemy. Praxis des Drehbuchschreibens, Berlin, Alexander-Verl. Hamburgische Dramaturgie, Stuttgart, Reclam. Der aufhaltsame Aufstieg des Arturo Ui, Frankfurt a. It tramples the cinema, makes it stand still, which is the opposite of what we live.
The same thing applies to literature, if we simply apply to poetic rules, for example we can write about our lives but never write a single poem. September Allgemein , Filmmaker , teaching Film Kommentar. By thematizing rehearsal processes in performative works unfolding over time, it is possible to demonstrate and depict working on art itself and the conditions for producing it.
This essay will question which artistic procedures are possible, in analogy, in a static work. How can these critical ideas of rehearsal be reflected on as a topos in a painting? He thus achieves a self-reflected, critical reflection on the arrangement of narration and visual representation at the dramaturgically implicit level of dramatic image plot as well. Annemarie M. August Allgemein Kommentar.
Sie wurde erstmals ausgestrahlt und besteht derzeit aus zwei Staffeln. Eine weitere befindet sich in Produktion und soll erscheinen Stand Juli Alle anderen Themen entstanden danach und leiten sich teilweise aus dem Titelthema ab. Des Weiteren kommen Pads zum Einsatz, die er mit den Orchesteraufnahmen mischt. Eine weitere Ausnahme ist das elektronisch bearbeitete Sample des Waschmaschinensounds. Zudem wird mit Klaviereffekten durch Bogen oder Hammer auf den Saiten gearbeitet.
Durch die solistische Besetzung strahlt es Einsamkeit aus. Die Gegend, die man in der Serie sieht, ist ein Charakter, und so ist es wichtig, sie wie einen Charakter zu behandeln. Ich beziehe mich nie direkt auf den Score, aber dennoch auf dessen Klangfarbe. Somit bin ich also in Burwells musikalischer Landschaft geblieben. Aber weiter geht meine Referenz zu diesem Score nicht.
Im wahren Leben ereignen sich auch Dinge und dann passiert mal wieder nichts. Um das zu zeigen, haben wir das Thema unserer Filmwelt eingespielt — welches die Titelmusik der Serie ist. Das hilft an dieser Stelle wirklich sehr. Die Gestaltung der beiden Themen greift geschickt die Verbundenheit der Figuren auf. In einem Interview sagt Russo:. Als Lester wegen der infizierten Verletzung an seiner Hand im Krankenhaus zu sich kommt und bemerkt, dass er in Schwierigkeiten steckt, schmiedet er den Plan, eine falsche Spur zu legen und die Tat seinem Bruder in die Schuhe zu schieben.
Doch es kann genauso als Vorausdeutung auf das Kommende gesehen werden. Wenn Gus nun auf Malvo trifft, baut sich unweigerlich Spannung Suspense auf, da die Zuschauenden bereits wissen, in welcher Gefahr sich der Polizist befindet. Diese dunklen Akzente reichen bereits aus, um das Spannungslevel zu potenzieren und nehmen die von Malvo ausgehende Bedrohung musikalisch auf. Dieses Thema kann als eine Variation der Titelmusik gesehen werden, da sich das melodische und rhythmische Material unmittelbar daraus ableitet.
Die Melodie entspringt der selben melodischen Phrase jeweils T 1 , wird aber anders harmonisiert. Das ist auch musikalisch erkennbar, denn ihr Thema wird zwar im Laufe der ersten Staffel auch variiert, entwickelt sich aber in keine bestimmte Richtung weiter.
Somit hat sie auch von Anfang an dasselbe Thema. Die Themen folgen den dargestellten Figuren sehr langsam und subtil in ihrer Entwicklung. Manchmal kommentiert sie das Dargestellte dezent. Betreuerin: Christine Lang, Zweitgutachter: Prof. Ulrich Reuter. Bullerjahn, Claudia: Grundlagen der Wirkung von Filmmusik. The Art and Business of Writing.
A Guide to Contemporary Film Scoring. In: Moormann, Peter Hg. Ein Handbuch. Zugriff Stutterheim, Kerstin, , S. Lang, Christine, Mail vom Lang, Christine; Dreher, Christoph, , S. Davis, Richard, , S. Juli Allgemein Kommentar. One achievement of so-called Scandinavian Noir, the specific aesthetic and dramaturgy of contemporary TV series made in Sweden and Denmark  , was the invention of independent and convincing modern characters. Designed like contemporary modern men and women in democratic societies in Europe, these characters are created as active parts of stories dealing with the challenges we have to face today in Europe, not just in the single country that action is situated in.
Female and male characters were arranged to act on eye-level, not only in the action but as well within their dramaturgical impact. In these productions men and women have to solve same problems, on duty and at home with their families. The stories were dealing with current levels of crime—from trafficking, terrorism, to international acting mafia-like organizations.
The family life of the detectives as part of the action were set as a dialectic contrast to the crime stories to be investigated by them. Thus, these productions still inherited a moment of hope, of normality, the utopian moment of modern, democratic, civilized society. Consequently, they were filmed in a more modern or postmodern aesthetic . No false illusion of realism or naturalism is given the way these productions are designed. New productions are released, designed in a way it is obvious they want to follow the trend, and to participate in the success productions mentioned above have had achieved internationally.
κατάπτωση της εγγύησης Η αναγέννηση της Μασσαλίας
Those two to be discussed within this essay were expected with high hopes or rather announced as high-quality Noir-like productions. First example to be discussed in this post, is the BBC production From Darkness —broadcasted during the last weeks. It was announced to be a dark thriller with a strong female protagonist. Stutterheim, b Claire Church Anne-Marie Duff is a blond, athletic Ex-Detective; one can see here borrowings by Sara Lund Forbydelsen and Saga The Bridge , to be worked out but a character completely different from both role models.
The design of the whole production is dark, but the crime is the usual TV crime—tortured and murdered prostitutes. All together we are again confronted with helpless and emotional overacting women in high numbers throughout the four episodes of the mini series. With this text no full analysis can be given, but some central aspects discussed from a dramaturgical point of view for this production, and in opposition to the above already mentioned productions, make this misogynistic.
First is the design of the main character Claire Church, her motives for behaving and acting given within the story; second the murder, her character and motives; third the crime and the victims; another aspect to be discussed this way is the last sequence of the season. Before starting the analysis I want to keep in mind that characters are always designed to support the overall idea, they are written to service the action, they are neither real nor independent deciding human beings.
Stutterheim, a. Claire Church Anne-Marie Duff as a former police officer is a runner. Already the first sequence shows the character Claire after woken up by a bad dream and fleeing the husband joint bed, running, intercut with pictures of prostitutes and tortured women.