5/21/2023 0 Comments Deutscher roadmovie![]() Thus, the author engages with the works of Käte Hamburger and Michail Bachtin Gilles Deleuze, Jean-Louis Baudry, Christain Metz, and Hartmut Winckler Hayden White, Aleida Assmann, and Jan Assmann, to mention just his most important theoretical reference points. Wenzel's methodological arsenal integrates literary theory with structuralist and poststructuralist film theory, historiography, and collective memory studies. The second book contained in "Gedächtnisraum Film," which could easily stand on its own, offers an ambitious, wide-ranging, yet consistent theory of cultural production that introduces the theoretical tools to appreciate the experimental space defined by above films (chapters II, III, and V). The productions in question are, in this sequence, Jean-Marie Straub's and Danielle Huillet's "Machorka Muff," Straub's and Huillet's "Nicht versöhnt oder es hilft nur Gewalt, wo Gewalt herrscht," Alexander Kluge's "Abschied von gestern (Anita G.)," Straub's and Huillet's "Geschichtsunterricht," Harun Farocki's "Zwischen zwei Kriegen," the compilation film "Deutschland im Herbst," Kluge's "Die Patriotin," Hartmut Bitomsky's and Heiner Mühlenbrock's "Deutschlandbilder," and Jean-Luc Godard's "Allemagne 90 Neuf Zero." The list of films, which were originally released between 19, shows that Wenzel has taken on some of the most complex and difficult films to emerge from the New German Cinema and very appropriately related them to Godard's similarly overdetermined, post-unification ruminations about Germany's past and present. The first provides a close reading of nine avant-garde films, which avoid the conventions of cinematic realism and open new perspectives of historical reflection in film (chapters I, IV, and VI). ![]() In fact, "Gedächtnisraum Film" contains two books under one cover. Eike Wenzel's project is more ambitious and more specific. "Gedächtnisraum Film" does not provide a general survey of the representation of German history in feature films since the 1960s, as the reader might assume from the title. Gedchtnisraum Film: Die Arbeit an der deutschen Geschichte in Filmen seit den sechziger Jahren. Yuja Wang appears courtesy of Deutsche Grammophon.The Avant-Garde in the Trenches of Vergangenheitsbewältigung: German History in the Experimental Films of the New German CinemaĮike Wenzel. Directing documentaries, recording opera, theater, and dance, making live broadcasts, and film adaptations of operas for the past 15 years, the Spiros work as cinematographers and editors as well as in collaboration with other directors. With a bittersweet reference to the transience of life, the film explores how the invisible complements the visible.įilmmakers Anaïs & Olivier Spiro have a very close relationship with Yuja Wang: they started to work with her in 2010 at Verbier Festival, and since then have completed four films of her landmark concerts. Through the Eyes of Yuja reveals us this artist in a very personal way, using a portable camera and her smartphone to record her digital diary. ![]() Yuja's wanderings are a travelogue of exciting venues, glitzy cities, and encounters with extraordinary artists-Gustavo Dudamel, Gautier Capuçon, and Leonidas Kavakos and innumerable other personalities-but they are accompanied by all the implicit downsides: fatigue, jet lag, pressure, doubts, hostilities, disorientation, and loneliness. ![]() In this film, we journey alongside the extraordinary pianist. It makes you start to wonder about things that are beneath the surface. I think being solitary, it really allows us to think about life and to think about why people write this music. Being a musician is almost like a very isolated life, and the only time you actually get to communicate is on stage with music. Pianists have to be alone all the time, and it's hard, it's lonely. ![]()
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