#deutsches filminstitut

[aaroncutler]

Sessão Mutual Films: As aventuras de Lotte Reiniger e Moustapha Alassane [Mutual Films Session: The Adventures of Lotte Reiniger and Moustapha Alassane]

November 20: The link above leads to Portuguese-language information about the 20th edition of the Mutual Films Session, co-curated and co-organized by me and Mariana Shellard, which will take place on November 22nd, 29th, and 30th at the São Paulo-based unit of the Instituto Moreira Salles.

The event proposes a dialogue between works from two pioneers of animation-based filmmaking. Lotte Reiniger (1899-1981), a German master of silhouette-based filmmaking, will be represented with two films - the 1921 short The Flying Coffer (her first of several fairy tale adaptations, this time based on a story by Hans Christian Andersen) and 1926's feature-length The Adventures of Prince Achmed (freely adapted from episodes of The Arabian Nights, or One Thousand and One Nights). The multifaceted Niger-born artist Moustapha Alassane (1942-2015) will appear with five films, including a playful docufictional work of live-action filmmaking (The Return of an Adventurer), a lyrical fable told with hand-drawn animation and stop motion (Samba le grand), and three wonderful animated films (La mort du Gandji, Bon voyage, Sim, and Kokoa) starring Alassane's favorite animal, the frog.

The screenings include a mixture of films by the directors, as The Flying Coffer will screen together with four of Alassane's films and La mort du Gandji will screen before The Adventures of Prince Achmed. This second program will feature an in-person introduction by the Brazilian animation filmmaker Fábio Yamaji on the night of the 22nd.

The screenings of Alassane's films are supported by the Cinemateca da Embaixada da França no Brasil and the Institut Français (through the Cinémathèque Afrique), an entity that aided the recent restoration processes involving Alassane's films Samba le grand and The Return of an Adventurer. La mort du Gandji was restored by the Office national du film du Canada/National Film Board of Canada, and the two films from Reiniger in the series were restored by the DFF - Deutsches Filminstitut & Filmmuseum in collaboration with Primrose Productions.

Special thanks for their help throughout the process of assembling this series are due to Alassane's son, Razak Moustapha, who has written a short introduction that will be read before the program "In the Kingdom of Frogs"; Amélie Garin-Davet, a France-born film programmer who coordinated a recent touring retrospective of Alassane's films in the United States and provided high-resolution images for usage in conjunction with the Brazilian screenings; and Dennis Doros and George Schmalz on behalf of the North American distributor of The Adventures of Prince Achmed, Milestone Films/Kino Lorber, for their invaluable work, including with Milestone's thoroughly researched presskit on the film.

Although Reiniger and Alassane likely never met, they shared similarly playful spirits, a taste for fables, and a desire to use art to reach and teach a broad audience (both locally and globally). This desire motivated Alassane in particular to advocate for greater and more inventive forms of distribution for African cinema, including through the organization of open-air screenings throughout Niger of his films in tandem with international classics that he loved. Like Reiniger, he believed that a filmmaker has the power to communicate with everyone, and often quite literally with the tools at hand.

[missholson]

Reinhold Schünzel, Henny Porten, Emmy Wyda, Lupu Pick and Paul Hartmann in Höhenluft (1917) directed by Rudolf Biebrach

© Deutsches Filminstitut, Messter Film [X]

[pandaemoniumpancakes]

Paul Wegener posing in his golem costume next to his puppet double for the first golem film from 1915, ca. 1914, Deutsches Filminstitut, Frankfurt am Main, Nachlass Paul Wegener, Sammlung Kai Möller. 

[francoisgoeske-world]

Das Spotlight beim @filmzmainz: Christian Ditters Debutklassiker FRANZÖSICH FÜR ANFÄNGER mit Hauptdarsteller François Goeske live im Kino! Freitag, 5. Nov. 2021, 20 h, @cinemayence ——— #francoisgoeske #paulaschramm #französischfüranfänger #filmfestival #mainz #christianditter #comingofage #französisch #français #kino #film #love Im Rahmen der 20. Ausgabe von FILMZ - Festival des deutschen Kinos anlässlich des 20-jährigen Bestehens der bilateralen Filmförderung im Rahmen des Mini-Traité und des Atelier Ludwigsburg Paris in Kooperation mit Intsitut français Mainz und dem DFF - Deutsches Filminstitut & Filmmuseum einen eigenen Programmschwerpunkt. https://www.instagram.com/p/CVyVzT-sxp8/?utm_medium=tumblr

[goldenpixelcoop]

REFRAMING NATURE: STONE NARRATIVES

Kurzfilmprogramm

The Golden Pixel Cooperative

Mit Filmen von Enar de Dios Rodríguez, Thomas Grill, Nicole Krenn, Lisa Rave, Jan Švankmajer, Katharina Swoboda, Lisa Truttmann, präsentiert von Katharina Swoboda und Lisa Truttmann.

Steine sind auf der ganzen Erde zu finden – sie sind ein wichtiger Teil unserer menschlichen Mitwelt. Wir greifen nach ihnen, verarbeiten sie, und wir zersetzen sie, um an wertvolle Rohstoffe zu gelangen. Ohne eigene Antriebskraft werden Gesteine durch menschliches Zutun, Kräfte wie Erosion, Wind, Erdbewegung oder auch andere Organismen bewegt. Das Filmprogramm „Reframing Nature: Stone Narratives“ erzählt von industriellen und persönlichen Beziehungen zwischen Menschen und Steinen. Die filmische Einstellung, das „Framing“ setzt die Gesteine künstlerisch in Szene und kinematografisch in Bewegung.

Die Veranstaltung wird freundlicherweise vom Land Steiermark, Abt.9 unterstützt.

Filmprogramm:

Folds of Stone, in progress, 2021, 3 min. Spiel mit Steinen, 1965, 8:30 min. Europium, 2014, 21 min. Stones, 2021, 8 min. Vestiges (an archipelago), 2020, 40 min.

Folds of Stone, 2021 Thomas Grill, Nicole Krenn, Lisa Rave, Lisa Truttmann in progress Ohne Sprache, Farbe, 3 min.

Atmende Steine, pulsierende Furchen, zitternde Felsen, Material das vibriert. Mikroskopische Landschaften lösen sich im Bild auf. Oberfläche, Materialität und Struktur changieren zwischen schroffen Gesteinskanten und weichen, seidigen Stofffalten. Thomas Grill, Nicole Krenn, Lisa Rave und Lisa Truttmann übersetzen ihre Rauminstallation vom alten Sägewerk im Nationalpark Gesäuse mit Bild und Ton in den Kinoraum. Folds of Stone zeigt einen Ausschnitt dieser filmischen Arbeit im Prozeß des Berührens und Entfaltens als künstlerische Geste.

Spiel mit Steinen, 1965 Jan Švankmajer Ohne Dialog, Farbe, 8:30 min.

Der experimentelle Animationsfilm Spiel mit Steinen des tschechischen Regisseurs und bildenden Künstlers Jan Švankmajer ist ein Film ohne Menschen. Objekte wie eine Uhr, ein Wasserhahn, ein Eimer und zahllose Steine werden zu den Spielfiguren des Films. Dinge, die in keinem gemeinsamen Zusammenhang stehen, werden animiert und bilden so das Sinnesmaterial von Spiel mit Steinen. Dabei wird das Material der Dinge deutlich ausgestellt: auf der einen Seite die festen und teilweise rohen Naturelemente wie Holz und Stein, auf der anderen Seite die in einem mechanischen Zusammenhang stehenden Metalle von Eimer, Wasserhahn, Uhr und Spieluhr.

Autorin: Stefanie Schlüter, Deutsches Filminstitut, 2015

Europium, 2014 Lisa Rave Englisch und Deutsch, mit englischen Untertitel, Farbe, 21 min.

Was hat der magische Spiritismus indigener Völker mit profanen digitalen Flachbildschirmen zu tun und was verbindet das traditionelle Muschelgeld “Tabu” mit der europäischen Währung? Lisa Rave Europium stellt Verbindungen zwischen der kolonialen Vergangenheit Papua-Neuguineas und der geplanten Schürfung der Seltenen Erde “Europium” aus der Bismarcksee im Pazifischen Ozean her. Auf verschiedenen Bildebenen webt der Essayfilm eine Erzählung um Europium, dessen fluoreszierende Eigenschaften verwendet werden, um europäische Banknoten zu validieren und die Farbbrillanz auf Flachbildschirmoberflächen zu gewährleisten. Der Film beschreibt diese scheinbar banale Tatsache als Rückkehr und Wiederholung der Geschichte, weist auf die menschliche und ökologische Gewalt hin, die der Gewinnung und Umwandlung eines Rohstoffs in Geldwert innewohnt – und enthüllt gleichzeitig die unsichtbaren Geister der Vergangenheit, wie sie in der Moderne erscheinen Gegenstände unseres Lebens.

Stones, 2021 Katharina Swoboda Deutsch, Farbe, 8 min.

Die meisten Elemente, die in ein Smartphone eingebaut sind, werden aus der Erde gewonnen. Große Mengen an Gestein müssen abgebaut und dann mühsam verarbeitet werden, um die Elemente und Komponenten zu gewinnen, die für den Bau des Telefons benötigt werden. Einige dieser Gesteine, aus denen Elemente wie Palladium, Tantal, Lithium oder Seltene Erden gewonnen werden können, werden im Video gezeigt. Eine Wissenschaftlerin untersucht diese Steine im Mikroskop und wir werfen mit ihr einen abstrakten Blick auf die „inneren Landschaften“ eines Smartphones. Das Video endet mit einem Experiment und der Auflösung eines Mobiltelefons.

Vestiges (an archipelago), 2020 Enar de Dios Rodríguez Englisch mit deutschen Untertitel, Farbe, 40 min.

Verfasst als eine Typologie verschiedener Inseln, untersucht de Dios Rodríguez’ Video-Essay den unstillbaren Hunger des Menschen nach Sand, den am meisten extrahierten natürlichen Rohstoff unseres Planeten nach Wasser. Vestiges (an archipelago) ist ein poetisches, narratives Labyrinth, aus dessen Erzählung Themen wie Kolonialismus, ganze Landstriche versetzende Baggermaschinen und gigantische Bauprojekte auftauchen.

Bild Copyright: Enar de Dios Rodrí­guez,Vestiges (an archipelago), 2020, Film Still Katharina Swoboda, Stones (2021), Film Still Thomas Grill/Nicole Krenn/Lisa Truttmann, Folds of Stone (Ausschnitt, 2021), Film Still Lisa Rave, Europium (2014), Film Still

[scopitonearchive]

A brief podcast about Scopitone (in German) from the Deutsches Filminstitut & Filmmuseum in Frankfurt.

[myborderland]

Wim Wenders Valley of the Gods, Utah, 1977 © Wim Wenders Courtesy Deutsches Filminstitut Frankfurt a.M.

[imwd2030]

#HarryWho? Move over Professor Severus #HarryPotter💡🎥 💥! @mlleplappert in da house! . “Between film and quarantine: Filmstill challenge, courtesy Deutsches Filminstitut & Filmmuseum @dff.film: . 👉 Pick a Filmstill 👉 Find useful things at home 👉 Post your remake using #betweenfilmandquarantine #betweenfilmandquarantine” 💡🎥📽🎞 https://www.instagram.com/p/B-xjBNpFSSe/?igshid=1ntxp3y9jipdz

[papipineapple1-blog]

Stop breath relax smile #Europa #Europe #vacation #travel #worldtravel #sightseeing #carpediem #beautifuldestinations #photography #photographer #wanderlust #ig_europa #goodvibes #bestpic #instapic #insta #liebedinestadt #ig_deutschland #deutschland #myGermany #germany #germany🇩🇪 #deutschland🇩🇪 #meindeutschland #Reise #Reisen #Urlaub #frankfurt #frankfurtammain #frankfurtistsowunderbar (at DFF - Deutsches Filminstitut & Filmmuseum) https://www.instagram.com/p/B8LZv_dhiSM/?igshid=hrkx4kznmrqv

[whileiamdying]

EXHIBITION REVIEW > The Making of ‘2001: A Space Odyssey’ Was as Far Out as the Movie

A jumble of memorabilia, storyboards and props, an exhibit illustrates the whirl of influences behind Stanley Kubrick’s groundbreaking 1968 film.

A scene from Stanley Kubrick’s “2001: A Space Odyssey.” The show at the Museum of the Moving Image is an offshoot of a traveling presentation that covered Kubrick’s entire career.Credit...Warner Bros. via Museum of the Moving Image, New York

By Ben Kenigsber Jan. 23, 2020

As it approaches its 52nd birthday, “2001: A Space Odyssey” remains one of the most inventive and enduring of all movies. But from the vantage point of 2020, it can be difficult to appreciate the sheer breadth of imagination involved in its making.

Enter “Envisioning 2001: Stanley Kubrick’s Space Odyssey,” a new exhibit at the Museum of the Moving Image in Astoria, Queens, that runs through July 19. The show brings together original correspondence, sketches, storyboards, props, video clips and much more to illustrate how Kubrick, the film’s director, and Arthur C. Clarke, the science fiction author who collaborated with him on the screenplay, set about bringing the future to the screen. The museum will show “2001” on 70-millimeter film monthly while the exhibit runs, and several sidebar movie series — the first, on movies that inspired “2001,” runs through Feb. 2 — will complement the showcase.

The exhibition, previously presented at the Deutsches Filminstitut & Filmmuseum in Frankfurt, is technically an offshoot of the acclaimed traveling presentation that covered Kubrick’s entire career. It toured 19 cities beginning in 2004 but never made it to New York because there was no space big enough to house it, according to Kubrick’s daughter Katharina Kubrick at the press preview for the “2001” show this month. Those lucky enough to have caught the traveling show will recognize the same strengths (and perhaps a few of the same weaknesses).

A model of the Discovery One spacecraft hangs above the gallery. via Museum of the Moving Image, New York; Thanassi Karageorgiou.

“Envisioning 2001” shows Kubrick as a director in command of all aspects of filmmaking, and it suggests that he and Clarke were no small obsessives when it came to understanding their subject matter. One of the first items in the exhibit is a request form from 1964, with Clarke’s name and address, sent to the United States Air Force. He sought information on a sighting — which turned out to be a satellite — that he and Kubrick, then developing the story for the movie, had seen in the sky over New York.

The men’s range of influences included science, literature, engineering and even abstract art. The kaleidoscopic imagery and spinning colors in the experimental filmmaker Jordan Belson’s 1961 short “Allures,” for instance — which was part of Kubrick’s ample pre-“2001” viewing list — play like an antecedent to the Star Gate sequence. The rocket scientist Wernher von Braun is shown in a 1955 episode of a Disney television series explaining the centrifugal design of a space station much like the approximately 30-ton set built for Kubrick’s movie. That set, which necessitated novel engineering and camera techniques, is seen in a model, drawings and a short documentary promoting the film’s release, in which a narrator speaks of the “requirements of Kubrick’s bizarre and incisive imagination.”

A visitor takes a picture of the Star Child, one of many props and other memorabilia on display. via Museum of the Moving Image, New York; Sachyn Mital

Kubrick’s team included the scientist Frederick I. Ordway III and the production designer Harry Lange, who had worked with NASA and who can be seen in a clip describing their jobs as ensuring the film’s scientific integrity. The exhibit shows off correspondence in which ideas are vetted for accuracy. Concept art from Graphic Films, an organization that made movies for NASA, shows designs so detailed they indicated an outer part of a spaceship should look “pre-stressed.” Even the cutting edge of the technology world wasn’t always good enough for Kubrick. In a letter, the director describes drawings from IBM for the design of a computer as “useless” and totally irrelevant to his needs.

The planning for “2001” anticipated an “electronic edition” of The New York Times; it doesn’t appear in the film, but here you can browse a list of headlines from the year 2001 that were considered (“LAST GRIZZLY BEAR DIES IN CINCINNATI ZOO: SPECIES NOW EXTINCT — TENTH THIS YEAR”). Other brands, like Hilton, wanted to be cited in the film, humorously advertising that their products would still be around at the dawn of the new millennium. Near the fake Times, you can read a memo that Kubrick sent a vice president of his production company: “I thought you’d be amused: Esquire preparing cover for newsstand showing John Kennedy, Jr. as new President of United States” in 2001. (The junior Kennedy died in a plane crash in July 1999 — coincidentally on the same day that Kubrick’s final, posthumously released film, “Eyes Wide Shut,” opened in theaters.)

A portion of what can be seen in “Envisioning 2001” falls under the category of simple memorabilia — look, it’s the actual spaceflight coveralls worn by Keir Dullea, the actor who played the astronaut Dave Bowman — and the exhibit as a whole leans heavily on reproductions, even of letters. Using replicas is understandable from educational and preservationist standpoints, but it also strips the show of the magic of authenticity. That is not the original HAL 9000 exterior, for instance; it’s simply a good look-alike.

Storyboards, contact sheets and photographs from the film’s kaleidoscopic “Star Gate” sequence. The geometry and colors were rendered using a process called slit-scan photography. Credit: via Museum of the Moving Image, New York; Thanassi Karageorgiou.

The exhibit is at its best not when simply showing off the Kubrick warehouse, but as it walks museumgoers through decision-making processes or groundbreaking approaches to technical problems. Diagrams explain the special photographic techniques that enabled the “Dawn of Man” segment to be filmed in a studio, instead of in Africa, or how Douglas Trumbull, the supervisor of special photographic effects, used a process called slit-scan photography to create the geometry and colors of the Star Gate sequence. One video monitor plays the film’s opening credits twice — first with the upbeat, Aaron Copland-esque score composed by Alex North that Kubrick rejected, then with Richard Strauss’s “Also Sprach Zarathustra,” which Kubrick had employed as temporary music and ended up becoming a part of one of the most famous openings in film history.

That “2001” was a revolutionary movie is not exactly news, but it is still hard to fathom filmmaking of this scale or level of creativity — let alone in a film that had its premiere 15 months before the moon landing. In light of such an artistic coup, the collection assembled at the museum can sometimes feel like a jumble.

But seeing “2001” broken down into these components is nevertheless instructive. The exhibit makes a great achievement in filmmaking look less like a cinematic U.F.O. and more like, well, an achievement — the product of ingenuity, talent and tenacity. It illuminates the artistry of a moviemaker whose genius has often seemed inseparable from the mystique surrounding it.

Envisioning 2001: Stanley Kubrick’s Space Odyssey

Through July 19 at the Museum of the Moving Image, 36-01 35 Avenue, Astoria, Queens; 718-777-6888, movingimage.us.

[missholson]

Reinhold Schünzel & Conrad Veidt Movies Together

Das Tagebuch einer Verlorenen / The Diary of a Lost Woman (1918) dir. Richard Oswald

Es werde Licht! 4. Teil: Sündige Mütter / Sinning Mother (1918) dir. Richard Oswald

Die Prostitution 1. Teil: Das gelbe Haus / Prostitution (1919) dir. Richard Oswald

Die Reise um die Erde in 80 Tagen / Around the World in 80 Days (1918/1919) dir. Richard Oswald

Anders als die Andern / Different from the Others (1919) dir. Richard Oswald *2K reconstruction by Filmmuseum München, 2004 **DVD 2004, 2006, 2007, 2011, 2021

Die Prostitution 2. Teil: Die sich verkaufen / Prostitution II (1919) dir. Richard Oswald

Wahnsinn / Madness (1919) dir. Conrad Veidt

Unheimliche Geschichten / Eerie Tales (1919) dir. Richard Oswald *2K reconstruction by Deutsches Filminstitut, 2013 **DVD 2013

Der Graf von Cagliostro / The Count of Cagliostro (1920/1921) dir. Reinhold Schünzel

Nachtgestalten / Figures of the Night (1919/1920) dir. Richard Oswald

Moriturus (1920) dir. Karl Mueller-Hagens

Christian Wahnschaffe 1. Teil: Weltbrand / World Afire (1920) dir. Urban Gad *2K reconstruction by Friedrich-Wilhelm-Murnau-Stiftung, 2017

Lady Hamilton (1921) dir. Richard Oswald

Christian Wahnschaffe 2. Teil: Die Flucht aus dem goldenen Kerker / Christian Wahnschaffe Part 2: The Escape from the Golden Prison (1921) dir. Urban Gad *2K reconstruction by Friedrich-Wilhelm-Murnau-Stiftung, 2017

Gesetze der Liebe: Schuldlos Geächtet! / Laws of Love: Innocently Outlawed! (1927) dir. Magnus Hirschfeld, Richard Oswald Incl. documentary + Anders als die Andern (1919) *2K reconstruction by Filmmuseum München, 1999 *4K screening on Vimeo, 2020 **DVD 2021

Rund um die Liebe (1928/1929) dir. Oskar Kalbus Compilation film of archive footage *no information on existence

Most of the films are considered LOST except: *extant or reconstructed **released on home video

Sources: Conrad Veidt On Screen (2002) by John T. Soister www.filmportal.de www.murnau-stiftung.de www.edition-filmmuseum.com @suchamiracle-does-exist​​ danke für deine Hilfe!

[seetheminiversum-blog]

Blechtrommel (Original) #movie #film #dff #frankfurt #main #germany #oscar #guentergrass #nobelprize #literatur #original #citytrip #db #europe #palmdor #cannes #hollywood (hier: DFF - Deutsches Filminstitut & Filmmuseum) https://www.instagram.com/p/B44jS0jip9r/?igshid=1cqsh6c73gqoj

[ericobjork]

Tbt! @dff.film in 2011! #deutschesfilmmuseum #alemanha #deutschland #frankfurt #tbt #trip2011 (hier: DFF - Deutsches Filminstitut & Filmmuseum) https://www.instagram.com/p/B0FGW6Ant4T/?igshid=k18xwnnsp4jk

[jarry]

Am Montag feierte das Deutsche Filminstitut und Filmmuseum (DFF) sein 70-jähriges Bestehen und eröffnete das neue DFF Fassbinder Center. Dort verwahrt das DFF von nun an den Nachlass von Rainer Werner Fassbinder.

(via Journal Frankfurt Nachrichten - „70 Jahre alt und wir sehen gut aus“ - Nachlass von Fassbinder kommt nach Frankfurt)

[basically-homeless]

It's like I'm the universe and you'll be N A S A (hier: DFF - Deutsches Filminstitut & Filmmuseum) https://www.instagram.com/p/BwZqS1th7R1/?utm_source=ig_tumblr_share&igshid=103e5v7o0k0wj

[gadgets360technews]

Take virtual tours of Frankfurt’s museums

Take virtual tours of Frankfurt’s museums

[ad_1]

Stuck at home with a touch of fernweh, the German word meaning a longing for distant places? Well, you may not yet be able to travel but you can discover art, history, books, films and more by taking a virtual tour of Frankfurt’s famous museums.

Städel Museum

The multimedia Digitorials (digital online publications)collection, developed by the Städel Museum offers its major exhibitions,…