Freitag, 21. Juni 2013

ZEHN TAGE


Noch zehn Tage – bis Ende Juni – besteht die Möglichkeit, Revolver zu besonderen Konditionen neu zu abonnieren: Jeder Neuabonnent darf sich zwei Bonushefte aus der Backlist aussuchen!

www.revolver-film.de oder www.etk-muenchen.de

Donnerstag, 20. Juni 2013

DAS NEUE HEFT IST DA!




#28
Enthält Beiträge von/mit Lodge Kerrigan, El Pampero Cine, Katrin Eissing, James Benning, Nadav Lapid, Matías Piñeiro, Roberto Perpignani und Lucrecia Martel. 

Im gut sortierten Fachhandel. Bestellbar auch als Buch. 
ISSN 1617-6642 
ISBN 978-3-88661-357-1 

Oder direkt bei Edition Text + Kritik

Ein Abonnement (2 Ausgaben / Jahr) kostet 13 Euro - und hilft uns ganz direkt, die Arbeit fortzusetzen.

Donnerstag, 6. Juni 2013

WE CONDEMN THE CENSORING ATTITUDE OF THE MAINSTREAM MEDIA TOWARDS THE GEZİ PARK RESISTANCE!

"In the movement initiated by the Gezi Park Resis­tance, we, as filmma­kers, artists and writers of this country, condemn acts of censor­ship and the disregard of the prin­ci­ples of neutral and objective jour­na­lism by all main­stream tele­vi­sion channels, espe­cially NTV, CNN Türk, Habertürk, Kanal D, ATV, Star, Show TV and TRT, as well as, some news­pa­pers, espe­cially Star, Sabah and Habertürk, which have always defined them­selves as Turkey's prominent and objective media insti­tu­tions.
The Gezi Park Resis­tance and the protests all around the country are actions that spon­ta­neously arose out of the people's common consci­ence, inde­pen­dent of political affi­lia­tion. These actions symbolize an awakening of conscious­ness in Turkey, and worldwide, against a regime of oppres­sion which increases its autho­ri­ta­rian presence every day. The common aim of those who parti­ci­pate in these peaceful actions is to claim their right to a life of freedom, and the right to cont­ri­bute to the decisions about the place they live in, their own city and natural envi­ron­ment. Much to our surprise and regret, possibly, in order to not oppose the political autho­ri­ties or business magnates, we have observed that the main­stream media has featured almost nothing about this resis­tance movement. The provo­ca­tive and aggres­sive approach of the police against this movement, which sometimes goes as far as trying to kill people, has also been barely covered by our main­stream media. However, as we have all witnessed, the media's disregard has only served to reveal to Turkey and the rest of the world, the hidden agenda of those who disdain and attempt to subvert the resis­tance.
We invite all concerned media companies in this historic moment to imme­dia­tely leave their compla­cency, to broadcast and to publish with prin­ci­ples of unbiased and objective jour­na­lism, and to cont­ri­bute to the esta­blish­ment of a demo­cratic and free media. This is a historic moment. An inde­pen­dent media will lay the grounds of trust and freedom for all of us. We will continue to witness this process."
 

Kutlug Ataman, Nuri Bilge Ceylan, Yesim Ustaoglu, Fatih Akin, Zeki Demir­kubuz and Semih Kapla­noglu among many others

(eingestellt von Nicolas)

MURCH ON MALAPARTE

An attempt at a cross-pollinating interview with Walter Murch about his translations of Curzio Malaparte and linking them to film thoughts (first published on FILMMAKER):  


Walter Murch

by David Barker 
on June 3, 2013 

While editing The Unbearable Lightness of Being in France, Academy Award-winning film editor and sound designer Walter Murch came across a reference to Italian writer Curzio Malaparte’s description of horses being suddenly flash frozen in Lake Ladoga during the siege of Leningrad. He became intrigued by the startling image, and tracked down Malaparte’s 1944 novel Kaputt, the book the image came from. Over time Murch, best known for his work on films such as The Godfather and Apocalypse Now, read all of the obscure Italian writer’s translated writings, then brushed up on his Italian to read untranslated work. He eventually began translating pieces himself, which were recently collected in The Bird that Swallowed its Cage: The Selected Writings of Curzio Malaparte (Counterpoint, 2013).

Malaparte, born in Italy of a German father, was a soldier in both World Wars and author of some of the most stunning writing ever about World War II. His novels Kaputt (1944) and The Skin (1949) mix journalism and fiction and are marked by a disturbing use of surreal images (he was an influence on the magical realism of Colombian writer Gabriel García Márquez). Although also a film director (his one feature, The Forbidden Christ, won a prize at the 1951 Berlin Film Festival), he is best known to film audiences for the home he designed for himself on the island of Capri, which featured prominently in Jean-Luc Godard’s film 1963 film Contempt, starring Brigitte Bardot, Michel Piccoli and Jack Palance.

Filmmaker:
As a fan of Malaparte’s work, I very happy to come across your translations about 10 years ago. I understand you have some thoughts about Malaparte’s writing in relationship to filmmaking, or to your own practice as an editor, perhaps.

Murch:
What interested me was that the mental state that I got into when translating turned out to be very similar to the mental state I get into when I’m editing, particularly when I’m editing something that has a script. The script has a plan and certain things are specified and certain things are not specified, and you are using that to guide you in the creation of something new. If you allow for a certain fuzziness around the edges it’s a kind of translation. I also found that although Malaparte wrote in prose, I was spontaneously without any deliberation on my part reorganizing the words on the page so that it was a kind of scattered free verse. This has some relationship to editing, which is: “At what point do you decide to end a shot?” That’s my bread and butter, what I’ve done on a daily basis for the last 40 years. In editing, because of the nature of the way the human mind works, the image at the cut point has a little kind of mental flash bulb on it. You remember the last image of a shot. Maybe not consciously, but it imprints in a way and we use that as we structure a film. We want to leave audiences with these little flashbulb moments, which are key moments. It is sort of stating the obvious but I found that’s exactly the challenge when you’re doing free verse. The word that is hovering at the end of the line is kind of exposed to the blankness of the page, so there’s a kind of emphasis on it that may not be true if you just combine them all into a prose line where that word would be buried in a solid page of text.

Dienstag, 4. Juni 2013

HANEKE ÜBER HANEKE

Hinweis auf Aktivitäten der Mitglieder:
Marcus Seibert


Endlich ist der von mir übersetzte Band „Haneke über Haneke” im Alexander Verlag erschienen. Das Buch bietet eine vollständige Werkschau des Regisseurs bis zu seinem Oscar-Erfolg „Liebe”. In zahlreichen Werkstattgesprächen haben die Herausgeber Michel Cieutat und Philippe Rouyer (Positif) Haneke, der als SWF-Redakteur noch Ulrike Meinhof betreut hat, zu seiner Zeit als Theaterregisseur, seinen frühen Fernsehspielen und allen Kinofilmen befragt. Hier der Ankündigungstext des Alexander-Verlags:

 

 

Wie haben Sie das gemacht, Herr Haneke?

Angelehnt an den großen Klassiker „Mr. Hitchcock, wie haben Sie das gemacht?” von François Truffaut haben die Filmkritiker Michel Cieutat und Philippe Rouyer den Regisseur Michael Haneke über einen längeren Zeitraum ausführlich interviewt und Gespräche zu jedem einzelnen seiner Filme geführt – angefangen von seinem ersten Fernsehspiel „Und was kommt danach?” (1974) bis hin zu „Amour”, für den Haneke im Mai 2012 die Goldene Palme gewann. Film für Film erteilt der Regisseur Auskunft zu seiner Arbeitsweise und zentralen Werkintentionen seines Schaffens.

Das Buch ermöglicht dem Leser aus der Perspektive des Filmemachers selbst einen unmittelbaren Zugang zu seinem Gesamtwerk.


Haneke, Michael
Cieutat, Michel
Rouyer, Philippe
HANEKE über HANEKE
(Haneke par Haneke, Edition Stock 2012)
Aus dem Französischen von Marcus Seibert
416 Seiten, Abb. 124
Alexander Verlag, Berlin/Köln 2013
Fadenheftung, gebunden
ISBN 978-3-89581-297-2
38,00 €

http://www.alexander-verlag.com/programm/titel/303-HANEKE_ueber_HANEKE.html

(eingestellt von Marcus)

SCHULDFRAGE

Wer ist schuld am Zustand des deutschen Films?

Verena Lueken:

„Die Filmförderung, die sich mit internationalen Koproduktionen brüstet, ohne dass diese fürs deutsche Kino von Bedeutung wären.”

Christoph Waltz:

„Und die Filmakademie. Wissen Sie, wenn die Filmakademie 
die Geldpreise nicht abschafft, trete ich aus. Die muss sich schon entscheiden, ob sie eine Akademie oder ein Verein ist.”

FAZ, 26.5.2013 - Zitiert aus einem Artikel 

anlässlich des Filmfestivals in Cannes.

(eingestellt von Nicolas)

Montag, 3. Juni 2013

REBELLISCHE STADT

Bereits während des diesjährigen internationalen Istanbuler Filmfestivals gab es Proteste gegen die voranschreitende Gentrifizierung. Das unweit des Gezi Parks gelegene Traditionskino Emek sollte einer Shopping-Mall weichen. Dagegen hatte die türkische Filmszene Demonstrationen organisiert. Die erste wurde mit Tränengas beantwortet, bei der zweiten blieb es weitgehend friedlich. Hier ein Brief von Costa-Gavras, der auf dem Festival einen Lifetime Achievement Award erhalten hatte, adressiert an den türkischen Ministerpräsidenten: "A famous theatre, a culture center must not be damaged. It is like erasing a piece of our memory and deleting an important place for the future. Therefore, it would be a social, political and artistic breakdown." Und die BBC berichtet: "Atilla Dorsay, doyen of Turkish film critics, said on Monday he would stop writing film reviews as part of a 'silent protest' against the closure."

Mit meinem Handy hatte ich zumindest noch einmal den Eingang des Kinos Emek gefilmt. Links davon die Vorhut der circa zweitausend Demonstranten. Sie skandieren „Emek Bizim Istanbul Bizim!”, Emek gehört uns, Istanbul gehört uns. Rechts davon zwei Herren mit schwarzen Schirmmützen, die den Verlauf der Demonstration überwachen. Sie stehen per Walky Talky mit den um die Ecke wartenden Polizei-Hunderschaften in Verbindung.

               


(eingestellt von Nicolas)