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Industriekultur in NRW
Orte, Veranstaltungen, Links und jetzt neu: die Industriegeschichte der Regionen weiter
 
Filmliste
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66 Seasons
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Adire - Indigo Textiles amongst the YorubaAids Aufklärungs Spot KurzfassungAKINI Trinidad Karneval Moko Jumbies Soca Calypso TobagoAlexander / AleksandrsAlte Reklame - Die schönsten Emailschilder und WerbefigurenAltenheimAmphitryon (Trailer)ANOTHER GLORIOUS DAY/ TrailerAntonia lässt sich Ohrlöcher schiessen (Antonia gets her ears pierced)ASIA MINOR OVER AGAINATEMZUGATHENEAuf der Suche nach noch nie gehörten Klängen
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Bad Bill - The GatheringBahn unterm HammerBallspielBANQUET OF THE DEAD (The)Berlin Kulturforum Time Fades video installation by Philipp GeistBIRTHDAY PARTYBorn To FlyBucharest Fleeting Figures video installation by Philipp GeistBörsenbahn gestoppt?
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CAPE TALENT / CAPE TALKChildren of Their Own Land / Savas zemes bērniCOOBER PEDY: WHITE MAN IN THE HOLEcube Pusher
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D.S. Baldajev - Zeichner des GULagDas blaue Gold im Garten EdenDas kann's noch nicht gewesen sein...Das klingende Sonntagsrätsel - von Hans Rosenthal zu Christian BienertDas Tabu der FreiheitDas Vermächtnis des Jens KlipperDAVID GEGEN GOLIATHDavid Lynchs Dumbland / Does That Hurt You?Dein Kuss von göttlicher Natur - Vision eines FilmprojektesDer A-380Der Agrar RebellDER BOXPRINZDer eiserne BulldogDer Heinz vom FilmDER JUNGE DER VOM HIMMEL FIELDer Mesner und die DreigroschenoperDer StörenfriedDer Tod des Pero RadakovicDER TOD IST EIN WUNDERBARES ERLEBNISDeutscher VerkehrDie Auschwitz-Dialoge (Polen/Deutschland)DIE ENDLOSE QUELLE: SOLARENERGIEDie KandidatinDIE KARAWANE DER TUWINERDie Kinder des Cirque BouffonDie Kunst der FugeDie Kunst der Verführung - Das Akkordeon von Teodoro AnzellottiDie Leiden des jungen Werthers (Trailer)DIE NEUE POWER - Erneuerbare Energien in EuropaDie PARTEI mit Martin SonnebornDie PassionDIE STUNDENEICHEDIE WASSERMEISTERDie Zeit in meinen AugenDiktatoren in GundelfingenDomenicaDu bist mein Afrika
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EARTHQUAKEEINE REISE NACH CUBAEINE TUWINISCHE REISEErna Weißenborn - Eine Frau schreibt ihren WegEu cand vreau sa fluier, fluiereXtaze - das eXperiment mit dem Glück
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FIGHTING THE FIRESFilm About Films / Filma par filmāmFinn & TomFräulein Stinnes: Mit dem Auto um die Welt 1927-29Frank Ned & Busy LizzieFreiheit in die Welt
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GALERAGEDANKEN WIE ZÜNDSTOFFGERMAN SOLDIERS IN ATHENS (8mm mute)Gewürzpredigt für Pfeffersäcke, Performance von Lili Fischer in St. Petri zu LübeckGIFTIG, ÄTZEND, EXPLOSIV!GOD IS NO SOPRANOGREEN LINESGrüne Türen in HetzeldorfGünter Wallraff - Ganz Unten
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Hamlet - This Is Your FamilyHauptsache gemütlich - Deutsche WohnzimmerHeimatkunde - Eine Expedition in die Zone mit Martin SonnebornHeimliche BlickeHelmut Lachenmann und Wolfgang Rihm im Gespräch (10 Jahre später)HERCULES, ACHELOOS AND MY GRANNYHere We ComeHEUTE MINISTER, MORGEN BANKIERHinter diesen MauernHipHop-A Tale From The HoodHITLERS OstwallHOUSE OF CAIN (The)Hubert Burda - Zwischen Rebellion und PflichtHUNGERSTREIK IN DUISBURGHÖLLE IM BERG
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''IM GRUNDE BIN ICH EIN AUS LAUTER ZWEIFELN BESTEHENDER GLÄUBIGER MENSCH''Ich bin kein wildes Mädchen mehrIch muss dir was sagenIhn gibt's nur einmal - Artur BraunerINS HERZ DER ZUKUNFT
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James Krüss oder Die Suche nach den glücklichen InselnJohn Heartfield FotomonteurJonusas - Himmel und Hölle sind meinJordi Savall - Die Stimmen der GambeJordi Savall Familie & Freunde in concert
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Kabale und LiebeKalinovski SquareKARIN WIECKHORST, FOTOGRAFIN AUS LEIPZIGKEHRAUS, wiederKEHREIN, KEHRAUSKlaus Groth - Ein Dichterleben
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Lawine - Leben und Sterben des Werner KoenigLIGURIA LOVESTORYLOG BOOKS: GEORGE SEFERISLux et Umbra
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''Myschink'' / andi teichmann music video by Philipp GeistMünchner FreiheitMein Herz zerreisstMein Traum, meine Liebe, meine HoffnungMentirasMister & Missis.SippiMorgenstimmungMs. Senior SweetheartMusterdorf mein MusterdorfMY CRETAN LEMON TREE
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Nachlese mit Vilém und Edith Flusser, Teil 1Nachlese mit Vilém und Edith Flusser, Teil 2Nierenleiden, chronisch // Beatrix Hartmann: Hart im Nehmen.
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PAINTING (The)Pater nosterPATRISPhoto: Inta Ruka. Portraits of People at Home / Foto: Inta Ruka. Cilvēku portreti savās mājās
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rauten traurigRegina BluesRESURFACERussenbus
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''seeblick'' #1''seeblick'' #2Sammeln, ErinnernSauna TangoSchwungrädersmall fishSneaker StoriesSolarTaxiSounds of the Seas - A science detective story.Spielzeug Zauber - Kleine WeltenStärker als die AngstStark ohne Gewalt
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TaubblindThe Book of LeninsThe BoxThe CrossroadTHE DEADBROTHERS - Death is not the endthe happy tale of the missed auditionThe Keys To ParadiseThe Life and Other Building YardsThe Queen's Courtyard (English Subtitles)THE ROAD TO NODThis Way of Life - Neuseeland so leben wirTintenherz (Trailer)Tote ErnteTrakehnen wieder deutsch?Trickfilm-Fieber - Der Zeichentrick-Pionier Gerhard FieberTRIUMPH OVER TIMETRUPPENSPIELERTräume von Freiheit und GleichheitTschernobyl
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Uma TrailerUP & DANCINGUtes Lesung Raumzeitlegende
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Vergessen Sie'sVier helle KöpfeVIER WÄNDE ( Trailer)VOODOO RHYTHM - The Gospel of primitive Rock `n´ Roll
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Wachsam Tag und NachtWas ist Improvisation?Wasser unterm HammerWasserkrieg in SpanienWelche Farbe hat das Nichts?Wenn die Zahnräder Menschen sind - György Ligeti´s KlavierkonzertWHAT TIME IS IT?Wild, Wild BeachWo ist Erkan Deriduk?Wollis PARADIES Trailer zum Film
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Yaptik-HasseYou`re Sexy When You`re Sad / Man pat?k ka meitene skumst
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ZeitRaum - 1. Film Kurzfassung (short)ZENSUR, GEFÄNGNIS, FOLTERZOWNIR - RADICAL MANZUG UM ZUG - Budapest 1944Zwielicht
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filmkultur

In einer Kooperation mit dem Projekt ONLINEFILM bieten wir den Mitgliedern der Kulturserver-Netzwerke die Möglichkeit Filme und Clips zu präsentieren. Eine Auswahl zeigen wir in der Videothek des Kulturportals. Alle Filme eines Kulturschaffenden kann man auf seiner Webvistenkarte sehen. Schreiben Sie an redaktion@kulturserver.de um weitere Informationen zu erhalten, wenn Sie Ihre Filme auch hier anbieten möchten.

 

Welche Farbe hat das Nichts?
Regie: Wolfgang Drave 
Welche Farbe hat das Nichts? Dokumentarfilm 63 min. auch als DVD erhältlich Erinnerungen von fünf blinden Menschen stehen im Mittelpunkt des Dokumentarfilms-ein Beitrag zur Alltagsgeschichte des 20. Jahrhunderts. Kindheit, Arbeit, familiäre Probleme, der Umgang mit ihrer Behinderung und die soziale Sonderstellung der blinden Menschen stehen im Mittelpunkt. Aber auch die Wendepunkte deutscher Geschichte werden mit diesen mündlichen Lebenserinnerungen plastisch dokumentiert. Die Zwangssterilisation blinder Menschen im "3. Reich" wie auch Erinnerungen an die eigens geschaffene "Blinden-HJ, Bann B" gehören zu den makabren Kapiteln dieses Films. Willi Schlüter wurde als Sohn eines Landarbeiters in der Kate eines adeligen Großgrundbesitzers geboren. Dr. Annelise Liebe erblindete in ihrer Jugend. Nach dem Besuch eines "Lyzeums" promovierte sie 1938 in Pädagogik und Philosophie und arbeitete nach dem Studium der Musikwissenschaft als Konzertkritikerin Manfred Vogel kam im Alter von sieben Jahren in die "Landesanstalt Sachsen für Blinde und Schwachsinnige". Ab Kriegsende 1945 arbeitete der ausgebildete Stenotypist bei der Volkspolizei (Kripo) in Chemnitz, jahrzehntelang auch an der Aufklärung von Morden und Selbstmorden sowie Sexualdelikten. Siegfried Gerhard erlernte in Würzburg den klassischen Blindenberuf des Bürstenmachers. Sophie Brümmer wurde nach der Blindenschule zur Maschinenstrickerin ausgebildet. Heute spielt sie Orgel und leitete lange den Chor ihrer Kirchengemeinde. Drehorte beim Projekt "Welche Farbe hat das Nichts?" waren neben dem heutigen Lebensmittelpunkt der Gesprächspartner die früheren Lebensstationen (Oldenburg/H., Berlin, Chemnitz, Wortheim/Baden, Stetten/Franken. Der Film ist auf Grund eines Buches mit dem Titel "Hier riecht's nach Mozart und nach Tosca. Blinde Menschen erzählen ihr Leben" von Dr. Wolfgang Drave entstanden, das 1996 in der edition bentheim Würzburg erschienen ist (ISBN 3-92526561-9). Für dieses Buch interviewte er 35 alte blinde Menschen in Deutschland. Buch und Regie: Dr. Wolfgang Drave Kamera und Schnitt: Klaus Schäfer Ton: Michael John Musik: Michael Krispl
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David Lynchs Dumbland / Does That Hurt You?
Regie: Agnieszka Jurek 
That the short film seemed feature-length in the end is due neither to the suggestiveness of the interview nor to any of the exquisite details or the cleverly dosed score. The fun of it is their connection, the sophisticated space that allows for approximation and mutual respect. And the way David Lynch acts within this space: the "what's-happening" dramaturgy created via the back view was not arranged but was what he brought as a "present" (A. Jurek). His mystic appeal is broken by a privacy that makes you laugh in disbelieve. (spex - magazine for pop-culture/ September 2003 / Text: Doris Achelwilm) An "exceptional but convincing and experimentally slightly estranged form of interview" (Hannoversche Allgemeine Zeitung - daily newspaper/ 26. June 2003 / Text: Ernst Corinth) Subtly "Does that hurt you?" develops from a sometimes linguistically confused and slightly ludicrous dialogue to a lynchian commitment to film-making and arts, which is exceptional in its minimalism and captivative clarity. (“UnderDOK” Leipzig - festival / October 2003 / Text: Sylvia Glauche) The director is honest and brave enough to not cut out trivial bits or misunderstandings (…) As Jurek abstains from critical questions, Lynch seems to open up. We never saw Lynch as friendly and likable as here. It's a pity that "Does that hurt you?" only takes 30 minutes – an informative and imaginative as well as surprisingly intimate film. (“Splatting Image” - independent film-magazine/ December 2003 / Text: Jörg Stodolka)
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Auf der Suche nach noch nie gehörten Klängen
Regie: Uli Aumüller 
[Manuskript]https://media02.culturebase.org/inpetto/PDF/Computer_skript-computermusik.pdf

There would certainly have been 16 other ways to describe a computer, not a computer itself, a simple grey box, but how you can play music with a computer, music that would be impossible to play without its help. We decided on 4 composers, differing and contrasting in style and the way they make use of the computer.
Josef Anton Riedl is a pioneer of computer-assisted composition. From 1959 till 1966 he was head of the Siemens Studio for Electronic Music, where an abundance of analogue sound generators could be programmed with a (early digital) punched tape reader. A precursor of the computer, if you will. Riedl demonstrates its use in the fully operational remains of this studio, which have been integrated into the German Museum.
Hans Tutschku is more than one generation younger than Riedl and uses the computer for the synthesis of sounds (in this case the so-called physical modelling) by imitating the vibration patterns of large copper plates and then adapting the size of the plate or morphing it into a piano string while it is still sounding. These sounds are picked up by 8 virtual microphones that crawl like a caravan over its surface. Eight (real) loudspeakers convey the acoustic experience, as if sitting in the middle of the copper plate or on a piano string, to the listener.
Hans Tutschku also uses his computer as a live instrument, it reacts in a predetermined way to impulses (volume, pitch, etc. - there are many possibilities) to the live improvisation of (real) musicians. An interaction of man with technology, which Tutschku already practised with the Ensemble for Intuitive Music Weimar back in 1982 in communist East Germany, and still practises today. In the film excerpts from two improvisations represented the ensemble, one for two and one for four musicians.
Luigi Ceccarelli attaches importance to the visual component of listening to music, and often includes live musicians (with a button in their ear) in his compositions for tape and (at least) eight loudspeakers. For this film, the horn player Michele Fait plays "Respiri" -- a piece based on the respiratory sounds of the horn, electronically transformed and extended by Ceccarelli in the music conservatory’s studio in Perugia. He himself calls it "sound microscopy". He gives the results of his research and meditative exploration back to the (live) musician who then plays a duet with the loudspeakers. Both musicians, Tutschku and Ceccarelli, utilize the acoustics in the room to produce a completely different aural impression to that of a classical symphony concert.
Hanspeter Kyburz -- fourth member of the group -- composes for real musicians, but is also not keen on traditional face-to-face concert hall seating, the audience facing the orchestra. He distributes his ensembles (in this case the Klangforum Vienna) all over the hall and between the listeners, thus cutting down the barrier formed by the distance from which the audience normally observes the musicians. He uses the computer to help produce his scores, calculating algorithms for the musical shape of the entire piece or for individual sound objects. The rows of numbers emerging from the computer are converted into synthesiser sounds like into simulated violins. Corrected and changed again and again by the composer until he is satisfied. Such passages are then copied by hand to the score with a pencil and paper. What Kyburz’s work has to do with the "Voynich Cipher Manuscipt" (we feature excerpts from the composition of the same name for instrumental and vocal ensemble), an alchemistic text, presumably baroque, encoded in secret writing and never deciphered, can best be explained by Kyburz himself.

[Ceccarelli]https://media02.culturebase.org/inpetto/PDF/Computer_Interview_ceccarelli.pdf
[Kyburz]https://media02.culturebase.org/inpetto/PDF/Computer_Interview_kyburz.pdf
[Riedl]https://media02.culturebase.org/inpetto/PDF/Computer_Interview_riedl.pdf
[Tutschku]https://media02.culturebase.org/inpetto/PDF/Computer_Interview_tutschku.pdf
[Radiosendung Tutschku]https://media02.culturebase.org/inpetto/PDF/Computer_radiosendung_BR_tutschku.pdf
[Radiosendung Dhomont]https://media02.culturebase.org/inpetto/PDF/Computer_Radiosendung_dhomont.pdf
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ATHENE
Regie: Eva Stefani 
The film depicts the life at the Athens Railway station in the spring of 1995. The camera focuses on the station\'s \'tenants\', Antonia, Florakis and George... [In Greek, with English subtitles]
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GEDANKEN WIE ZÜNDSTOFF
Regie: Osman Okkan 
In diesem Dokumentarfilm reflektieren die angesehenen liberalen Schriftsteller und Sänger Azis Nesin, Yasar Kemal und Zülfü Livaneli den auch in der Türkei um sich greifenden Fundamentalismus unter dem Gesichtspunkt der neuen Großmachtpolitik nach Außen, in Richtung auf die ehemals sowjetischen Turkvölker, und nach Innen, gegen die Kurden. Sich selbst entlarvend kommen auch einige wichtige Vertreter des türkischen Fundamentalismus zu Wort. Sie rechtfertigen den gegen Azis Nesin gerichteten Brandanschlag von Sivas, bei dem ein Jahr vor unseren Dreharbeiten mehr als 30 Menschen ums Leben kamen. Sie drohen mit einem dritten Weltkrieg, falls die Gedanken von Salman Rushdie und Azis Nesin weiter verbreitet werden sollten. Siehe auch unsere sechsteilige Serie "Der Islam".
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Yaptik-Hasse
Regie: Osman Okkan 
Yaptik-Hasse is one of the younger members of the very large Yaptik family. He is also their good spirit and therefore privileged to ride on a holy slide. As it is the end of August the Nenets people commence their journey on the 'middle-world' as usual (under-world - the north, upper-world - the south, middle-world - the way). Their camp was in Tundra, on the Yamal Peninsula. We meet Jarkalyn, who is only one year old and Jako, his two and a half years old brother, who is already very precise at throwing the lasso; there is also Ejne, without children, the parents, and the 90 years old shaman Iri Tadibe (felt age: 35) as well as the eldest, Chado, who was all her life considerate of the reindeers and therefore never carried or pulled by them. Film-maker Edgar Bartenev chooses three different means to tell the story of the breathtaking everyday life of these Siberian nomads. Music (relatively aggressive, structuring the rhythm of perception), inter-titles (fairy-tale-like and funny), and last but not least a camera. Yet, the latter is used in a very sophisticated way, well above the feature-film standard. The result is one of the most exciting forms to reanimate the ethnographic genre in an alienated way!
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HOUSE OF CAIN (The)
Regie: Christos Karakepelis 
The film's subject is murder; its heroes are seven ordinary men and women who committed such an act. In his own way, each one of the characters - six prison inmates, their guard and one former prisoner- encircle the irrevocable act, which embodies the absurd and crushes their existence. The House of Cain is a journey in human decline and the guilt that each person experiences in the way and to the degree that he can. It is an exploration of man's limits but also of the boundaries of the documentary genre using the acrobatics of the characters and the acrobatics of style. [In Greek, with English subtitles]
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GALERA
Regie: Gerd Kroske 
Wassja lebt im Kinderheim; Mohamed und Bertrand in ihrem Quartier; César, Gilson und Fabino in einer Favela; Patrick zeitweise im Jugendarrest. Die „Absenz“ von Erwachsenen im Film thematisiert ihrer aller Zustand: Sind die Differenzen zu groß geworden oder die Jungs heute selbständiger? Der Film beschreibt nicht leichtgängige Zeitgeistthemen über Jugendkultur in den Neunzigern, sondern schildert Erfahrungen im Alltag von Jugendlichen und ihrem Verlangen, das indessen mit der Wirklichkeit kollidiert. Drehorte: St.Petersburg (Russland), Mantes La Jolie (Frankreich), Rio de Janeiro (Brasilien) und Berlin (Deutschland).
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Jordi Savall Familie & Freunde in concert
Regie: Uli Aumüller 
Born 1941 he began his musical education 1947, which he concluded 1970 at the Schola Cantorum Basiliensis. Since then about 100 concerts per year, as gamba virtuoso, founder and director of three ensembles for ancient music, manager of his own record label. Approx. 90 CDs with own recordings, altogether 2 million copies sold. Countless prices and awards, overcrowded concert halls. Jordi Savall's records cannot be beaten in any ways - not in the south of Europe. Past history 29 years ago Jordi Savall founded the ensemble Hespèrion XX with his wife, the soprano Montserrat Figueras. A programmatic, at the same time cryptic name: The antiquity called “Hesperia” the two western big peninsulas of Europe, Italy and Spain, the Roman “XX” meant the 20th century. Savall and his ensemble wanted to revive the old, nearly forgotten music of these two countries and they wanted to do this not in a virtually archaeological way but in the contrary conscious from the point of the view and with the liveliness of musicians from the 20th century. The scores handed down to us from this early period of the European music history (meant are those of the 12th until the 18th century) often only give scanty details in which instrumentation, in which tempo and with which ornamentations they shall be performed. Maybe some of the valuable handwritings are only extremely abbreviated summaries, memory aids for a music that was played by improvising interpreters which were their own composers at the same time. Jordi Savall did not only conduct this ensemble, that essentially consisted of students and graduates of the Schola Cantorum Basiliensis, the best university for acient music in Switzerland, he himself played and still plays the viola da gamba, an instrument that was nearly forgotten since it was taken off by the violoncello about 250 years ago. – Forgotten so completly, that nearly everything that was connected with this instrument, how to play it, its attitude, atmosphere etc. had to be reconstructed from archives and old illustrations. In the meantime Jordi Savall is regarded as the master of the viola da gamba. With the warm overtone-rich and unobtrusive sound of his instrument, a sound that is regarded by contemporaries best like the human voice, Savall conquers an audience getting bigger and bigger especially in France, Spain, Italy and Austria. As mentioned above about 2 000 000 copies of his almost 90 CDs were sold until now. Music & Film and Film music A considerable share to this success is dued to the soundtrack of the film “Tous les matins du monde” from Alain Corneau which tells the vita of the eccentric composer Sainte-Colombe le fils and his pupil Marin Marais. Jordi Savall gave his sound of the instrument to the actors Jean-Pierre Marielle and Gerard Depardieu who only were pretending as if they would play (although they had to learn the gamba play as far as they could). Hard to say what exactly made up the success of this soundtrack: On the one hand of course the high art of the interpreter, his breath, the calm and concentration of his play, the variety of the tonal colours – which only come to validity when you listen to the CD. The viola da gamba is not an instrument for big concert halls but an intimate - a chamber instrument in the real literal sense. On the other hand as already mentioned it matters, that the repertoire of Jordi Savall, the manner of his interpretation is very unobtrusive. His music can be put in the background, you may but you must not listen to it. It permits both: its “use” as musique d’ameublement – and a concentrated, meditative listening. Besides the original ensemble Hespèrion XX (in the meantime XXI) Jordi Savall founded and conducts the vocal ensemble LA CAPELLA REIAL DE CATALUNYA and the chamber orchestra LE CONCERT DES NATIONS that already recorded Beethoven symphonies. In addition Jordi Savall appears in solo recitals or plays duets for example with the harpsichord player Ton Koopman. Furthermore (one of all these activities would be enough for a “normal” person – but Jordi Savall does not seem to be a person of this kind,- besides his mother tongue, the Catalan, he speaks fluently Spanish, French, Italian, English and German), five years ago he founded his own record label “aliavox” with which he “only” (as he expresses himself) presents 5 new CDs from his repertoire each year – altogether 25 titles that were sold about 700.000 times. OUR FILM ABOUT JORDI SAVALL It is illusory to assume one can shoot a film about Jordi Savall which summarizes the complete fullness of his activities or gives a representative summary of the musical treasures raised by him with a profound expertise. Or to describe exactly how he manages to play the viola da gamba in his own unmistakable way that makes it sound like it sounds. Without any doubt Jordi Savall is a maestro of the international music scene. But into which of these many Jordis Savall did we want to give an insight? We decided us to concentrate on few aspects of his personality. Since the music which Jordi Savall resurrects must be formed in her finest micro tonal fibres and layers, it is undisputed of a great fascination, to let this work and the micro cells of the music become shape in the screen. What do these hands, these fingertips have to do, to get these small nuances out of the vibrating string like a sculptor creates a sculpture out of a stone or a wood piece? Occasionally Jordi Savall told us, that again and again people told him that they wait for a film in which you might see: how does he actually do it? And Savall does not do it in a “romantic way” - it does not work to show the face of the musician only “feel the music”. The first 7 minutes of our film focus on Savalls hands, his fingers, that you can even see each dust particle vibrating on the strings. It was our idea, only to concentrate on one ensemble, the ensemble Hespèrion XXI that celibrates in 2004 its 30th anniversary. And we only present a selection from the nearly infinite repertoire of this ensemble that shows Jordi Savall solo, in duo and trio play up to an almost chamber orchestral instrumentation with approx. 5 musicians. A red thread runs through the music program, the rhythm of the Folia or the Fandango e.g. but also the change of solo and bigger instrumentation, instrumental and vocal pieces. One of the locations of the music shootings was the church of the castle of Cordona, the so-called Colegiata, a both acoustic and visually charming place. Our concept was to illuminate each of the different pieces (that last about 1-3 minutes) matching its character in an own special way, from a selective illumination with the surroundings in black up to a radiant illumination of the complete church room. Of course we took care that this playing with light remains discreet but nevertheless shows the room in his facets so that he joins in the background but all the more lets the music step forward through this This concept of a special lightdesign appears all over the film: In Cardona, in two churches in Cracow (Poland) where we filmed two live-concerts, and in the Sans Soucis-Castle in Potsdam. Camera: Günther Uttendorfer Chris Rowe Boris Fromageot Sound: Georg Morawietz David Kammerer Jan Wichers Amanda Villavieja Garcia Light Design: Wojitek Kursa Ray Ruiz Producer: Hanne Kaisik
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HEUTE MINISTER, MORGEN BANKIER
Regie: Peter Kleinert 
Der ehemalige FDP-Wirtschaftsminister und Dresdner Bank-Chef ist - ungebrochen durch seine Partei-Spendenaffäre mit dem Hause Flick - immer noch einer der Drahtzieher "unserer Wirtschaft", weshalb ihm die Autoren das Lenin-Zitat im Titel gewidmet haben. Voller Stolz auf seine Karriere läßt er sich, inzwischen zum Airbus-Boss aufgestiegen, bei einer Flugzeugtaufe, vor dem Kaminfeuer zuhause und auf dem Rennrad filmen - hier allerdings begleitet von Leibwächtern im Mercedes. Was Friderichs selbst in seiner Biografie vorsichtshalber wegläßt, ergänzen die Autoren, gestützt auf die Archive, einige Kritiker, wie die Politik- und Wirtschaftswissenschaftler Prof. Hans See und Jörg Huffschmidt und seine "Weggefährten". Nur einer von diesen, Otto Graf Lambsdorff, Wirtschaftsminister und FDP-Vorsitzender, wie Friderichs wegen der Flick-Affäre rechtskräftig aber - entsprechend seiner Position - gentlemanlike verurteilt, merkt schon während der Filmaufnahmen, daß dies offenbar keiner der im Fernsehen üblichen Filme werden soll und bricht - um seine Fassung kämpfend - das Interview ab. Die anderen Freunde, wie der vom Corps Teutonia, plaudern stolz im Interview oder werden von Friderichs persönlich ebenso stolz erwähnt: Walter Deuss, Karstadt AG, Horst K. Janott, Münchner Rück, Joachim Zahn, Daimler Benz, Hans L. Merkle, Deutsche Bank, BASF, BDI, Alfred Herrhausen, Deutsche Bank, Jürgen Ponto, AEG und Dresdner Bank, Fritz Berg, BDI-Präsident, Hans Günther Sohl, Wehrwirtschaftsführer, Thyssen AG, BDI-Präsident, Eberhard von Brauchitsch, Friedrich Flick KG und BDI-Vizepräsident. Brauchitsch, Lambsdorff und Friderichs wurden im Flick-Prozess nicht, wie die Staatsanwaltschaft wollte, wegen Bestechlichkeit, sondern "nur" wegen Steuerhinterziehung verurteilt. Das brachte Friderichs zwar um seinen Vorstandsvorsitz bei der Dresdner Bank, wenig später aber den Vorsitz im Aufsichtsrat von Airbus - wohl nicht zuletzt, weil er der Daimler Benz AG seiner Freunde Herrhausen und Zahn per Ministererlaubnis zu "zusätzlichen Geschäftsbereichen" (AEG, MBB, MTU) verholfen und damit den größten deutschen Rüstungskonzern mit auf die Welt gebracht hatte. Soweit wir es überblicken, hat über diese Sendung von KANAL 4 keine der verlegereigenen und anzeigenabhängigen Tageszeitungen der Bundesrepublik berichtet.
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