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In 1947, the American School of Classical Studies at Athens commissioned a color movie entitled Triumph over Time to accompany its fundraising campaign. Directed by the archaeologist Oscar Broneer and produced by numismatist Margaret Thompson with the aid of staff from Fox Studios, the documentary shows Greece rebounding from the horrors of World War II and the staff of the American School hard at work preparing archaeological sites for presentation to post-war tourists. Footage of excavations at the Athenian Agora and ancient Corinth are mixed with scenes from everyday agricultural life.
Famous people in the history of the School and Greece move in and out of the film?s frames: King Paul and Queen Frederica attend a public lecture; the Librarian of the Gennadius Library, Shirley H. Weber, shows donor Helene Stathatou some of its priceless manuscripts; Homer A. Thompson, newly appointed Director of the Agora Excavations, displays treasures from the site. Such scenes from the American School?s academic and social year show an institution at the forefront of Greece?s march back to normality after almost a decade of unrest.
Alexander Taxildaris is 25 years old. He was left a quadriplegic after a diving accident four years ago. Since then, he has been swimming competitively. In order to transform his handicap into an opportunity he is participating in the Athens 2004 Paralympic Games. In the swimming-pool, Maria, his coach, is training him harder and harder. She is anxious, and all this pressure makes her very emotional when unexpected situations occur, but she wants to believe in a medal. Alex, on the other hand, is more self-controlled and pragmatic. His family and friends are strongly united around him.Will he win the medal that everyone is hoping for?
"Resurface follows a young man who became a quadriplegic in one accidental, devastating dive. He wins a medal and gets a girlfriend at the 2004 Paralympics in Athens. The scenario can be too uplifting, but the filmmakers do show us the first two races in which Alex does not place before he earns the silver, as well as his girlfriend's describing the enjoyment of and obstacles to their lovemaking. Resurface stays grounded in the details of its hero's life, from its comparison of a dog paddling through the water to shots of Alex lowered in and lifted out of a swimming pool." (Gabriel M. Paletz, IDA)
[In Greek, with English subtitles]
While unearthing an icon of the Holy Madonna in her small apartment, an elderly Greek woman sighs that she is in the inevitable winter of her life. She studies a textbook of the French language, which she used to have a thorough command of, but unfortunately let slide. She hardly reads anymore, either, which she thinks rather stupid of herself. Her window on the world is her television, which she briskly comments on. The bleach-blond anchor woman is very sharp, but her favourite is newsreader Niko. She addresses him as if he were her roommate and cannot keep her hands off the screen. He excites her even more than the fighter jets, volcanic eruptions, protesters, politicians, friendly Turks and black athletes that are the items of Niko\'s newscast. THE BOX is a reflection in miniature format about old age and one-way communication in our media-dominated society.
[In Greek, with English subtitles]
Börsenbahn gestoppt? Signale zur Privatisierung weiter auf GRÜN !
Ein Film von Herdolor Lorenz unter Mitwirkung von Klaus Ihlau, Dr. Winfried Wolf, Rolf Becker und Hans-Gerd Öfinger, Länge 19 Min.
Eine Kernfilm Produktion 2008
Deutsche Medien erwecken überwiegend den Eindruck, das „Bahnprivatisierungs-Projekt“ der großen Koalition sei mit dem SPD-Parteitag Ende Oktober 2007 gescheitert. Schön wär’s!
Tatsächlich war die Stimmung auf dem Parteitag eindeutig gegen den Börsengang der Bahn. Der Parteivorsitzende Kurt Beck musste sogar versprechen, ohne neuen Parteitag werde die SPD keiner Privatisierung zustimmen außer einer mit Volksaktien. Am Ende der Versammlung resümiert aber Verkehrsminister Tiefensee: „Was viele übersehen: Wir haben es geschafft, mit der Vorzugsaktie die Tür zur Teilprivatisierung offen zu halten.“
Der Film zeigt, wie es zu der privatisierungsfeindlichen Haltung auf dem Parteitag kam und wie dann Tiefensee & Steinbrück schon kurz nach dem Parteitag das sog. „Holding-Modell“ lancieren: Eine „Privatisierung auf Umwegen“, bei der die Bahn in Fahrweg und Transport aufgespalten und der Bahnbetrieb privatisiert werden soll. Der Clou: Es kann ganz ohne Gesetz umgesetzt werden, ohne Bundestag und ohne neuen SPD-Parteitag.
Was wird da aus Kurt Beck und seinem Versprechen?
Hohe Stelzen und der mitreißende Rhythmus des Soca sind die Zutaten für ein kleines Wunder. Auf Trinidad verwandeln sie Straßenkinder in virtuose Tänzer in einem der farbenprächtigsten Karnevalsumzüge der Welt. Ein Film über die magische Kraft von Tanz und Musik.
Birgit Kühr ist Facharbeiterin für Eisenbahntransporttechnik und seit achtzehn Jahren arbeitslos. Nun will sie Bürgermeisterin der uckermärkischen Kleinstadt Angermünde werden.
Dramaturgie: Olaf Winkler
Tonmischung: Stefan Soltau
620 MB / .wmv
Dieser Dokumentarfilm entstand anlässlich des 1997 erstmals stattfindenden Treffens der Freunde historischer Stationär-Motoren in Hänigsen. Dort wurden aufs Vortrefflichste über 100 Jahre Motorenbau-Geschichte zum „Be-greifen“ dargestellt.
Motor heißt auf gut deutsch „Beweger”. Und bewegt haben Stationärmotoren nicht nur kleine und große Lasten, sondern ein ganzes Zeitalter: Diese Maschinen markieren den Beginn der heutigen Mobilität. Die Kamera folgt den bewegten Details der Maschinen und erzählt Geschichten über einige der Eigner, die mit viel Aufwand liebevoll und qualitativ hochwertig ihre Motoren restauriert haben.
Außerdem sehen Sie in Archivaufnahmen von 1960 einen stehenden 3 Zylinder DEUTZ-VMD 145 Diesel-Motor, Baujahr 1925, 150 PS bei 300 U/min., der im alten E-Werk der Magiruswerke-Ulm jahrzehntelang gearbeitet hat.
Ein Film nicht nur für Technikinteressierte und Liebhaber historischer Verbrennungs-Kraftmaschinen.
Den Film gibt es auch fertig konfektioniert auf DVD: http://www.historischer-filmservice.de
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.
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.
Amanda Villavieja Garcia
Green Lines offers a unique insight into the Cyprus issue and describes how the dividing line, initially a symptom, has turned into one of the main causes for this continuing problem. The arbitrary line (known as the Green Line) has grown into a sociocultural chasm between people who once shared a largely common culture.
The documentary was shot in London, in the area around the avenue of Green Lanes, where thousands of Cypriots (Greek and Turkish) have been living together peacefully for the last 60 years. Many of them are living proof that co-existence is possible. But it requires courage to face the past.
[In Greek, English and Turkish, with English subtitles]