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Und warum setze ich diese hier in Beziehung zueinander? In den TV-Krimis sieht man einem anderen Wettbewerb zu. Es gibt ebenfalls klare Regeln, an denen sich nicht nur die Figuren orientieren — die der Normen des zivilen Zusammenlebens, sondern auch Autorinnen und Regie — dramaturgische oder Formatvorgaben. In einer Gesellschaft, in der immer mehr auf Messbarkeit und Vergleichbarkeit gesetzt wird, sind Sport und Krimis die idealen Programme. Beim Sport hingegen gibt es diese kulturellen Feinheiten nicht. Februar Allgemein Kommentare 0. Dramaturgie-Studierende mit dem Schwerpunkt Medien stellen ihre Semesterarbeiten vor.

November Allgemein Kommentare 1. Angloamerikanische Serien vermitteln noch allzu oft althergebrachte Frauenbilder, meint die Filmwissenschafterin Kerstin Stutterheim. November Allgemein Kommentare 0. Gertrud Stein once wrote that it takes hundred years, three generations, to change habits and narratives. Is Generation One still in charge? Frenz , Stutterheim , pp give us a model for living today and the future? Fiedler , Gelfert And that specific form of designing the narrative, and much more importantly the implicit dramaturgy, mirrors the culture and feeds back into the understanding of gender, hierarchies and more into the Anglo-American film industry, thus the global world as well.

An unwritten rule of designing a successful movie or series for US-American or British audiences involves the narrative referring to conservative Jewish-Christian believes, which are mingled with historical experiences thus priming the Cultural Memory cf. Assmann , Assmann , , Gelfert of these nations. The novel emerged as the new mass medium. Jane Campion and Gerard Lee wrote the series. Season one is directed by Campion and Garth Davis. The first season is about sexual abuse and paedophilia intertwined with questions of fatherhood, relationships and family.

The mother-daughter-relationship is overshadowed by an event from their past, fitting the model of an analytical drama as well as a crime story. Robin remembers her father as the better parent. Soon after her arrival Robin becomes involved in a case of sexual abuse of a very young girl, Tui Jaqueline Joe.

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Robin is set up as a detective who tries her best to solve the case. In the beginning, her character acts professionally in as much as she has to keep voyeuristic policemen at a distance and to be the only one Tui is communicating with. Thus, the narration is split into different levels — central is the case, secondary the private story of Robin. The latter brings us clearly back to patriarchal Christian-puritanical worldviews cf. As one can see, these are dominant against the modern approach of using an open form. In the backstory, in the private thread, it is told that Robin was raped as a year-old girl and got pregnant as result of it.

Her Catholic mother did not allow an abortion. Thus Robin became a mother but gave her baby away for adoption the very next day after giving birth. These women have different stories to tell and to overcome, all related to relationships with men. At some point as well Tui and Robin have to ask for shelter there. Paradise is situated at the end of a dead-end street close to the end of the world surrounded by a most beautiful landscape. While Robin is working on the case, she has to encounter not only voyeuristic colleagues but as well an increasingly abusive boss and one of her rapists.

With a closer look, it becomes evident that the action of season one is designed in such a way that the enthusiasm Robin is investing in solving the case appears more and more like displacement behaviour to processing her own traumata and not so much the action of a professional detective.

The first one is that working women are acting more emotionally than logically and that they are working intensely and passionately only to overcome trauma, disappointment or misbehaviour excluding them from their social group — as becoming a single mother no matter the circumstances. For example, when Robin finds out that everyone in the police department knows she has been raped as a young girl and Elisabeth Moss as Robin is directed as sitting there stunned and tears forming in her eyes or stunned and tearful. By surviving all this she is not only proving her ability to solving the case, rescuing the girl and the baby, but as a reward, the prospect of sentimental love lies ahead for her.

China Girl tells the story of Robin coming back to Sydney, after years of having a not-much-defined break from the police work. The authors trigger a presumption seeing her having been at home with her beloved Jonno. An intense emotional private disappointment spurred her to return to the police force she left years ago, but no one other than her boss seems to know her from these earlier times. With the very first episode, the character becomes damaged. Firstly, when Robin is inappropriate reacting to a provocation in a common situation, in front of the whole department and some superior men observing the event.

Secondly, she is presented drinking beer regularly after duty. By doing so, she is endangering her brother who managed to overcome his drinking habits. Soon she gets her new case — a murdered China Girl. She is supposed to solve this case together with her colleague Miranda Hilmarson Gwendoline Christie and all other staff of the department, one of them attracted to Robin from the very first meeting at the corpse.

He is trying every possible way to start any kind of relationship with her. The murder case leads Robin and her team into a milieu of prostitution and surrogacy. Correspondingly, the theme of season two mirrors and potentiates themes of season one — now it is biological motherhood, prostitution, abuse, and men seeing themselves as superior to women. From a dramaturgical point of view interestingly, Robin is no longer the main character. Pervasive is the character not only as lousy character dominating and exploiting a group of women, terrifying people around him but more importantly as a character who is designed to be controlling the progress of the action.

Actions this character got from the author-directors bolstering him driving the story, not the detective. She is designed as a much more reacting character than in season one. He has a stream of dialogues written, and the character can present this thinking in a variety of argumentations. Accordingly, he can declare prostitution as a profession and portray himself as a feminist who is supporting women to earn money to be able to support their families.

This character is situated as the antagonist to Robin on both levels — the murder case and the private level of the narration. Sure, a bad persona has to say and do terrible things fitting the designed character; this is not the point I want to question here.

There are decisions to be made within the process of how to use dramaturgy to balance the dynamic between characters. By invoking that model in a combination of giving that persona this ample opportunity to make the point of the misogynist, he gets more influence on the action, thus he is a main character. From a dramaturgical point of view, the character of Puss is designed as the potentially morally good outlaw, in which he is allowed to see himself, hence the one questioning the Sherriff.

On the contrary, Puss is shown as the active and smart persona, while Robin is deliberately designed as a most vulnerable Female. The main task given to the character of Robin by the creators Campion and Lee is to understand herself as a mother. Her salvation is to understand and accept her motherhood and to get a new perspective on herself. Bonus Material, Making Robin.

Campion and Kleiman Thus, she has to meet her daughter Mary and her new parents. Through her actions, and since she is designed as another most vulnerable and at the same time exceptionally stupidly-behaving young woman, Robin is brought into challenging situations — in the private as well as the crime level of the narration. Throughout this action, her character is again and increasingly taken into circumstances in which she is challenged to react on her emotions or to act professionally.

Her character also gets no chance to become a role model. Her character has been set up as being in a new relationship with her married boss, lying to Robin and others. A similar traditional layer of traditional, as well as conservative American Dramaturgy pattern, is recognisable for the development written for Robin within the action. In addition to aspects mentioned earlier, two other issues can be emphasised here as well.

Firstly, the promise of a sentimental love-relationship is used as reward for Robin, of a man who appears as a mixture of her father and Jonno Thomas M.


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Wright as we remember both from season one. When Robin is shown as understanding herself as the mother of Mary and acting accordingly, the dynamics between her and Pyke are good. In situations, Robin is working as the detective, and given the construct of the crime story acting against the interests of Mary, Pyke has to backtrack from her.

And, since this relationship is against standards of morality, the situation when they are having sex has to be interrupted by a call of high importance. The other weird issue, dramaturgically speaking, is the situation of the encounter of Robin and her former senior Al Parker David Wenham for a hearing. The overall story gives the impression that some years lay between the end of season one — Robin shooting Al — and beginning of season two. Robin had three miscarriages, and as we can see, Al has a new family and two children.

The boy must be about five or at least four years old, to estimate from the appearance and dialogue. What made them wait so long to set up the hearing about the events happening at end of season one? What took the authorities four to five years to arrange that? That situation — of meeting again for the hearing — enables the authors and the director to display a violent attack against Robin. Mary manages to free herself from her relationship with Puss and goes back to her adoptive mother; who herself has returned to her marriage and gets rewarded for doing so by getting Mary back.

Just the Thai-women are still in the hands of Puss, and all those couples that were about to buy themselves the service of substitutes were penalised as well. Thus, the dramaturgical analysis disappointingly reveals a white-male supremacy worldview dominating the layout and construct, the motivation and design of the narration and characters; as well the aesthetic representation.

Both seasons of Top of the Lake were perceived as exceptional productions making a difference in presenting female characters within TV productions. Nevertheless, it is pleasant to watch excellent actresses in exciting, challenging and rewarding roles; the implicit message is still questioning women in their rights and their economic, social as well as mental independence.

Memory in a global age: Campion, Jane, and A. Top of the Lake — China Girl. In Top of the Lake. An empire of their own: How the Jews invented Hollywood. Wie die Amerikaner wurden, was sie sind. Hawthorne, Nathaniel, and Ross C. Frankfurt am Main u. Der Tod des Empedokles Dir.: Eine Schallplatte wird produziert Dir.: September Allgemein Kommentare 0. Arya Stark Maisie Williams is in the very first sequence of VII-1 crystallizing herself out of Walder Frey David Bradley —a wonderful theatrical trick to bring us back into the style and tempo of the series.

At the same time, this gives a short summary of one of the main events of the Stark-narration which were happening before. Arya is still shown as an independent and brave character. She joins soldiers after being invited, she eats and drinks like men, and she is not panicking when surrounded by a horde of wolves.

Dressed like the little but strong sister of Jon Snow she works on her revenge. In contrast to Cersei Lena Headey , Arya is acting neither blindly nor driven by bitterness. As in the seasons before, she is shown as a character who is careful but not afraid, able to plan her steps and being precise and prepared for what she is about to confront herself with. Arya seems to be the less traumatized, less play-acting figure within the ensemble of main characters.

And—in contrast to Sansa—she refuses to be protected. The character is still designed as independent and trusting to be able to protecting herself best. And trusts that she is able to protect herself. Sansa Stark Sophie Turner —back in Winterfell and safely protected. Brienne of Tarth Gwendoline Christie is always close by having a watchful eye on her. She, Brienne, still a strong, confident character, true to her oath and principles but caring as well.

Thus, she still has feminine features. Dramaturgically seen she can be understood as an older variation of Arya, a dramaturgical pendent to her. Sansa is shown as still torn between her desires for power thus including revenge and being the good-good girl [1]. Arguments between them again give us information, backstories and potential developments, on the threats they are facing—every one of them emphasising a different threat. Sansa is shown through these two new episodes as a young woman with a strong will, stronger than her wounds. Interesting is her admiring Cersei, telling us she has learned a great deal from her.

What does this mean for Sansa and her future steps? Will she develop towards a Stark-version of Cersei? No matter her desire to rule her character is designed in a way that she was taken by surprise when Jon announced her to be his substitute whilst he will be away, meeting Daenerys Emilia Clark.

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The cliff hangers for episode three are pointing us to the question of how the meetings will act out between Arya coming back and being confronted with her sister who betrayed her in the beginning, and Jon meeting his half-sister Daenerys, which both are not aware of. Cersei Lannister-Baratheon is still shown as mainly hungry for power. Thus, she appears a thus crazy as she was developed to during last season. She wants to start a dynasty lasting years, anyhow there are no Lannister children who could take over who are still alive—as far as we know at present.

Following the implicit principles of the series, it is no wonder the attack happens exactly when Asha and Ellaria Sand Indira Varna are about to start kissing and touching each other. Thus, the daughters of Ellaria are killed during the battle—by Euron himself, the man who just proposed a heterosexual marriage.

The fate Asha Greyjoy and Ellaria Sand ate facing will be reviled in one of the next episodes. They seem to be the precious gift he promised Cersei he would come back with. Daenerys Targaryen arrives at Dragonstone , the place she was born, on a stormy night. Accompanied, surrounded and counselled by her entourage. When Lady Olenna Tyrell , who was also arranged to be at Dragonstone to become an ally against Cersei, advises her to ignore men this would open the door to Daenerys the Mad Queen one could estimate after the dramaturgical development of the character during the last seasons.

She is the populist using the feelings of the people—represented here by Lord Varys Conleth Hill to ensure her personal power. Thus, her anti-establishment actions are on the surface giving freedom to the common people, but by replacing the former governing elite by herself. Lady Olenna Tyrell is portrayed within the Dragonstone-sequence as not being so convinced by this potential new queen.

In her eyes the perfect queen and thus a role model would have been her granddaughter Margaery Natalie Dormer. Margaery truly went to meet the common people, the poorest of the poor to do a good deed to them. This is how Margaery should be remembered. And this is a character clearly opposite to the one Daenerys is representing. Overall the female part of the main ensemble is arranged in a wide diverse group of characters.

One can be curious about how long Lady Olena Tyrell will withstand the intrigue set up by Cersei against her—dramaturgically seen she could be one of the characters who have to leave the game soon; the same is true for Asha Greyjoy and Elliana Sand. Another dramatic highlight in episode VII-3 will be the meeting between Jon Snow-Stark-Tagaryen—who was not made aware of Daenerys Tagaryen expecting him to bow his knee to her—and Daenerys.

Wie die Amerikaner wurden, was sie sind 3. Die Frage, die sich mir wie Studierenden und Filminteressierten stellt, ist die danach, warum ausgerechnet diese Serie weltweit so erfolgreich ist. Und damit verbunden ist die Frage danach, wie sie gemacht wurde. Sie widersprechen diesen nicht, wie oft vermutet wird. Ich schreibe hier aus dem Wissen um die ersten sechs Staffeln. Doch dramaturgisches Wissen hilft, dem nahe zu kommen. Eine filmische Produktion, auch eine Adaption, folgt spezifischen dramaturgischen Regeln und Produktionsbedingungen, die den Besonderheiten der medialen Gegebenheiten entsprechen.

Indem postmoderne Kinokonventionen genutzt werden, kann das Team von Game of Thrones radikal mit einer Wirklichkeitsillusion brechen, die traditionell Fernsehproduktionen eigen ist.

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Dennoch ist die Serie durchaus ambivalent zu diskutieren. Diese Sequenz stimmt das Publikum ein und vermittelt wichtige Informationen. Drei Reiter unterschiedlichen Alters und Aussehens werden hinter einem Gitter wartend im ersten Bild so in Szene gesetzt, dass erst ein schweres Eisentor hochgezogen werden muss, durch das sie hindurch reiten werden. Am Ende des Tunnels wird erneut ein Tor hochgezogen. Nun wird — in der weiten Totalen — die extrem hohe und sich in den Horizont erstreckende Eiswand gezeigt. Dies ist eine Szenerie, die sich von unserer wirklichen Welt und unserem Wissen um diese unterscheidet.

Dies geht einher mit der Darstellung fester Ordnungen und Hierarchien, die in einer bis ins Detail ausgearbeiteten, aber klar umrissenen und von unserer Wirklichkeitserfahrung verschiedenen Welt angesiedelt ist. Implizit ist diese Handlung, wie es im Genre Fantasy Konvention ist, [13] in Bezug zu Mythologie und insbesondere der christlichen Religion motiviert. Die jeweiligen Motive der Figuren und Handlungsschritte sollen so indirekt legitimiert werden und gleichzeitig eine metaphorische Spiegelung der erlebten Gegenwart zulassen.

Diese ovale Lichtung wirkt wie ein ritueller Ort. Und nun stehen diese quasi vor den Toren der als zivilisiert zu verstehenden Menschheit. Weniger vertraut sind der Begriff und die Kunst der Dramaturgie. Dramaturgie, das muss hier unbedingt betont werden, bezieht sich stets auf das gesamte Werk, also die Filme oder die Serie, die wir sehen — nicht alleine auf das Drehbuch oder die Dialoggestaltung. Andererseits kann man mithilfe dramaturgischer Grundkenntnisse in der Analyse auch verstehen, warum bestimmte Filme uns begeistern oder langweilen, faszinieren oder weniger ansprechen.

Eine Grundkenntnis oder noch besser Erfahrungen aus der Praxis von Filmproduktionen hilft in der dramaturgischen Analyse ebenso wie in der Beratung. The Complete Seasons Juni Allgemein Kommentare 1. Stories are all around us — in the books we read, games we play and films we watch. The best stories are those that draw us in, captivate us and make us empathise with the characters and their situations.

But can you create a story that will thrill and engage your audience? As part of her inaugural lecture, Professor Stutterheim will share insights from her research and professional practice as a documentary filmmaker. She will explain how to tell a story that will interest, inform and excite your audience, illustrated with a wide range of examples from documentary film, and the games industry.

Professor Kerstin Stutterheim joined Bournemouth University in , where she teaches a range of subjects, including film studies, directing of documentary and fiction films. She is currently involved in a research project exploring the cultural legacy of the Paralympics, as well as undertaking research into the storytelling of HBO hit TV show — Game of Thrones.

For further information on the inaugural lecture series, please visit www. Every frisson is a response to surprise, to an unexpected comparison or the revelation of a hitherto unnoticed reality. Here, it is the meeting of kitsch and death. All this is kitsch, the hidden, tender, and sweet vice—and who can live without vices?

A History of Poetics: German Scholarly Aesthetics and Poetics in International Context, 1770-1960

It is the juxtaposition of the kitsch aesthetic and of the themes of death that creates the surprise, that special frisson so characteristic not only for the new discourse but also, it appears, of Nazism itself. Is it necessary to see in this the will to reconstitute an atmosphere or a fascination? There is a kitsch of death. There is even a kitsch of the apocalypse: And yet this kitsch of death, of destruction, of apocalypse is a special kitsch, a representation of reality that does not integrate into the vision of ordinary kitsch.

As I have just mentioned, whatever the kitsch images are surrounding one, death creates an authentic feeling of loneliness and dread. Basically, at the level of individual experience, kitsch and death remain incompatible. The juxtaposition of these two contradictory elements represents the foundation of a certain religious aesthetic, and, in my opinion, the bedrock of Nazi aesthetics as well as the new evocation of Nazism.

Now, this fusion is only the expression of a kind of malaise in civilisation, linked to the acceptance of civilization, but also to its fundamental rejection. Modern society and the bourgeois order are perceived both as an accomplishment and as an unbearable yoke. Hence this constant coming and going between the need for submission and the reveries of total destruction, between love of harmony and the phantasms of apocalypse, between the enchantment of Good Friday and the twilight of the gods.

Submission nourishes fury, fury clears its conscience in the submission. To these opposing needs, Nazism—in the constant duality of its representations—offers an outlet; in fact, Nazism found itself to be the expression of these opposing needs. Today these aspirations are still there, and their reflections in the imaginary as well. The Art of Happiness. Folglich kann diese Art Kitsch die tieferen Schichten der Glaubensbereitschaft nicht ansprechen. Diese Mixtur von Eros und Thanatos war geeignet, in der extremsten politischen Mobilisierung der Neuzeit Massen in den Wahn zu treiben.

Kitsch und Tod — Der Wiederschein des Nazismus. Dementsprechend ist das visuelle Element, die visuelle Poesie, das besondere Merkmal des Genres seit Beginn an. Dies gilt bis heute. Dies erinnert an die Unterscheidung, die Rudolf Arnheim bereits in seinem erschienenen Buch Film als Kunst getroffen hat:. Bunte Ansichtspostkarten zum Beispiel sind nicht Kunst und wollen auch keine sein. Und Kientopp ist nicht Film. Das Alte geht, das Neue kommt.

Film als Kunst 1 ed. Nach Beendigung meiner Dissertation zum fotografischen Werk wollte ich mich nun auch dem Filmemacher Ehrhardt zuwenden. Die Aufnahmen lagern noch heute bei Manfred. Das Projekt nahm unerwartete Dimensionen an. Im Zentrum steht die Frage, was ein Abbild vermag, wie es funktioniert und wie es rezipiert wird. Aber meine Euphorie hing eindeutig auch mit der kongenialen Verbindung zwischen Sujet und Autor zusammen. Niels ist wie Alfred Ehrhardt Fotograf und er geht wie dieser vom fotografischen Standbild aus.

Vielleicht hatte Niels mehr bei Alfred gelernt als ihm das selber deutlich war. Schrecklich aufregend war es, vor der Kamera zu stehen. Irgendwann, nach Monaten, hatte ich dann auch gelernt, gelassener zu agieren. Aber er hatte ja Recht. Ich hab kein Problem damit Dinge zu schleppen. Danach war Ruhe in der Kiste und ging auch das Mitdenken besser.

Etwas filmisches Material lag schon vor, unter anderem ein Interview mit dem mittlerweile verstorbenen Direktor des Ernst Haeckel Hauses, Prof. Dieser Film der Regisseurin Corinna Belz wurde ein durchschlagender Erfolg, auch weil er einfach aufgebaut ist und auf die Bilder vertraut. Touch is the most personal of the senses. Hearing and touch meet where the lower frequencies of audible sound pass over to tactile vibrations at about 20 hertz. Hearing is a way of touching at a distance and the intimacy of the first sense is fused with sociability whenever people gather together to hear something special.

Reading that sentence an ethnomusicologist noted: These two features seem to co-exist. The sense of hearing cannot be closed off at will. There are no earlids. When we go to sleep, our perception of sound is the last door to close and it is also the first to open when we awaken. These facts have prompted McLuhan to write: The eye points outward; the ear draws inward. It soaks up information. Listening to beautiful sounds, for instance the sounds of music, is like the tongue of a lover in your ear.

Of its own nature then, the ear demands that insouciant and distracting sounds would be stopped in order that it may concentrate on those which truly matter. Our Sonic Environment and the Tuning of the World. New York, Knopf, Why I think that talking about the audience as a measurement or an aim is a mistake when it comes to writing and directing film or time-based media? As a filmmaker as well as an academic myself, I often come across the demand to think about the audience before and while making a film or writing or conceptualizing art work.

This always irritates me. Having been educated in the Faculty of Philosophy at Humboldt University Berlin and in one of the oldest and most established, but at the same time most modern, theaters, my immediate answer is that this is against all tradition. This may look like a very academic answer. From my academic and artistic education, my infinite reading, my excitement about great art — theatre, painting, performance, writing — I am deeply convinced that all great artists are in dialog with their audience in dealing with tradition and everyday life at the same time.

No one starts a work outside of life and reality. Starting to write or direct or perform takes place in communication with existing work. That means to get to know, to test and to challenge what the basic elements are that one has to respect. To respect means to think about what is basic and what can be changed and how, to be modified, to be tested or to be ignored, played with. This fulfils thinking about audience, but more in an abstract or academic way. Will the audience understand and like this? Will they pay for it? Will they keep watching it?

The last question includes money and a calculated economic success as well. There is no such thing as THE audience. There is not one audience, everyone feeling the same or demanding the same story, aesthetic, style, whatever. Would you, my reader, choose the same book or the same story or the same style every day? Would you dress every day in the same colours? Or can you predict that next Friday you will for sure be up for wearing a red Jacket, eating potatoes for lunch, listening to the Beatles for driving to work, and watching a Tarantino film in the evening?

What about midsummer in two years? Will you be up that day for a romantic comedy or for a thriller, and should the main cast be Julia Roberts, Tom Hiddleston or Kit Herrington? Thus, I have to rely on tradition, on basic knowledge and on artistic wisdom.

What I am here calling artistic wisdom is very well reflected and not mystic or metaphysic knowledge. Philosophy is one discipline reflecting on aesthetics since ancient times, the other is a sub-discipline of philosophy called dramaturgy. When I think about experiences with actual audiences, there are two different fields I can refer to, which I will do here in just a short overview. My first experiences go back to my time as dramaturgy assistant at the Deutsches Theater Berlin.

There were some great directors, e. But two were dominating the discourse, discussions and debates, fascinating the audience and splitting the colleagues into two groups. Friedo Solter was, in a nutshell, directing in a traditional way, modern, but moderate, up-to-date but not too provoking. On the other side was Alexander Lang. He was the postmodern director of the ensemble.

There was a lot of brainwork done before they started to rehearse and during the process. And the audience liked it too. All performances of both directors were always sold out. And ran for a long time. Shows I watched again and again as a member of the audience—more than ten times—were e.

The audience was different every day. There were some evenings when most of the audience came because they were curious to see the new interpretation of something they knew or knew about, others came to see the actors in a new performance, others to see the new work of the directors and some just because they had a season ticket or someone had asked them out, it was a social event organised through work or an educational trip from school.

And thus, the performance was a little bit different every day or perhaps just the atmosphere differed. I have similar experiences from showing our own films.

When a film is new, a premiere or a first screening at an important festival, the audience expects something special, they are mostly open minded, interested, excited, too. Do they get the joke or the irony in this dialog, do they see the emotional picture, do they hold their breath at this moment or not? And along that every discussion has a few similar questions, the standards, but more often completely different reactions, responds and queries.

Some US-media primed colleagues view European Documentaries as boring and old fashioned; others world wide are still working in poetic cinema , documentaries and fiction. Some filmmaker are still able to make poetic documentaries, being more visual, more artistic, and less outspoken or fast or hybrid; others invite these films to competitions in A-Festivals and sometimes these films receive an award too.

Teaching courses in Bangladesh, the UAE or Brazil, I found that the students were socialized and hence primed differently, but all of them were attracted by similar aspects of telling and directing a story. All of them discovered their specific style and narration to make their own projects, but all of them were in the given circumstances successful after they started to trust in artistic wisdom, the traditions, and the balance of constants and variants in storytelling.

The movie was not well received in the US, and Western Europe, thus it was marked as a flop. Or Barry Lyndon—over decades described as difficult and not very successful—this film was just re-released and shown in cinemas. There is no such thing as THE audience which you can calculate upfront. But, and this is the good news, we can trust that our audience in its variety, its broad interests and moods, will enjoy a good or excellently told story, when the auteur is aware of traditions and artistic wisdom, is creative and open minded, simply an artist, not a formatted industry worker. One has again to trust the writers, directors, the creative team and the artists, if we still want to get good and great stories told.

Looking for a formula to calculate the mood and interests of the people is like reinventing alchemy. Praxis des Drehbuchschreibens, Berlin, Alexander-Verl. Potenziale und Modelle von Dramaturgie im Medienwandel, Berlin: Hamburgische Dramaturgie, Stuttgart, Reclam. Der aufhaltsame Aufstieg des Arturo Ui, Frankfurt a. It tramples the cinema, makes it stand still, which is the opposite of what we live. The same thing applies to literature, if we simply apply to poetic rules, for example we can write about our lives but never write a single poem.

September Allgemein , Filmmaker , teaching Film Kommentare 0. By thematizing rehearsal processes in performative works unfolding over time, it is possible to demonstrate and depict working on art itself and the conditions for producing it. This essay will question which artistic procedures are possible, in analogy, in a static work.

How can these critical ideas of rehearsal be reflected on as a topos in a painting? He thus achieves a self-reflected, critical reflection on the arrangement of narration and visual representation at the dramaturgically implicit level of dramatic image plot as well. August Allgemein Kommentare 0. Sie wurde erstmals ausgestrahlt und besteht derzeit aus zwei Staffeln. Eine weitere befindet sich in Produktion und soll erscheinen Stand Juli Alle anderen Themen entstanden danach und leiten sich teilweise aus dem Titelthema ab.

Des Weiteren kommen Pads zum Einsatz, die er mit den Orchesteraufnahmen mischt. Eine weitere Ausnahme ist das elektronisch bearbeitete Sample des Waschmaschinensounds. Zudem wird mit Klaviereffekten durch Bogen oder Hammer auf den Saiten gearbeitet. Durch die solistische Besetzung strahlt es Einsamkeit aus. Die Gegend, die man in der Serie sieht, ist ein Charakter, und so ist es wichtig, sie wie einen Charakter zu behandeln.

Ich beziehe mich nie direkt auf den Score, aber dennoch auf dessen Klangfarbe. Somit bin ich also in Burwells musikalischer Landschaft geblieben. Aber weiter geht meine Referenz zu diesem Score nicht. Im wahren Leben ereignen sich auch Dinge und dann passiert mal wieder nichts. Um das zu zeigen, haben wir das Thema unserer Filmwelt eingespielt — welches die Titelmusik der Serie ist. Das hilft an dieser Stelle wirklich sehr.

Begleitet wird diese Szene ab TC Wenn Malvo bei TC Danach setzt bei TC Die Gestaltung der beiden Themen greift geschickt die Verbundenheit der Figuren auf. In einem Interview sagt Russo:. Dazu klingt Lesters Thema TC Hier klingt Lesters Thema in deutlich abgewandelter Form: Lesters Wandlung in Richtung Malvo hat bereits eingesetzt.

Als Lester wegen der infizierten Verletzung an seiner Hand im Krankenhaus zu sich kommt und bemerkt, dass er in Schwierigkeiten steckt, schmiedet er den Plan, eine falsche Spur zu legen und die Tat seinem Bruder in die Schuhe zu schieben. Doch es kann genauso als Vorausdeutung auf das Kommende gesehen werden. Wenn Gus nun auf Malvo trifft, baut sich unweigerlich Spannung Suspense auf, da die Zuschauenden bereits wissen, in welcher Gefahr sich der Polizist befindet. Diese dunklen Akzente reichen bereits aus, um das Spannungslevel zu potenzieren und nehmen die von Malvo ausgehende Bedrohung musikalisch auf.

Eingeleitet wird der Musikeinsatz von einem aus zwei aufsteigenden kleinen Terzen bestehenden Motiv, gespielt solistisch besetztem Horn und Viola. Dieses Thema kann als eine Variation der Titelmusik gesehen werden, da sich das melodische und rhythmische Material unmittelbar daraus ableitet. Die Melodie entspringt der selben melodischen Phrase jeweils T 1 , wird aber anders harmonisiert.

Das ist auch musikalisch erkennbar, denn ihr Thema wird zwar im Laufe der ersten Staffel auch variiert, entwickelt sich aber in keine bestimmte Richtung weiter. Somit hat sie auch von Anfang an dasselbe Thema. Beispielsweise wird in Folge sieben TC Die narrative Information wird offensichtlich, auf eine eins zu eins transkribierende Weise durch die Filmmusik und das Sounddesign nachverfolgt.

Die Themen folgen den dargestellten Figuren sehr langsam und subtil in ihrer Entwicklung. Manchmal kommentiert sie das Dargestellte dezent. Grundlagen der Wirkung von Filmmusik. Complete Guide to Film Scoring. The Art and Business of Writing. Karlin, Fred; Wright, Rayburn: A Guide to Contemporary Film Scoring. Musik in fiktionalen Fernsehformaten. Breaking Down Breaking Bad. Stutterheim, Kerstin, , S. Lang, Christine; Dreher, Christoph, , S. Davis, Richard, , S. Juli Allgemein Kommentare 0. A closer look at women in film, as directors or as characters, provides a basic understanding of the situation of a society.

Within this topic one is able to develop a much greater comprehension of if and how gender equality is represented and understood, through simple application of common sense. Gender role models are constructions, made common and perpetuated by media productions.

Movies are reflecting cultural and social relationships in a society, and subsequently have an influence on society as well. Audience, the often-stressed unknown being, also includes women. In cinemas within some particular age groups, women are even the majority. We, the women, are an integral part of society; without us there would be neither society nor civilization.

This is truism, but astonishingly enough it nevertheless has to be mention from time to time again. Contemporary movies and TV productions are mostly dominated by male producers, directors, commissioning editors and heads of program, yet tell not only stories from that of a male perspective. Even character design is coined by a male view of the world; among the women represented, female characters are frequently designed in a way that gives an overall impression that women would be unable to act as independent human beings.

They could be neither able to act as a director nor as female characters embedded in a story that do more than acting as a secretary, nurse, housewife, shop keeper or sex worker. Those characters often lack a name or intelligent dialogue lines, and can be exploited or tortured and murdered more easily than male characters.

Instead, the term is expressing that those kinds of characters are demanding a specific hierarchy and personal freedom. Within the hierarchy of such characters, female characters were almost always narrated out of a male position. Thus, they have little to no influence on the narrated action. If it is a female character indulged to be the protagonist, her action is shown as personal, fleshly or erotically motivated, not because of a societal or political motivation or longing of the character. Within the action the young, blonde female main character, called Marisa, given by Alina Levshin is shown as driven into the group of Neo-Nazis by her life situation and circumstances—her mother unable to support her, a bad job, a region undeveloped and of no hope for the young generation.

As a result of her one and only human action helping the illegal migrant to hide she became sacrificed at the end. Independent decisions made by a female character ignoring the rules of the group she belongs to were not endured. Although this term as such first of all just means someone is able to decide independently Holland, and still not the active influence of events happening because of a person character acting in a specific way, that term already is been used to discuss characters, especially female ones, in media productions.

To change the ways of representing women in media productions it is necessary to have many more female writers and directors, who should in numbers correspond to the percentage of women in society and the audience. It is time to change the representation of both genders in media productions to give both of them a better perspective in a civilized world as well. Within these productions characters are interacting on eyelevel, especially within the dramaturgical structure.

Action, hopes, dreams and decisions of female characters are of the same weight and influence for the action going on as those of the male characters. Their decisions and actions are not body directed or only emotion based- they are as clear and rational as those of their male counterparts. Of course, cinema productions written and directed by women were and are successful, like f.

Based in socio-cultural structures in the cinema business movies directed by women were differently discussed, distributed and reviewed than those directed by their male colleagues. A closer look and analysis shows that female directors more often tend to open dramaturgical forms and less often tell classical stories of a hero.

Thus, a more open minded reception is needed to give them same respect as traditional male narrated movies. To support the discussion and critical thinking of representation of gender in Film and TV productions of today we will add here from time to time short reflections on randomly selected examples we came across. Identity and agency in cultural worlds, Cambridge, Mass. Premiere auf den Internationalen Hofer Filmtagen Geschichten der normalen Menschen und nicht der Helden. Der Spiegel in der Umkleide evoziert eine Leinwand, die der Selbstfiktionalisierung dient.

Das Trinkspiel ist eine soziale Aktion, eine Art Initiationsritual. Wer in den Kreis aufgenommen werden will, muss mitspielen. Wer sich widersetzt, wird zu Fall gebracht. Kurzfilm , 23 Min. Neues im Film entsteht vor allem in der Beziehung von Form und Inhalt. Dabei ist es die Form, die entscheidend ist, weil sie den Inhalt eines Films transportiert. Die Handlung ereignet sich in einer Welt, die sich von unserer erlebten Wirklichkeit unterscheidet. In Fantasy-Filmen kann auch auf die von uns erlebte Wirklichkeit referiert werden.

Zentraler Handlungsort ist eine Insel, die wie eine Variante Englands wirkt. Mit dieser ersten Szene ist die Begebenheit etabliert, zu der alles Handeln in Relation gesetzt wird. Wie in Shakespeares Henry VI. Aus dem — im Sinne der Konventionen der Gesellschaft gesehenen — Fehlverhalten desjenigen, der die Macht und die Verantwortung hat, die tradierten moralischen Werte der Gemeinschaft vorbildhaft zu bewahren, ergibt sich die Katastrophe. Der Untergang des Abendlandes, der zivilisierten Welt, droht. Insofern vertreten ausgerechnet die positiv wirkenden Figuren dieser Serie konservative christliche und uramerikanische Werte.

Er ist ein Outcast, vertritt die Werte der Gemeinschaft ernsthafter als diese selber, weshalb er von ihr nur toleriert, aber nicht als Ihresgleichen angesehen wird. Das verleiht diesem Western-Helden wiederum eine besondere Haltung. Gehasst, gemordet und geliebt wird in jeder vorstellbaren Figuren-Konstellation. Frauenfiguren agieren als Antagonistinnen oder spiegelbildliche Heldenfiguren. Doch auch hier gibt es aus der Erfahrung mit den genutzten Mittel der Gestaltung und Dramaturgie keine Gewissheit.

Chronotopos , [Frankfurt am Main], Suhrkamp. A clash of kings, New York, Bantam Books. This article compares the Israeli television show BeTipul with its American adaptation, In Treatment , with regard to the subtle Jewishness of the Israeli show and its universalist conversion into a non-Jewish-American context.

Questions after the fluidity and evasiveness of Jewish identity in general and in popular culture in particular arise as well as the question how psychoanalysis can be transferred on television.

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Both series are also analyzed from a psychoanalytical perspective as a cultural unconscious. Produced by the network HOT3, BeTipul is an Israeli television series consisting of eighty episodes that were broadcast over the course of two seasons, from to The series has been hugely successful in Israel in terms of both ratings and awards, and so far it has been adapted in fourteen different countries, including the United States, Argentina, Brazil, Japan, Russia, the Netherlands, and Italy.

Instead of their merely talking about the conflicts that take place with people outside the consultation room, the patients develop conflicts with Reuven, which involve a love story, jealousy, a miscarriage, and even suicide attempts. Most of the subsequent adaptations have used similar consultation-room sets and the same scripts.

I first analyze the Jewishness of BeTipul and subsequently trace how it is transformed into Paulinian universalism in In Treatment. Even though all the characters in the Israeli version are Jewish, the Jewishness of the series is not easy to identify, due only partly to its lack of religious topics and its secularism. Christine Lang, in her essay on In Treatment , emphasizes that psychoanalysis itself follows dramaturgical formulas and narratives ranging from Oedipus and Cassandra—and, I would like to add, Moses—to Saint Paul.

Indeed, this resembles the ways in which the Jewish and Christian religions are based on myths from the Old and New Testaments. The interpretations of these narratives are connected to the second topic of this essay: Founded in the secular Jewish community of Vienna around , psychoanalysis—like BeTipul —has been transmitted around the globe.

According to Hagai Levi, the case of the traumatized soldier in particular has been transformed to match specific national traumas in different adaptations of the series. These differences also include the methodology and identity of the non-Jewish therapist Paul Weston, played by Gabriel Byrne in In Treatment , which I discuss in regard to the question of universalism and particularism connected to Paul the Apostle, the Jew who founded Christianity. But regardless of these differences, most parts of the script of BeTipul have been transferred word for word into In Treatment , and these transferences may correspond with the universal claim of psychoanalysis.

Psychoanalysis assumes that, whereas the psychic mechanisms of repression and memory and the topology of ego, id, and superego work similarly in every subject, the particular content is different. Similarly, in the case of the television series adaptations, the form at is the same, but the content and the type of cast differs.

Jane Feuer and Caroline Bem compare the format of the television series with the setting of the analytic or therapeutic cure: Thus, while In Treatment is unable to fully reproduce the therapeutic experience, it relies, instead, on a premise of medium self-reflexivity whereby the face-to-face between therapist and patient is reflected in that other, medial encounter between viewer and personal screen. It stands more in line with the psychoanalytical interpretations presented at a conference on BeTipul and In Treatment held at the University of California, Los Angeles in I also analyze the sessions in the series in the way Ira Konigsberg treats films like a clinical hour, as processes that create narratives.

What Is Jewish in BeTipul? In the first episode, which takes place during her Sunday session, she confesses that she fell in love with her former therapist. Yadin Lior Ashkenazi has his sessions on Mondays. On Thursdays Reuven sees his own former therapist and current clinical supervisor, Gila.

Yadin accidentally killed several Palestinian children in Ramallah during a military operation. He did not know at the time that children were in the house he bombed, and he later wonders if his superiors knew about it or made a mistake. According to Irit Keynan, in Israeli society it is taboo to discuss such an incident or military mistake in a television series or in public media in general.

BeTipul never uses the usual visual device of flashbacks to illustrate and authenticate trauma. In his monologues Yadin, as played by Ashkenazi—who previously portrayed a similar figure as the cold, emotionally detached secret service agent in Walk on Water Eytan Fox, Israel, ,which also deals with past and current Israeli traumas—seems to struggle between the image of the pilot as war hero and his guilt feelings. He did not hit the wrong building; rather the wrong people were in the building. He just followed orders. At the same time Yadin struggles with the incident.

The series also reveals other aspects of the Israeli unconscious. In his first session Yadin tells Reuven about his father, a Holocaust survivor. Yadin assumes that his father does not feel guilty, because he always says: Nevertheless, a reactivation of trauma is still possible in this transmission. The trauma is present regardless of place or time. But what Yadin inherited instead is an inability to feel guilty, because it is indeed too dangerous, and because it would mean that the Nazis would have succeeded, finally, in turning the victims into the victimizers.

While the transgenerational transmission of the Holocaust trauma affects Jewish people worldwide, there are different opinions about how trauma affects the children of Holocaust survivors in Israel as compared to those in other countries. Jeffrey Prager, for instance, writes:. Instead, he does what his father expects from him. The case of Yadin and the history of his father have an additional implication that might not be specifically Israeli but is attributed as specifically Jewish: While later peoples practiced totem religious cults to reenact this primal murder on a symbolic level, monotheistic religions developed a different way of dealing with it.

In his lecture Freud said:. Judaism has carefully pushed aside these dark memories of mankind. The killing of the father is universal, but Christians have confessed the murder.