Von der Bibliofilie zur Textgrammatik : eine annotierte Bibliografie zum Fänomen des Titels
Der folgende Artikel erschien zuerst als Kapitel in: Zur Textsemiotik des Titels. Mit einem Beitrag v. Ludger Kaczmarek. Münster: MAkS Publikationen 1985, S. 157-198 (= Papiere des Münsteraner Arbeitskreises für Semiotik. 12.). Auf die seinerzeit...
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Der folgende Artikel erschien zuerst als Kapitel in: Zur Textsemiotik des Titels. Mit einem Beitrag v. Ludger Kaczmarek. Münster: MAkS Publikationen 1985, S. 157-198 (= Papiere des Münsteraner Arbeitskreises für Semiotik. 12.). Auf die seinerzeit beigegebenen Indices wurde hier verzichtet.
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On Brazilian cinema : a portrait of director and producer Walter Salles
Walter Salles is probably the most widely known Brazilian director and producer. This article offers a portrait of his work over the last two decades as part of the cinematic and cultural changes that took place in Brazil. It starts with a historical...
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Walter Salles is probably the most widely known Brazilian director and producer. This article offers a portrait of his work over the last two decades as part of the cinematic and cultural changes that took place in Brazil. It starts with a historical overview of Brazilian film history and will then take a closer look at the films directed by Salles and his activities as producer. By looking at the evolution of the Brazilian film industry in the last ten to fifteen years in terms of market structures as well as aesthetic qualities, two major references become apparent: the more (but not only) commercial oriented productions of Globo Filmes, which often meet public taste and rely on a well-proven television language; second, the movies of Walter Salles as well as the films produced by Videofilmes, a company run and founded in 1987 by him and his brother, the documentarist João Moreira Salles. Videofilmes not only fosters many of the somewhat marginal, smaller film projects, but also serves as support for more artistically orientated movies.
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“Eine Kneipe ist wie ein Film” : aproximações entre o cinema de Fatih Akin e o Neuer Deutscher Film de três décadas atrás
Fatih Akin has been the subject of much research in the academic world, especially regarding his portrayal of young Turkish Germans, Turkey and the borders between Europe and the Middle East. This article presents a critical evaluation of these...
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Fatih Akin has been the subject of much research in the academic world, especially regarding his portrayal of young Turkish Germans, Turkey and the borders between Europe and the Middle East. This article presents a critical evaluation of these approaches and then looks into Akin’s relation with music, literature and the New German Cinema from the 1970’s and 80’s.
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Literatura e luz : iluminação elétrica, teatro e o filme expressionista
This article discusses the influence of electric illumination on theatre and the so called expressionist film. It starts with a short historical overview and will then argue that the only film with a narrative as well as a visual design in...
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This article discusses the influence of electric illumination on theatre and the so called expressionist film. It starts with a short historical overview and will then argue that the only film with a narrative as well as a visual design in expressionist tradition is From Morn to Midnight, based on a play written in 1912 by Georg Kaiser and released in same year (1920) as its legend counterpart The Cabinet of Caligari. But different then Caligari or many other famous German silent movies from the 1920s it is not located in a romantic shadow world, syntactically created by lightning effects, but renounces the dark and spooky irrational in favor of an urban environment in the early twentieth century: a story of money, erotic seduction, escapist fantasies, eccentric bohemian life, crime and rapid alteration of scenes.
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