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Page "Until the End of the World" ¶ 54
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German and film
The film is full of deliberate anachronisms, from the Count Basie Orchestra playing " April in Paris " in the Wild West, to Slim Pickens referring to the Wide World of Sports, to the German Heer of WWII.
The film has a cosmopolitan cast of characters ( American, French, German, Czech, Norwegian, Bulgarian, Russian and some other nationalities ).
* 1906 – Franz Waxman, German film composer ( d. 1967 )
The same year, he made a cameo appearance in the German film Christiane F., a real-life story of teenage drug addiction in 1970s Berlin.
Argentine boxer Carlos Monzon, who didn't have a clear diction, had his voice dubbed by a professional actor when he played the lead in the drama La Mary, and Gert Frobe, who played Auric Goldfinger in the James Bond film of that name ( Goldfinger ) was because of his heavy German accent dubbed by Michael Collins.
He later made plans with German film director Werner Herzog, whom Tom Luddy had introduced to Morris, to return in the summer of 1975 to secretly open the grave of Gein's mother to test their theory that Gein himself had already dug her up.
In 2001 Enya recorded " May It Be ", which was featured in the first installment of The Lord of the Rings film trilogy, Fellowship of the Ring, and was her second consecutive single to enter the German charts at number one.
The company that hired Coppola to edit Tonight for Sure brought him back to re-cut a German film titled Mit Eva fing die Sünde an directed by Fritz Umgelter.
German cinema has made major technical and artistic contributions to film.
In addition, the Occupation Statute of 1949, which granted partial independence to the newly created Federal Republic of Germany, specifically forbade the imposition of import quotas to protect German film production from foreign competition, the result of lobbying by the American industry as represented by the MPAA.
Nonetheless, the share of the film market for German films in this period and into the 1950s remained relatively large, taking up some 40 percent of the total market.
Many of the German films of the immediate post-war period can be characterised as belonging to the genre of the Trümmerfilm ( literally " rubble film ").
The 08 / 15 film trilogy of 1954 – 55 concerns a sensitive young German soldier who rather be playing the piano who fights on the Eastern Front without understanding why, and no mention is made of genocidal aspects of Germany's war in East.
Bartov commented that in this film, the German officer corps is shown as a group of fundamentally noble and civilized men who happened to be serving an evil regime made up of a small gang of gangsterish misfits totally unrepresentative of German society, which served to exculpate both the officer corps and by extension Germany society.
Bartov wrote no German film of the 1950s showed the deep commitment felt by many German soldiers to National Socialism, the utter ruthless way the German Army fought the war and the mindless nihilist brutality of the later Wehrmacht.
The international significance of the West German film industry of the 1950s could no longer measure up to that of France, Italy, or Japan.
Consequently, the German film industry cut back on production.
Other up-and-coming filmmakers allied themselves to this Oberhausen group, among them Rainer Werner Fassbinder, Volker Schlöndorff, Werner Herzog, Jean-Marie Straub, Wim Wenders, Werner Schroeter and Hans-Jürgen Syberberg in their rejection of the existing German film industry and their determination to build a new industry founded on artistic excellence rather than commercial dictates.
Despite the foundation of the Kuratorium Junger Deutscher Film ( Young German Film Committee ) in 1965, set up under the auspices of the Federal Ministry of the Interior to support new German films financially, the directors of this New German Cinema, who rejected co-operation with the existing film industry, were consequently often dependent on money from television.
The work of post-war Germany's leading novelists Heinrich Böll and Günter Grass provided source material for the adaptations The Lost Honour of Katharina Blum ( 1975 ) ( by Schlöndorff and Margarethe von Trotta ) and The Tin Drum ( 1979 ) ( by Schlöndorff alone ) respectively, the latter becoming the first German film to win the Academy Award for Best Foreign Language Film.

German and director
In 1927 he succeeded Zemlinsky as opera director of the German Theater at Prague.
* 1941 – Hans W. Geissendörfer, German director
* 1947 – Peter Krieg, German director, producer, and writer ( d. 2009 )
* 1945 – Wim Wenders, German director, screenwriter, and producer
* 1973 – Fatih Akın, German director
* 1919 – Wolfgang Wagner, German director ( d. 2010 )
Salieri also had never truly mastered the German language, and he now felt no longer competent to continue as assistant opera director.
* 1925 – Sammy Drechsel, German journalist, director, and cabaret performer ( d. 1986 )
* 1945 – Werner Schroeter, German director
Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions ( ADGB ) in Bernau.
Wallach took classes in acting at the Dramatic Workshop of the New School in New York with the influential German director Erwin Piscator.
* 1932 – Alexander Kluge, German actor and film director
* 1942 – Margarethe von Trotta, German actress and film director
* 1637 – Friedrich Nicolaus Brauns, German composer and music director in Hamburg ( d. 1718 )
* 1970 – Matthias Lechner, German art director
His writing stint was brief, as Lang soon started to work as a director at the German film studio Ufa, and later Nero-Film, just as the Expressionist movement was building.
Lang epitomized the stereotype of the tyrannical German film director such as Erich von Stroheim and Otto Preminger ; he was known for being hard to work with.
* An old German director with the demeanor of Lang appears during the filming of a bank robbery in Woody Allen's 1969 comedy Take the Money and Run.
German film director F. W. Murnau had recently made The Last Laugh and Sunrise and was the most critically acclaimed director in Hollywood, and Hawks's attempted to imitate Murnau's style with this film.
* 1931 – Viktor Schwanneke, German director and actor ( b. 1880 )
* 1939 – Brigitte Fassbaender, German soprano and director
* 1965 – Uwe Boll, German director
* 1965 – Thomas Jahn, German actor and director

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