WWW.DIS.XLIBX.INFO
FREE ELECTRONIC LIBRARY - Thesis, dissertations, books
 
<< HOME
CONTACTS



Pages:   || 2 |

«WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ...»

-- [ Page 1 ] --

“WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA.

THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.”

—FORBES

WIM

WENDERS

PORTRAITS ALONG THE ROAD

A RETROSPECTIVE

THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD

THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE

NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD (DIRECTOR’S) / BUENA VISTA SOCIAL CLUB

CUT

JANUSFILMS.COM/WENDERS

THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS

ALICE IN THE CITIES TOKYO-GA

WRONG MOVE WINGS OF DESIRE

KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES

THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT)

THE STATE OF THINGS BUENA VISTA SOCIAL CLUB

Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema (Alice in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world.

Booking: booking@janusfilms.com / Publicity: rtwerner@me.com janusfilms.com/wenders

BIOGRAPHY

Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New Germ

–  –  –

Wenders studied medicine and philosophy before moving to Paris in 1966 to study painting. Though ostensibly pursuing an apprenticeship in the studio of the graphic designer and engraver Johnny Friedlaender, he spent his afternoons and evenings in the Cinémathèque française. This “crash course in the history of film” would become the most important stage in his education, as Wenders soon began to think of film as an “extension of painting by other means.” His career as a filmmaker began in 1967, when Wenders enrolled at the newly founded University of Television and Film Munich (HFF Munich). Parallel to his studies at the HFF, he also worked as a film critic from 1967 to 1970. At this point, he had already directed various short films. Upon graduating from the university in 1971, he, together with fifteen other directors and authors, founded the Filmverlag der Autoren, a distribution company for films by German auteurs, which organized the production, rights administration, and distribution of their own independent films.

After completing his debut feature out of film school, The Goalie’s Anxiety at the Penalty Kick (1971), Wenders turned to shooting his road movie trilogy—Alice in the Cities (1974), Wrong Move (1975), and Kings of the Road (1976)—in which the protagonists try to come to terms with their rootlessness in postwar Germany, among other things. His international breakthrough came with The American Friend (1977). Since then, Wenders has continued to work both in Europe and the United States, as well as in Latin America and Asia, and has been honored with numerous awards at festivals around the world, including the Golden Lion in Venice for The State of Things (1982); the Palme d’Or and the British Film Academy Award for Paris, Texas (1984); the Director’s Prize in Cannes for Wings of Desire (1987); and the Silver Bear for The Million Dollar Hotel (2000) at the Berlin International Film Festival. His documentary films Buena Vista Social Club (1999), Pina (2011), and The Salt of the Earth (2014) were all nominated for Oscars. During the 2015 Berlin International Film Festival, Wenders was presented with the Honorary Golden Bear for his lifetime achievement. His most recent feature film, Every Thing Will Be Fine, was shown in the official program of the Berlinale out of competition in 2015.

In the fall of 2012, together with his wife, Donata, Wenders established the Wim Wenders Stiftung in Düsseldorf. The establishment of the foundation was deeply rooted in the intention to create a legally binding framework to bring together the cinematic, photographic, artistic, and literary life’s work of Wenders in his native country and to make it permanently accessible to the public worldwide. At the same time, the nonprofit foundation model serves to ensure that Wenders’s whole body of work may belong only to itself as endowment capital, and that it thus remains beyond the reach of any form of private self-interest. All proceeds from the licensing business are used to finance the central purpose of the foundation: the promotion of the arts and culture through the restoration, dissemination, and preservation of Wenders’s work on the one hand, and through the support of young talents in the field of innovative narrative cinema on the other.





THE RESTORATIONS

For decades, some of Wenders’s films either remained unavailable because of unresolved rights clearances or could be seen only in poor quality due to damage to the materials. The foundation began to digitally restore them in 2014, and, as a result, the public is today once again able to experience these films in optimal quality. Restoring Wenders’s body of work represents one of the central missions and greatest challenges of the Wim Wenders Stiftung.

As a first step, the original film materials are brought together from various storage facilities and documented. The production documents are examined and analyzed with regard to the legal situation. In addition, an archiving concept with a classification scheme for the inventory and processing of both film and documentary materials is being developed.

The restoration work itself consists of several stages: the evaluation of all source material, the scanning of the analog material, the retouching of individual frames from damaged film sequences by hand and the stabilization of individual frames, and the reframing and color correction of the image. The sound was already processed digitally back in 2002 by André Bendocchi-Alves. After completion of the restoration work, the source materials are then transferred to the German Federal Film Archive for proper long-term storage. It almost goes without saying that a change of medium from analog to digital will rarely pass unnoticed. For this reason, particular attention is paid to maintaining the visual “charm” of the originally analog film images with the idiosyncrasies of the film grain. Whereas the reprocessing of classic films is typically supervised and assessed by curators and archivists in order to make careful decisions for a restoration “in the sense of the director’s original vision,” the Wim Wenders Stiftung situation provides one special advantage: the director himself is involved in the restoration process, thus guaranteeing a processing of the films that is far from an outside interpretation.

The Wim Wenders Stiftung digitally restored eight films in the course of one year. Image processing was done by the company ARRI Film & TV under the supervision of Wim and Donata Wenders and was supported by grants from the German Federal Film Board (FFA) and the Centre national de la cinématographie (CNC). Further films were transferred to current state-of-the-art high-resolution digital formats in order to be able to show them in cinemas and on television. The foundation will continue to pursue the preservation of the cinematic work of Wenders and to thus make it accessible to the public on a permanent basis.

Two of the already restored films offered special challenges in their restoration: the reframing of Alice in the Cities and the music rights for The Goalie’s Anxiety at the Penalty Kick.

Alice in the Cities was shot on 16 mm black-and-white negative in the summer of 1973. For fifteen years, all copies in circulation worldwide were made from the original negative. By the time a 35 mm duplicate negative was finally made in 1988, the original material was damaged by countless scratches, vertical lines, and cracks.

The digital restoration of the film was done in 2014. For this purpose, the original negative was scanned in 4K resolution using the wet-gate method and retouched and color-corrected in 2K resolution. Individual sequences that were too heavily damaged on the original 16 mm negative were replaced with sections from the 35 mm duplicate negative.

Although the film was shot in the 1:1.37 format commissioned by the German public broadcasting entity WDR, Wenders and his cameraman, Robby Müller, composed the shots for the widescreen 1:1.66 format. At the director’s request, Alice in the Cities was also screened in cinemas that way. With this digital restoration, the film is now finally framed in Wenders’s preferred format.

The Goalie’s Anxiety at the Penalty Kick was filmed in Vienna and Burgenland in 1971. Based on the novel of the same name by Peter Handke, this was Wenders’s first feature film. He worked with Müller on it as well, as he would go on to do for many years, as well as with composer Jürgen Knieper and film editor Peter Przygodda.

As the use of the music had not been cleared for international release, distribution was soon restricted to television, and The Goalie’s Anxiety at the Penalty Kick remained more or less unavailable for three decades. With the 2014 restoration, this problem was solved through the recording of new songs. For the restoration, the original 35 mm color negative film was scanned, retouched, and color-corrected in a resolution of 4K.

–  –  –

West Germany/Austria • 1971 • 100 minutes • 35 mm color • Stereo • In German with English subtitles • 1:1.37 4K restoration and new sound mixing, 2014 • 4K DCP

–  –  –

The German journalist Winter wants to write a story about America but is unable to accomplish anything but a series of Polaroids before disappointedly beginning his journey back home. At the same time, he reluctantly agrees to take little Alice (Yella Rottländer) with him, because her mother (Lisa Kreuzer)—whom he meets in New York on the day before his departure— has urgent business to take care of there. In Amsterdam, the mother then fails to appear as they agreed, so Winter and Alice set out to try to find Alice’s grandmother in the Ruhr region. During their search together, their initial mutual dislike gradually transforms into a heartfelt affection.

West Germany • 1974 • 112 minutes • 16 mm blowup to 35 mm black and white • Stereo • In German with English subtitles • 1:1.37 4K scan and 2K restoration, 2014 • 2K DCP

–  –  –

In Goethe’s novel Wilhelm Meister’s Apprenticeship, which provided the source material for Peter Handke’s script, a journey of this kind was still a “genuine movement.” In the literature of the nineteenth century, particularly in the German bildungsroman, the topos of the journey is always linked to lasting significant changes and experiences. Traveling is synonymous with the successful search for one’s own identity.

But the Wilhelm of Wrong Move must arrive at the painful recognition that today a journey alone no longer leads to the desired goal. His path leads him into an unbroken series of failures, through his own fault and that of all the people he meets on his way: the street singer Laertes (Hans Christian Blech), struggling with his Nazi past, the mute girl Mignon (Nastassja Kinski in her first role), the poet (Peter Kern), and the actress Therese (Hanna Schygulla).

West Germany • 1975 • 103 minutes • 35 mm color • Dolby 5.1 surround • In German with English subtitles • 1:1.66 4K restoration scheduled for late 2015 • 4K DCP

–  –  –

West Germany • 1976 • 175 minutes • 35 mm black and white • Dolby 5.1 surround • In German with English subtitles • 1:1.66 4K restoration, 2014 • 4K DCP

–  –  –

West Germany • 1977 • 126 minutes • 35 mm Eastmancolor • Stereo • In German, English, and French, with English subtitles • 1:1.66 4K restoration, 2014 • 4K DCP

–  –  –

West Germany • 1982 • 121 minutes • 35 mm black and white and color • Stereo • In English and French, with English subtitles • 1:1.66 4K Restoration, 2015 • 4K DCP

–  –  –

West Germany/France • 1984 • 148 minutes • 35 mm color • Stereo • English • 1:1.66 4K scan, L’Immagine Ritrovata, and 2K restoration, Éclair Group, 2014 • 2K DCP

–  –  –

West Germany/U.S. • 1985 • 92 minutes • 16 mm Eastmancolor • Dolby 5.1 surround • English and Japanese with English subtitles • 1:1.33 4K scan and 2K restoration, 2014 • 2K DCP

–  –  –

West Germany/France • 1987 • 128 minutes • 35 mm black and white and color • Dolby 5.1 surround • In German, French, and English, with English subtitles • 1:1.33 4K restoration scheduled for 2016 • 2K DCP

–  –  –

West Germany/France • 1989 • 81 minutes • 35 mm color • Stereo • In English and Japanese, with English subtitles • 1:1.37 4K restoration, 2014 • 4K DCP

–  –  –

Germany/France/Australia • 1991 • 295 minutes (director’s cut) • Super 35 mm, Eastmancolor • Stereo • English • 1:1.66 4K restoration, 2014 • 4K DCP

–  –  –

Germany/U.S. • 1999 • 105 minutes • Digital Betacam transferred to 35 mm, color • Stereo • In English and Spanish with English subtitles • 1:1.85 2K DCP

TRIVIA



Pages:   || 2 |


Similar works:

«FEDERATION OF INTERNATIONAL LACROSSE 2015-2018 Women’s Official Rules INTERNATIONAL WOMEN’S LACROSSE RULES AUGUST 2014 As adopted by the Federation of International Lacrosse and ratified by all Members of the Federation The International Women’s Rule Book is compiled and published by the Federation of International Lacrosse, FIL In addition to the rules, guidance sections in italics are provided to give clarity and rule interpretations for umpires, coaches and players. For convenience and...»

«Architecture Overview Arrayent Connect Platform July 25, 2013 Architecture Overview – Arrayent Connect Platform – info@arrayent.com Table of Contents 1 Defining Arrayent’s Services 2 Market Needs and Their Influence on Platform Design 3 Designing Connected Devices 3.1 Format and Transmission of Messages 3.2 Identifying Devices 3.3 Gateways 4 Dumb Devices, Smart Cloud 4.1 Alerts 4.2 Web Apps 5 Revision History Architecture Overview – Arrayent Connect Platform – info@arrayent.com 1...»

«Theological Studies 51(1990) THEOLOGY AND CULTURE AT MID-CENTURY: THE EXAMPLE OF HENRI DE LUBAC JOSEPH A. KOMONCHAK The Catholic University of America HE ESSAY that follows is part of a larger attempt to understand the T achievements and the impact of the Second Vatican Council. This has required me to place the council in the context of the Roman Catholicism that had developed in the previous 150 years. Elsewhere I have described this as the construction of a particular subculture which, while...»

«THE COMPOSITION OF PLACE Creating Space for an Encounter Nicolas Standaert E XPERIENCE OF GOD IS AN ESSENTIAL ASPECT of Christian life. Even if it may be difficult to explain or illustrate such an experience, nevertheless many people can point to such occasions: before a landscape, on the birth of a child, in the sudden silence of a prayer, in the intensity of love, and so on. But while another essential experience is the encounter with Jesus Christ, for many people the latter seems to occur...»

«VICTIMISATION AND THE REASON WHY1 Olivia-Faith Dobbie Key points: Section 27(1) EA 2010 provides a definition of “victimisation” which • applies to protected acts done by reference to any/all protected grounds – consolidating the previous provisions scattered through the anti-discrimination legislation. Section 27(2) EA 2010 sets out the definition for “protected act”. It is sections 39(3) and (4) EA 2010 which render such conduct • unlawful as against workers / employees. Of...»

«(NOT FOR ATTRIBUTION; FOR DISCUSSION PURPOSES ONLY) A Case Study of the Municipality of Infanta, Quezon Province Communitybased Disaster Preparedness and Management (CBDPM): Surviving and Recovering from a Natural Catastrophe A Contribution to the Philippines Country Environmental Analysis Draft for discussion Do not quote September 2008 Elmer S. Mercado, EnP World Bank Consultant. The findings, interpretations, and conclusions expressed herein are those of the author, and do not necessarily...»

«LOVE & FRIENDSHIP Un film de Whit Stillman Kate Beckinsale, Chlöe Sevigny, Stephen Fry Durée : 92min Sortie : le 22 juin 2016 Serveur presse: http://www.frenetic.ch/fr/catalogue/detail//++/id/974 DISTRIBUTION RELATION PRESSE Eric Bouzigon FRENETIC FILMS AG Tel. 079 320 63 82 Bachstrasse 9 • 8038 Zürich eric@bouzigon.ch Tel. 044 488 44 00 • Fax 044 488 44 11 www.frenetic.ch Synopsis Susan Vernon (Kate Beckinsale), une ravissante lady qui sait ce qu’elle veut, dispose de bien d’atouts...»

«Running head: OBSESSIVE-COMPULSIVE DISORDER   Obsessive Compulsive Disorder: Cognitive Behavioral Therapy via Exposure and Response Prevention Dyona Augustin Nova Southeastern University Faculty Advisor: Dr. Michael D. Reiter OBSESSIVE-COMPULSIVE DISORDER 2 Obsessive Compulsive Disorder: Cognitive Behavioral Therapy via Exposure and Response Prevention Obsessive-compulsive disorder, otherwise known as OCD, affects millions of people across the globe every year; and the obsessions/compulsions...»

«139 International Journal Information Technologies & Knowledge Vol.7, Number 2, 2013 INTRODUCTION TO THE NATURAL LANGUAGE ADDRESSING Krassimira B. Ivanova, Koen Vanhoof, Krassimir Markov, Vitalii Velychko Abstract: Natural Language Addressing (NLA) is a possibility to access information using natural language words or phrases as direct addresses of the information in the computer memory. For this purpose the internal encoding of the letters is used to generate corresponded address co-ordinates....»

«Borel Determinacy of Concurrent Games Julian Gutierrez1 and Glynn Winskel2 University of Oxford, Computer Science Department, Oxford, UK. University of Cambridge, Computer Laboratory, Cambridge, UK. Abstract. Just as traditional games can be represented by trees, so concurrent games can be represented by event structures. We show the determinacy of such concurrent games with Borel sets of configurations as winning conditions, provided they are race-free and bounded-concurrent. Both properties...»

«More information on ethics and end-of-life decision-making Assoc Prof Lynn Gillam Academic Director and Clinical Ethicist Children’s Bioethics Centre Royal Children’s Hospital, Murdoch Children’s Research Institute and University of Melbourne. The basic ethical principles In clinical ethics there a number of basic principles, which identify key ethical values. In the most general terms, these principles are • Beneficence – the principle of producing benefit or doing good to the...»

«Breaking the Rules: A Defense of A Wrinkle in Time by Susannah Sheffer originally published in Censore d Books II : Critical Viewpoints 1985edited by Nicholas J. Karolides, Scarecrow Press, 2002. “People underestimate children’s ability to understand big concepts,” Madeleine L’Engle said in a magazine interview in 1999. Censoring books because they contain ideas that children aren’t supposed to think about is, above all, a cruel underestimation of both the children and the ideas....»





 
<<  HOME   |    CONTACTS
2016 www.dis.xlibx.info - Thesis, dissertations, books

Materials of this site are available for review, all rights belong to their respective owners.
If you do not agree with the fact that your material is placed on this site, please, email us, we will within 1-2 business days delete him.