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‚Ein provokanter, faszinierender und emphatischer Denker, der auch im Widerspruch die intellektuelle Auseinandersetzung mit unserer Gegenwart nachhaltig geprägt hat.' Florian Rötzer in der Süddeutschen Zeitung.
Vilém Flusser (1920 - 1991) hat sich im Oktober 1990 vor der Kamera umfassend geäussert. Seine Witwe, Edith Flusser, ergänzt das Bild von Vilém Flusser (in New York 2004) ‚Ich kenne keinen Menschen, der nicht Philosoph ist -jeder Mensch wundert sich' (Vilém Flusser)
bildet den filmischen Abschluß einer Leipzig - Trilogie.
1990,„KEHRAUS" nachts auf den Straßen von Leipzig: Straßenkehrer räumen weg, was keiner mehr brauchte. Neben vielem anderen Müll, auch abgenutzte Wahlplakate. Endzeitstimmung machte sich breit. Das was nach der DDR kommen sollte, klangt vielversprechend, war aber noch nicht faßbar.
Die drei Straßenkehrer Gabi, Henry und Stefan schwankten in ihren Lebensläufen schon immer zwischen den Polen: Kinderheim, Knast, Gelegenheitsarbeiten bei der Stadtreinigung.
1996, in „KEHREIN, KEHRAUS" fegte schon niemand mehr von den Dreien die Straßen Leipzigs. Sie pendeln zerbrechlich zwischen Sozialamt, Kneipe und Behausung. Immer bleibt ein Rest, etwas was nicht aufgeht...
„KEHRAUS, wieder" entstand 2006. Weitere zehn Jahre sind seit dem letzten Film vergangen und Stefan und Marlen sind schon nicht mehr am Leben. Gabi schlägt sich durch und ihre nun erwachsenen Kinder stehen vor den Realitäten ihrer eigenen Kindheit. Henry und Marion haben sich eingerichtet. Die Enkelgeneration ist bereits in Pflegefamilien untergekommen. „Man lebt so dahin..."
Der Film ist eine „unbeabsichtigte" - nie tatsächlich vorgehabte - Langzeitbeobachtung geworden, da ich mir mit jedem Film einen glücklichen Ausgang wünschte. Die Wirklichkeit hat in 16 Jahren diesen Stoff produziert. G.K.
45 minutes of film only about an accordion - isn't that a bit boring?
No, we shot this film for almost 2 weeks and discovered something new every day. Nothing boring at all. This is due to the instrument itself, its aura, its breath, its unbelievable acoustic richness. An accordion was completely dismantled before our eyes – the complex mechanical apparatus which gives rise to such sounds discredits people who view the accordion as a mere popular instrument.
And is also due, of course, to the accordionist himself: Teodoro Anzellotti is simply the best, most virtuoso, advanced accordionist alive today. Which is not to say that he is satisfied with himself. It is the range of his knowledge and his ambition which, to be quite honest, has taken the accordion out of the stale, claustrophobic club atmosphere and the tango corner and made it what it is today: a mature, very flexible and sensitive solo concert instrument for primarily contemporary music for which more new literature has been composed recently than for any other instrument by far. It was highly overdue to make a film about it: About Anzellotti and about his accordion.
And why did you shot the film in Italy? After all, Anzellotti lives near Freiburg in Southern Germany!
Very simple: On the one hand because Anzellotti is of Italian birth and knows many people there, is among friends, so to speak, which gives the film a very warm atmosphere. There is much laughter, many jokes are made, and although it rained almost constantly throughout the shoot, one simply feels this special light which distinguishes Italy from all other countries.
On the other hand, Italy has the most beautiful theatres in the world, and we were able to record the concerts for the film in some of them. No photographer and no film maker would voluntarily pass up the chance to shoot in these marvellous locations, where this music blossoms out with an ease which is far from the bone-dry or better “beer-serious” (to coin a German phrase) attitude with which New Music is performed in Germany at the moment. We found our locations in Macerata, which has a "two-thirds-Scala" and in Panicale near Perugia, in a mini-Scala for no more than 100 spectators. I have never seen something like it.
We were striving for a film -- this may well be a typically German quality -- , that starts at the beginning, keeps going to the end and then stops but which nevertheless has a certain charm, allowing people to laugh and at the same time see that others can laugh about themselves. And this despite the fact that the film actually deals with contemporary music for the accordion. Piazzola, Globokar, Sciarrino, Berio and Satie - serious contemporary music, music that many people claim sounds terrible and cannot be understood. Not that one needs to understand everything when listening to this music. What has to be understood is imparted in a cheerful, natural way. The composers who took part in the film have helped us very much - and Teodoro Anzellotti himself, of course, who tells us that he was obsessed by his instrument from early childhood. These are human constellations which one cannot necessarily plan, they either happen or they don't, which is why this film is a documentary.
We have been pretty lucky this time, managed to meet the right people at the right time. This is not my first film on contemporary music; I know what I am talking about when I say that we have never had so much luck as this time. And in the end one will realise that this music doesn't sound so terrible after all. It is something quite natural to compose music like this for this instrument, and the worlds revealed to us through this instrument are completely wonderful.
The film is called: The Art of Seduction. Where does this title come from?
Actually, this question has already been answered .The first time I met Teodoro Anzellotti was at a concert in Berlin. I was astonished that only one musician, alone on stage, can unfold such gigantic rooms, rooms that are even bigger than those our eyes can see. And all this with a relatively small instrument. It was actually Teodoro Anzellotti who seduced me to want to crawl inside the instrument, into the innermost part of it, the place where the sounds evolve and into the inside of the sounds. This is why the film experiments with different rooms: large rooms which, related to the music, suddenly appear out of nothing and then disappear again. The idea is to perceive different states by totally devoting myself to music when listening to it. This is the art of Teodoro Anzellotti and also the topic of this film. And it is my homage to him, and my hope, that this experience can be conveyed to a larger audience.
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]
„Prinz von Homburg“ nannte sich Norbert Grupe, der ein gefürchteter Boxer war. Seine Boxkarriere verging innerhalb von zehn Jahren. Sein legendärer Ruf blieb ihm bis heute erhalten.
Durch seinen skandalträchtigen Boxstil und seine kriminellen Verwicklungen hat er den ungehemmten Selbstruin eines Boxers inmitten der beginnenden Zerrüttung von Hamburg´s St. Pauli gelebt.
Sein bekannter Fernsehauftritt von 1969 im ZDF- Sportstudio, indem er die Beantwortung von Fragen verweigerte, hat Fernsehgeschichte geschrieben.
Der Film spielt im Boxermilieu der 60-er und 70-er Jahre und wird uns heute von Berlin über Hamburg bis nach Hollywood führen, dorthin, wo der »PRINZ« jetzt sein Leben als Schauspieler bestreitet.
Im Film wird neben der hoffnungsvollen Karriere und seinen Eskapaden auch über eine Zeit berichtet, die in ihrer Enge auch die Provokationen begünstigte. Es wird die Geschichte desjenigen erzählt, der sich allen Normen und gesellschaftlichen Regeln widersetzte und umsomehr die deutliche Bestrafung und Ausgrenzung erfuhr.
Ein Film über Boxen, das Milieu, Körperlichkeit und den lebenslangen Behauptungswillen eines Einzelgängers. Der „Prinz“ verstarb im Frühjahr 2004 in Mexico.
There would certainly have been 16 other ways to describe a computer, not a computer itself, a simple grey box, but how you can play music with a computer, music that would be impossible to play without its help. We decided on 4 composers, differing and contrasting in style and the way they make use of the computer. Josef Anton Riedl is a pioneer of computer-assisted composition. From 1959 till 1966 he was head of the Siemens Studio for Electronic Music, where an abundance of analogue sound generators could be programmed with a (early digital) punched tape reader. A precursor of the computer, if you will. Riedl demonstrates its use in the fully operational remains of this studio, which have been integrated into the German Museum. Hans Tutschku is more than one generation younger than Riedl and uses the computer for the synthesis of sounds (in this case the so-called physical modelling) by imitating the vibration patterns of large copper plates and then adapting the size of the plate or morphing it into a piano string while it is still sounding. These sounds are picked up by 8 virtual microphones that crawl like a caravan over its surface. Eight (real) loudspeakers convey the acoustic experience, as if sitting in the middle of the copper plate or on a piano string, to the listener. Hans Tutschku also uses his computer as a live instrument, it reacts in a predetermined way to impulses (volume, pitch, etc. - there are many possibilities) to the live improvisation of (real) musicians. An interaction of man with technology, which Tutschku already practised with the Ensemble for Intuitive Music Weimar back in 1982 in communist East Germany, and still practises today. In the film excerpts from two improvisations represented the ensemble, one for two and one for four musicians. Luigi Ceccarelli attaches importance to the visual component of listening to music, and often includes live musicians (with a button in their ear) in his compositions for tape and (at least) eight loudspeakers. For this film, the horn player Michele Fait plays "Respiri" -- a piece based on the respiratory sounds of the horn, electronically transformed and extended by Ceccarelli in the music conservatory’s studio in Perugia. He himself calls it "sound microscopy". He gives the results of his research and meditative exploration back to the (live) musician who then plays a duet with the loudspeakers. Both musicians, Tutschku and Ceccarelli, utilize the acoustics in the room to produce a completely different aural impression to that of a classical symphony concert. Hanspeter Kyburz -- fourth member of the group -- composes for real musicians, but is also not keen on traditional face-to-face concert hall seating, the audience facing the orchestra. He distributes his ensembles (in this case the Klangforum Vienna) all over the hall and between the listeners, thus cutting down the barrier formed by the distance from which the audience normally observes the musicians. He uses the computer to help produce his scores, calculating algorithms for the musical shape of the entire piece or for individual sound objects. The rows of numbers emerging from the computer are converted into synthesiser sounds like into simulated violins. Corrected and changed again and again by the composer until he is satisfied. Such passages are then copied by hand to the score with a pencil and paper. What Kyburz’s work has to do with the "Voynich Cipher Manuscipt" (we feature excerpts from the composition of the same name for instrumental and vocal ensemble), an alchemistic text, presumably baroque, encoded in secret writing and never deciphered, can best be explained by Kyburz himself.
Birds of a feather flock together: they are the same age, have almost the same weight, the same round, massive, balding head, not a penny to their name and the same penchant for alcohol. What's more, they have always known each other. So, when Christos offers to lodge Elias, he accepts right away. Yet, their living together results in ever-mounting domestic quarrels and endless disputes over trifles, which constitute the film's series of tableaux. Whether it's about how to arrange the flat or set the evening menu, the tension mounts to the point where Elias makes as if to leave. Yet the solitude on the outside is not any easier to deal with.
[In Greek, with English subtitles]
Trickfilm ist sein Traumberuf, hunderte von witzigen Figuren und Filmen hat er geschaffen: Gerhard Fieber ist einer der ganz Großen des deutschen Zeichentrickfilms. Er war künstlerischer Leiter der deutschen Zeichenfilm GmbH, die den deutschen Trickfilm auf Disney-Niveau bringen sollte. Er hat u.a. die Mainzelmännchen ans Laufen gebracht, den ersten gezeichnet. Ein unterhaltsamer Rückblick auf 50 Jahre Trickfilmgeschichte mit vielen amüsanten Ausschnitten.