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Autobiographie fest, dass ihre unterschiedlichen Rollen schwer auseinanderzuhalten sind: [I]‌t was life imitating art imitating life (like my dad always says). It tends to get me going in circles, thinking about how my character Miley’s life is like mine and mine is like Miley’s. Hannah Montana is all fiction, of course, but there’s a thread through it that is connected with what’s real in the world and the way I’ve been raised, being with my dad through the journey of music. (Ebd., S. 218) Es scheint sich hier also um einen zirkulären Imitationsvorgang zu handeln. So

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European cinema, as well as within a global tradition of films which can be grouped together in opposition to the globally dominant Hollywood model. Claiming that Dresen’s films are influenced by DEFA is to not to say that they are didactic, socialist realist, humourless or fit any of the other clichés commonly associated with filmmaking from former Communist countries. On the contrary, Dresen’s DEFA influences can be traced to a specific group of artistically successful films, most of which he himself has mentioned in interviews and publications. The majority are

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viel zu tun wie Hollywood mit Hoyerswerda’ / ‘as much in common with the GDR as Hollywood has with Hoyerwerda’. 2 As a director who was born and raised in the GDR, he wants to tell different stories. He was drawn once again to the Wende in Als wir träumten because of the period’s openness, its location in-between two worlds, which gave it utopian potential. He ruminates: Mit den riesigen Möglichkeiten dieser Tage, der ungeheuren Kraft von Anarchie, haben wir uns viel zu wenig beschäftigt. Mit dem Vakuum, wenn die Gesellschaft noch nach ihren Fundamenten sucht

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, ← 93 | 94 → the magnificent The Quiet Man (1952), a tandem that generated fervent devotion among fans of the genre and helped make the 50s the golden age of classic Western films. Spaghetti Westerns got that name from their mainly Italian origin, where they also found their ideological and financial source. Originally, the elements that characterised these films were that they had a low budget, they were much more violent than Hollywood films, and had a minimalist staging which demystified some classic western standards that had already become conventions. The

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cheque (“my only resource”, BR 16), the initially resentful Dean is talked into accepting the task. His interest is raised, however, when he finds Virginia’s housemates dead from an overdose, and the Bakers suddenly decide to withdraw the commission. The black man with whom Virginia has disappeared turns out to be her half-brother Roy, her father’s unacknowledged son from his premarital relationship with a black woman from Manchester. Dean’s search for Virginia Baker is thus intertwined with the story of Roy’s unsuccessful strife for recognition. Roy becomes

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Faces in Hollywood . Wichita Films 2008, dass sein Gangster-Film Mean Streets biographische Züge trägt und viel vom Charakter seines Vater und seines Onkel, aber auch etwas von ihm selbst und von Freunden, mit denen er in den Straßen New Yorks aufwuchs, in die Hauptfiguren des Films eingeflossen sei. Aber es ist weder die Geschichte der Familie Scorsese, noch die Geschichte der New Yorker Italo-Amerikaner. Es ist allerdings ein Film über den Amerikanischen Traum, den Mythos Amerika, aus der Sich italienischer Einwanderkinder. 39 Karl Schlögel: In Raume lesen wir

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deutscher Rap dies is’ allgemeine Bildung (hebt die Hände hoch) / Kaum aufgenommen, schon ’n Klassiker ← 264 | 265 → / … / Dies is’ keine Promotour, dies is’ deutsche Hochkultur / … / Hör wie elegant ich diese Sprache hier spreche / Als ob ich diese dunkle Hautfarbe nicht hätte. 75 [This is culture, this is more than entertainment / … / more than German rap this is general education (raise the hands high) / hardly just recorded already a classic /… / this is no promo tour, this is German high culture / … / hear how elegant I speak this language / as if I didn

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victimhood] and its repeated assertion that the war years had been ‘an aberration and nothing but a most unpleasant interregnum’. 13 Post-war Austria, Irving argued, had become home to an ‘inexplicable tolerance of intolerance’: 14 a sense exacerbated by his own vilification in the Austrian media for his critique of Waldheim: ‘1986 war Irving nach einer Lesung und Stellungnahmen zur Waldheim-Affäre auf heftige Ablehnung heimischer Medien gestoßen’ [In 1986 Irving raised the fierce hackles of the local media after a reading in which he commented on the Waldheim Affair

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confidently raises his sword, his eyes lifted heavenward and his left hand outstretched in a gesture of assured grasping. Sinews and ← 73 | 74 → tendons ripple across the statue’s skin. A few years later, in the aftermath of war and defeat, the heroic nude male body had become the broken body branded by war. Forster’s Man appropriates the expressive language of suffering masculinity (linked with male veterans’ trauma) in order to articulate her own notions of political renewal and revolution. Sintenis’s Boxer is part of the mid-1920s shift from images of broken men to

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politics, when politics are by no means my primary interest.’ The figure of speech ‘I, of all people’ is used throughout the text and emphasizes two things: that, on the one hand, it cannot be expected that someone like her, raised in the most privileged of circumstances during the Weimar Republic and uninterested in politics until the beginning of the 1930s, would make political journalism that fought against Hitler her life’s work. On the other hand, this self-designation is also a means of downplaying her own significance in order to give more weight to the effects of