Nehmen Sie Kontakt mit uns auf. Ausgabe undenkbar. Dieter Wiedemann Ehem. Der Krisenmodus scheint zum Normalfall unserer Zeit zu werden.
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Nehmen Sie Kontakt mit uns auf. Auch die Dieter Wiedemann Ehem. Filme schaffen es, diese Verbindungen herzustellen. Now a much-anticipated tradition, this autumn the FilmFestival Cottbus once again invites audiences on a journey of discovery across the world of East European cinema by means of a programme that is both diverse and full of promise.
Though fortunately we are no longer divided by the Iron Curtain, and that for in excess of a quarter-century now, we here in Germany still know far too little about the spirited diversity that characterises the film industries of our eastern neighbours. I am thus extremely grateful that the organisers of the FilmFestival Cottbus continue to popularise cinematic narratives from Eastern Europe that have the potential to both move us and alter the way we see the world.
We find ourselves in an age marked by a return to dialogue between European neighbours shaped by nationalist rhetoric. The medium of film is ideally placed to create such bonds, thus transforming the cinema into a forum where a new, Europe-wide collective imagination can come into being. Provided we are able to absorb something of this once the credits have rolled, we will already have come a step closer to a united European identity.
I wish all festival guests an entertaining, inspirational cinematic experience, and can only hope that the works on show bring the attendant directors the attention they deserve.
My sincere gratitude goes to all those whose efforts once again have made this unique festival a reality. Auflage des Cottbuser Filmfestivals. Immerhin war die Region nicht gerade als Mekka der Filmindustrie und cineastischen Kunst bekannt.
Die Filmemacher sind dabei am Puls der Zeit: Sei es mit ihrer kritischen Reflexion des real existierenden Sozialismus, der sie sich zum I cordially welcome you to the 27th FilmFestival Cottbus. Today Cottbus is regarded as the leading source of expertise on Central and East European film, a fact the festival organisers can be truly proud of. This year sees filmmakers from near and afar once again come together in Cottbus in order to display their works to a wider audience.
The featured narratives reflect on the past and anticipate the future, thematising in the process both progress and break with traditions, phenomena that often go hand in hand in a region made up of countries with similar sociopolitical experiences.
Against this background the exchange of different perspectives and signature styles is a fascinating process. In creating these works the filmmakers demonstrate that they have their finger on the pulse: be that with their critical reflections on real socialism, undertaken to mark the occasion of the centenary of the October Revolution, or the shedding of light on the realities of Vietnamese migrants and contract workers. In dieser Zeit vervielfacht sich die Verantwortung der Kunst und noch mehr die der Filmkunst, die sich in der Flut von laufenden Bildern behaupten muss.
In vielen Teilen der Welt wurde die Kamera zur Waffe, die wir wohl in der Hand haben, die jedoch auch gegen uns gebraucht werden kann, wenn wir nicht achtsam sind. We live in a curious age of rapidly changing values.
Solidarity, compassion and the desire to belong to a community are being replaced before our very eyes by individual, often short-term interests and the cult of greed.
Movements, principles and parties disappear due to an inability to adapt the values they espouse; they thus are unable to offer solutions that are in keeping with the spirit of the age. In many parts of the world the camera has seen itself transformed into a weapon; though it remains in our hands for the moment, complacency could no doubt see it turned against us. Populist ideas whip up the emotions, thus increasing the lure of often cited solutions.
When the person behind the camera contributes towards a portrayal of reality devoid of truth, thus misleading the masses with half-truths, and the camera lens portrays but a fraction of the whole truth, then the perspective on offer is immoral.
Dear friends, make sure that your camera is on the side of truth, rather than that of a skilfully staged or distorted reality. Kamera ab! Ton an! Es ist exakt dieses Profil, dass Cottbus einen festen Platz auf der Weltkarte der Filmbranche verschafft hat. Die Festivalleitung und das Kuratorium, dessen Vorsitzender ich bin, sind sich einig, an dieser klaren Positionierung festzuhalten.
Das Kuratorium des Festivals trifft sich traditionell im Vorfeld der Veranstaltung. Cameras rolling, and action! Cottbus once again opens its doors, this year marking the start of the 27th FilmFestival Cottbus, a long tradition that underscores its leading role as a source of expertise on Central and East European film. Indeed it is this very profile that has established Cottbus as a recognised player on the global film festival stage.
As chairman of the board of curators I can say that both we and the festival management are united in our commitment to maintaining this status.
As ever these are complemented by a presentation of lesser-known film producing countries, with the focus this year on Belarus. The board of curators traditionally gathers in the run up to the main event: in the name of its members I extend to you all a warm welcome to Cottbus, whilst I personally look forward to being reunited with an ever-growing number of familiar faces.
When, back in , the FilmFestival Cottbus first showcased East European filmmaking Germany itself was still in a state of upheaval. Beyond the Iron Curtain a fundamental social transformation was under way: the Cold War was over, real socialism had come undone and the peoples that populate the lands between the Oder and the Volga were caught up in a struggle for freedom and democracy.
A quarter of a century later parts of Eastern Europe are turning to the right, with nationalism, populism and racism all on the rise. Thus freedom of speech and artistic diversity are once again at stake, as people find themselves persecuted and imprisoned on account of nothing more than their personal, political and sexual orientation. We note these developments with great concern and demand respect for the freedom of expression and immediate release of all artists who currently find themselves prevented from carrying out their work, most notably theatre director Kirill Serebrennikov and filmmaker Oleg Senzov, to whom we pledge our total solidarity!
Auflage des FilmFestival Cottbus. Es weitet den Blick nach Osteuropa, der im Osten Deutschlands wurzelt und so Verbindungen herstellt zwischen den Welten, die noch immer zu existieren scheinen.
Ein Blick, der versucht, Zukunft in Heimat zu entdecken und auszuloten. Sie sind erstmals im Rahmen des FilmFestival Cottbus zu sehen. Besonders freue ich mich, dass im Our multilingual city is delighted to play host to this festival that not only has its sights forever set forward, but also East, towards the sunset.
Needless to say this attitude extends beyond dreary November days, and encompasses an openness that extends to every corner of the globe. The FilmFestival Cottbus continues to devote its attentions both to its native region and the future. It draws our attentions to Eastern Europe, a perspective rooted in the east of Germany that thus takes us back to a dichotomy of times past. In the run-up to the festival pupils of the secondary education centre Oberstufenzentrum Cottbus, both of local and refugee origin, collaborated to produce short films, together reflecting on contemporary events from the perspective of the youth of today.
We thus come full circle, representatives of this city in western Germany having been present at the foundation of our Festival of Young East European Film, as it was called during its formative years. The FilmFestival Cottbus is one of the vibrant German organisations that have been supported since the start of Creative Europe in January until Mid, among others, producers, distributors, film festivals and film markets.
Providing a platform for dialogue is all the more so important when a voice is given to artists and filmmakers who may have been confronted to difficult political situations. We support the FilmFestival Cottbus in continuing these bold discussions on politics and history and their innovative programming that brings Eastern European cinema in the spotlight. FilmFestival Cottbus. We hope you enjoy this rich and stimulating event. Das FilmFestival Cottbus ist nun im Zum Now into its 27th year, the FilmFestival Cottbus remains a venue aimed at the promotion of exchange between East and West.
Here both filmmakers and audiences are invited to take part in a forum for intercultural dialogue that represents a major contribution towards mutual understanding both on and beyond the cinema screen. Indeed it has been a pleasure for me to observe how the festival has evolved over the years into one of the leading festivals of East European film. Over the period the FOCUS is intended to take in more than Eastern Europe however, with the perspective now global: our horizon is thus broadened to incorporate the diverse connections between Eastern Europe and the former and current socialist countries located outside of Europe.
This emphasis on newsworthy issues such as flight, migration and integration speaks of the continuing sociopolitical relevance of the FilmFestival Cottbus.
On this note I wish the FilmFestival Cottbus continued success in drawing the crowds and providing fascinating film discoveries, food for thought and inspiring discussions. Was ist der Kommunismus? Obwohl der Kommunismus im Mittelfristig wird die EU eine Gemeinschaft von Staaten werden, die in ihrer Mehrheit eine kommunistische Diktaturvergangenheit aufweisen.
What is communism? For some, a not insignificant 60 percent in the east and 37 percent in the west of the Federal Republic of Germany according to a recent survey, communism was a force for good that was simply badly executed. Communist revolutionaries such as Che Guevara continue to be idolised, their images adorning millions of T-shirts worldwide. For others however communist rule stands for a social experiment which claimed the lives of countless innocent victims, with the likes of Stalin, Mao or Pol Pot coming to mind.
In reality all attempts at establishing communist rule swiftly lapsed into totalitarianism and lawlessness. In the medium-term it is expected that states with a past of communist dictatorship will come to make up a majority of the community of states that constitutes the EU. Jahr zu einem Marktplatz der Meinungen und der Emotionen. It features a remarkably diverse range of points of view and experiences, which time and again result in novel perspectives.
Film remains a source of hope however, with its willingness to discuss history and the process of coming to terms therewith, contradictions and gender roles, as well as corruption and poverty traps, namely both implicitly and explicitly.
Viele Narrativen machen einen Staat. In Russia meanwhile not only independent but also more established directors regularly contribute critical perspectives from the margins of society, adding at the same time to the manifold narratives that constitute a state. In Poland the majority of filmmakers remain as willing to engage in debate as ever, displaying in the process a remarkable affinity for fusing genre and auteur filmmaking, as well as highbrow and mainstream cinema in ways that not only generate discussion, but also possess artistic merit.
East European cinema, be it Sorbian tales from Lusatia or an action film on Russian space adventurers, thus remains both refreshingly diverse and consistently able to stimulate new ideas with works that capture the imagination using forms that range from art house and genre filmmaking, to refined analyses and opulent costume dramas.
On our scouting missions at fellow film festivals we experience time and again the appeal of cinema in general, as well as the mutual curiosity East Europeans have for the everyday lives of their neighbours, even though their respective governments might have declared war on one another. The FilmFestival Cottbus addresses this mutual interest with its numerous encounters and discussions, as well as a German-Polish-Czech student gathering, an international film student workshop, a networking event for film festivals from Eastern Partnership members and screenings of a total of nearly films: we stay in touch!
My heartfelt thanks go out to each and every one of you for your commitment, buoyancy and the daily exchange of ideas we engage in. Sie ist u. Die Forschungsschwerpunkte des Cinegraph Babelsberg e. She is a board member of the society Cinegraph Babelsberg e.
She has written several scientific articles on the aesthetics, history and theory of film. He studied Film and TV directing and comparative literature and literature theory at the University of Arts in Belgrade. Er ist u. Darunter anspruchsvolle Kunstfilme sowie erfolgreiche Blockbuster. Since he has worked as a producer for numerous Russian and international films. He worked as a communication strategist for many Polish film productions, including high-profile artistic films as well as successful blockbusters.
Bereits in Braunschweig war sie Teil der Festivalleitung des Kurzfilmfestivals durchgedreht
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