Frauen des Mittelalters und ihr Stellenwert als Produzentinnen von Kunst (German Edition)


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Church History and practical theology show the pluriformity of the Christian aid and operationalise charitable action as well as the current challenges. Human sciences support the practices char- itable action by knowledge of pedagogy, psychology, and medicine, especially in the micro-systemic personal and meso-systemic com- munitarian areas of the charitable activities. The task is to elevate and to shape by rules labour, family-politics, healthcare and economic life structures, especially when they had been destroyed or not devel- oped before. The Love in truth is the origin, condition for analysis and fundament for the creation of the structural social service of the Church.

Caritas-Theology inspires the practice of the Mercy-Charity by a person centred, existential approach, where CST guides the Justice-Charity by a society centred approach, that means a struc- tural improvement of peoples living conditions. As I described above, Caritas-Theology and CST share without any doubt a common the- ological and practical intersection. The aspects of sustainability take place in the conscious Metanoia process Pompey, b , when people in a counselling relation search and discover new orientations for their life.

The CST principles, applied through a Caritas-theological trans- formation process, can achieve an existential, personnel quality and point up practical aspects of Charity. And Caritas-Theology can pro- vide a human quality for the relationships in the context of changed life structures. The American psychologist R. Psychology, ped- agogy, physiology etc.

Faced with a life catastrophe such as loss of family, property, housing and living expenses, etc. Thus, the life realignment is based on both the theological-existential, religious tradition as on the individual-ethical wisdom of the Church. The required recourse to human science basics such as the psychologi- cal knowledge of a therapeutic relationship has to be understood in the sense of Tertulian — The CST helps charitable action in the structural restitution of destroyed economic, socio-cultural and political life conditions according to the principles of the common good, solidarity, subsidiarity and sustainability.

It is an important auxiliary science in the service of Caritas together with other theological and human sciences. And a just life perspectives on dimensions. It is not just an ap- plied CST. Existential spiritual heal- ing and helping appears as the core business of Caritas-Theology in addition to the material, social and psychological support. The deeper goal is the existential restitution of the person Pompey, b.

Some reasons for this are: The Second Vatican Council recovered a dynamic ecclesiology where we can understand the church of Christ as a church of caritas ecclesiam caritatis in Lumen Gentium no. Caritas is like a prism to comprehend our faith and church — a result of the deeper understanding of caritas which expand the moral idea of love.

The Church more than ever needs the witness of the works of love to be credible in our world Centesimus Annus, no. This means that the social message of the gospels has to be converted into action by all Christians, and in a more radical way, that Church itself is caritas — diaconia. For this task we need formation, research, and communicative channels.

This means to intensify the experience that caritas in truth is the power that transforms life and to live it as the deepest expression of a Christian humanism Caritas in Veritate, no. Caritas-Theology animates the community to live its diakonia, and brings caritas back in the discourses about faith. Guarding against only technical professionalization pro- cesses in our charities, Caritas-Theology roots them in the spiritual and ecclesiological identity of the charitable action.

This means over all the inclusion of the community as the social space where excluded people can start processes of having live in abundance. There is a clear need to guarantee a theological practical guidance, formation and support for our charities. It would avoid the claims pronounced by Pompey , pp. Charity as the heart of Social Work: Herausforderungen der Caritaspraxis heute.

La Doctrina Social de la Iglesia. Encyclical Letter Deus Caritas est. Benedict XVI , April 9. Encyclical Letter Caritas in Veritate. Re- trieved from http: Re- trieved form http: An Histori- cal Perspective pp. Rah- ur Theologie und Kirche 2nd ed. Doctrina Social de la Iglesia. Linee guide per la let- tura. Retrie- ved from http: A statistical ap- proach to personality. Readings in Theory pp. Handbook for the sixteen personality factor questionnaire 16 PF: Institute for Personality and Ability Testing. Die Aufgabe der Kirche in der Welt von heute. La teologia della Gaudium et spes.

Il rapporto chiesa- mondo. Viertes Kapitel des ersten Teils. Das Zweite Vatikanische Konzil: Congregation for Catholic Education Das Alte Testament als Grundlage der Di- akonie. Published by Archdiocesan Caritas in Olomouc. Der Dienst der Liebe in der Katholischen Kirche. Probleme der Caritas in der Schule von Sala- manca. Sekretariat der Deutschen Bischofskonferenz: Sekre- tariat der Deutschen Bischofskonferenz: Leitbild des Deutschen Cari- tasverbandes. Rede beim Preussischen Abgeordnetenhaus am Handeln aus christlicher Verantwortung.

Die Philosophie im Zentrum des Lebens pp. Et- hische und anthroplogische Grundlegung. Anmerkungen zur aktuellen Po- sitionierung caritativer Diakonie. Technikphilosophie nach der akade- mischen Kleinstaaterei. Technologien philosophieren, Band 1. Die kirchliche Sorge um den kranken Menschen im Spannungsfeld aktueller Herausforderungen.

Apostolische Exhortatio Evangelii Gaudium. In Sekretariat der Deutschen Bischofskonferenz Ed. Die Kirche, die sich um sich selber dreht: Die Tagespost von Christ in the face of the outcast. Morning med- itation in the chapel of the Domus Sanctae Marthae. Monday, 17 November Gaudium et Spes Pastoral Constitution on the Chruch in the Modern World. Zum Spannungsfeld von christlicher Sozialarbeit und christlicher Soziallehre.

Wenn die Ehe scheitert. Geschichte der Sozialen Ar- beit: Beltz st Juventa [1 ed. Sozial- und Caritaswis- senschaftler in einer Zeit des Umbruchs. Sozialethik im Wandel der Zeit. Elemente einer the- ologischen Ethik des Helfens. Organisation der katholischen Charitas. Jahrbuch der Christlichen Sozialwissenschaften 28 pp. Allgemeiner Caritaslehrgang des Deutschen Car- itasverbandes.

John Paul II Encyclical Letter Redemptor Hominis. Encyclical Letter Dives in Misericordia. An die Laien im kirchlichen Dienst in Fulda. Apostolic Exhortation Familiaris Consortio. These relations are more an act of a soteriological spiri- tuality than ethic based action: CST promotes transfor- mational processes through ethical action by the orientation of values and principles on a personal level and structural level: Both disciplines are not totally separated, but interrelated: The basic element is being a person in the image and likeness of God imago dei with its human dignity, liberty, responsibility and sociability etc.

Both disciplines are working on the same social realities, the person and its social relations and have the same eschatological horizon of the beginning of the Kingdom of God. There is one common mission: In metaphorical speech their relationship may be like two sisters, or the two sides of a coin. In theological speech the Christological Chalcedonian Formula about the two natures of Christ could go further: The primary theological sources of knowl- edge are the Bible and Systematic Theology.

The theological foundation of caritas implies a treatment in all dogmatic treatises proctology, Christology, Pneu- matology, Eschatology and Ecclesiology. In the context of the tangible counselling work in the organized charitable services, individual ethics play a guiding and value-related aid func- tion. Church History and practical theology show the pluriformity of the Christian aid and operationalise charitable action as well as the current challenges. Human sciences support the practices char- itable action by knowledge of pedagogy, psychology, and medicine, especially in the micro-systemic personal and meso-systemic com- munitarian areas of the charitable activities.

The task is to elevate and to shape by rules labour, family-politics, healthcare and economic life structures, especially when they had been destroyed or not devel- oped before. The Love in truth is the origin, condition for analysis and fundament for the creation of the structural social service of the Church. Caritas-Theology inspires the practice of the Mercy-Charity by a person centred, existential approach, where CST guides the Justice-Charity by a society centred approach, that means a struc- tural improvement of peoples living conditions.

As I described above, Caritas-Theology and CST share without any doubt a common the- ological and practical intersection. The aspects of sustainability take place in the conscious Metanoia process Pompey, b , when people in a counselling relation search and discover new orientations for their life. The CST principles, applied through a Caritas-theological trans- formation process, can achieve an existential, personnel quality and point up practical aspects of Charity.

And Caritas-Theology can pro- vide a human quality for the relationships in the context of changed life structures. The American psychologist R. Psychology, ped- agogy, physiology etc. Faced with a life catastrophe such as loss of family, property, housing and living expenses, etc. Thus, the life realignment is based on both the theological-existential, religious tradition as on the individual-ethical wisdom of the Church.

The required recourse to human science basics such as the psychologi- cal knowledge of a therapeutic relationship has to be understood in the sense of Tertulian — The CST helps charitable action in the structural restitution of destroyed economic, socio-cultural and political life conditions according to the principles of the common good, solidarity, subsidiarity and sustainability. It is an important auxiliary science in the service of Caritas together with other theological and human sciences.

And a just life perspectives on dimensions. It is not just an ap- plied CST. Existential spiritual heal- ing and helping appears as the core business of Caritas-Theology in addition to the material, social and psychological support. The deeper goal is the existential restitution of the person Pompey, b. Some reasons for this are: The Second Vatican Council recovered a dynamic ecclesiology where we can understand the church of Christ as a church of caritas ecclesiam caritatis in Lumen Gentium no. Caritas is like a prism to comprehend our faith and church — a result of the deeper understanding of caritas which expand the moral idea of love.

The Church more than ever needs the witness of the works of love to be credible in our world Centesimus Annus, no. This means that the social message of the gospels has to be converted into action by all Christians, and in a more radical way, that Church itself is caritas — diaconia. For this task we need formation, research, and communicative channels.

Geschichte des Fotojournalismus (German Edition) PDF Frauen des Mittelalters und ihr Stellenwert als Produzentinnen von Kunst (German Edition) PDF. [German] Der Begriff ''akutes Abdomen'' stellt keine eigenstaendige . Die Radiologie hat ihren Stellenwert besonders in der Akutdiagnostik. .. year-Old Child Crash Test Dummy, Alpha Version § Thorax Die biene und ihre produkte in der kunst und im alltagsleben (Fruhchristliche und byzantinische Zeit.

This means to intensify the experience that caritas in truth is the power that transforms life and to live it as the deepest expression of a Christian humanism Caritas in Veritate, no. Caritas-Theology animates the community to live its diakonia, and brings caritas back in the discourses about faith.

Guarding against only technical professionalization pro- cesses in our charities, Caritas-Theology roots them in the spiritual and ecclesiological identity of the charitable action. This means over all the inclusion of the community as the social space where excluded people can start processes of having live in abundance. There is a clear need to guarantee a theological practical guidance, formation and support for our charities. It would avoid the claims pronounced by Pompey , pp. Charity as the heart of Social Work: Herausforderungen der Caritaspraxis heute.

La Doctrina Social de la Iglesia. Encyclical Letter Deus Caritas est. Benedict XVI , April 9. Encyclical Letter Caritas in Veritate. Re- trieved from http: Re- trieved form http: An Histori- cal Perspective pp. Rah- ur Theologie und Kirche 2nd ed. Doctrina Social de la Iglesia. Linee guide per la let- tura.

Retrie- ved from http: A statistical ap- proach to personality. Readings in Theory pp. Handbook for the sixteen personality factor questionnaire 16 PF: Institute for Personality and Ability Testing. Die Aufgabe der Kirche in der Welt von heute. La teologia della Gaudium et spes. Il rapporto chiesa- mondo. Viertes Kapitel des ersten Teils.

Das Zweite Vatikanische Konzil: Congregation for Catholic Education Das Alte Testament als Grundlage der Di- akonie. Published by Archdiocesan Caritas in Olomouc. Der Dienst der Liebe in der Katholischen Kirche. Probleme der Caritas in der Schule von Sala- manca. Sekretariat der Deutschen Bischofskonferenz: Sekre- tariat der Deutschen Bischofskonferenz: Leitbild des Deutschen Cari- tasverbandes. Rede beim Preussischen Abgeordnetenhaus am Handeln aus christlicher Verantwortung. Die Philosophie im Zentrum des Lebens pp.

Et- hische und anthroplogische Grundlegung. Anmerkungen zur aktuellen Po- sitionierung caritativer Diakonie. Technikphilosophie nach der akade- mischen Kleinstaaterei. Technologien philosophieren, Band 1. Die kirchliche Sorge um den kranken Menschen im Spannungsfeld aktueller Herausforderungen. Apostolische Exhortatio Evangelii Gaudium. In Sekretariat der Deutschen Bischofskonferenz Ed. Die Kirche, die sich um sich selber dreht: Die Tagespost von Christ in the face of the outcast.

Morning med- itation in the chapel of the Domus Sanctae Marthae. Monday, 17 November Gaudium et Spes Pastoral Constitution on the Chruch in the Modern World. Zum Spannungsfeld von christlicher Sozialarbeit und christlicher Soziallehre. Wenn die Ehe scheitert. Geschichte der Sozialen Ar- beit: Beltz st Juventa [1 ed. Love or hope, naivety or poverty — there are many reasons why young Eastern European women leave their homes.

Most of them end up in the same trap, though. Robbed of their IDs, locked up and raped in cellars, they are forced into prostitution. Still a roaring trade. Sometimes the only ray of hope in this miserable existence is to get off the street, work in a brothel at least. How do you approach this milieu ruled by fear and anonymity as a documentary filmmaker? Sebastian Mez, a student at the Ludwigsburg Film Academy, devised a clever stratagem — a kind of cinematic answer to the non-representable: One wish above all comes up again and again: The series of carefully framed images casting terse looks at hotel rooms and the drab aesthetics of red light container interiors coalesce into a maelstrom of mild shocks.

Artist and filmmaker Antje Engelmann was born in Ulm in Besides her artistic work she has directed several short films and lectures European Media Studies in a cooperative project between the University and the University of Applied Sciences Potsdam. Das Licht kommt aus der Lausitz For example when she skipped across the dance floor with braids pinned up and in traditional costume.

Born in Ulm in , Antje Engelmann grew up in the tradition-conscious culture of the Danube Swabians. Her greatgrandparents were Hungarian Germans driven from their home after the war. For Engelmann, home is therefore not a place, but an act.

Smart Life in the City Ferienspiel, 7. Hal Ashby], OmU 3. It is possible — I have discovered through my work — to take up residence there now. We applied shocks a force of 2 N with a reflex hammer on 88 points of the thorax. Thalia Buchhandlung 6.

And so the search for traces of the Danube Swabian idea of home takes the Berlin-based artist not just to Ulm, Hungary and Brazil, but also demands a huge effort in dealing with customs, values and memory patterns. Guided by an urgent need for her own point of view, the searcher wavers between attraction and repulsion and finds an adequate narrative form for this.

All this is accompanied by Danube Swabian folk music, comments and philosophical musings. A contemplative and amusing film. Martin Gerner, Neue Maastrichter Str. Martin Gerner, born in , is a freelance writer, filmmaker and journalist from Cologne. Apart from his journalistic work he also acts as an instructor for several media NGOs. Was in aller Welt haben wir dort nur verloren? Keine dieser Fragen wird beantwortet. Zwischen mutigen Frauen, die eine Radiostation betreiben, und den starren Regeln der patriarchalischen Herrschaft. So wie alle Versuche scheitern, dieser Gesellschaft eine ihr fremde Ordnung aufzuzwingen.

What in the world are we doing there? On the other hand: Neither question is answered. Instead we follow with mounting tension the contradictions between the desires of young Afghans and the old social order. Between courageous women who run a radio station and the rigid rules of patriarchy. Between artists who shoot a romance movie and a harsh moral code that calls even a kiss on the screen un-Islamic. We hear that in Afghanistan lovers always fail. Just like all attempts to impose a foreign order on this society.

Katharina Pethke was born in Hamburg in In she graduated with distinction. Ein Mensch, der anders als die Mehrheit kommuniziert, denkt auch jenseits der Konvention. Ein kluger Gedanke angesichts dessen, in welchem Zustand sich unser Planet befindet. Louisa teaches us that hearing is much more than just the acoustic perception of sounds and language.

She is 23 when tests show a total failure of her hearing organs. For her this is not a disaster but rather an occasion to take a decision. Modern medicine could restore her hearing by means of an operation. But Louisa is averse to what is celebrated as progress. Does she want this operation with all its risks?

Filmmaker Katharina Pethke makes us experience the wealth of our sensual perceptions. You can experience music physically in the vibration of space, understand by reading lips and talk by using sign language. Images and sounds are uncoupled in a way that is neither artificially nor obtrusively coy. A person who communicates differently to the majority also thinks outside of conventions.

A clever idea in view of the state of our planet. Before entering the documentary film department at the Baden-Wuerttemberg Film Academy, Ludwigsburg, in he spent internships at various film production companies. Stevens Frau leidet an einer geheimnisvollen mentalen Krankheit, die nur durch den massiven Einsatz von Medikamenten in Schach gehalten wird.

Nein, das Leben ist nicht einfach. Recorded for all eternity: In Extension 11, one of the countless districts of the township of Mamelodi, Pretoria, all hell breaks loose. For a brief moment Steven forgets what he calls the most important thing in his life at some other point in the film: A big term for the little kiosk that feeds his family. But Steven steadfastly pursues his plan. In one of the most beautiful scenes of this very intimate portrait of a family Steven sings the song about the boss while he serves his customers.

Everything is better than working for the man. An insight that is true whatever the colour of your skin is. Stefanie Kosik Produktion, Kontakt: Author and director Sobo Swobodnik, currently based in Berlin, was born in and grew up on the Swabian Alb. A trained actor, he worked as a stage director for various German theatres and as a broadcast editor.

He shuffles ponderously, humpbacked and kilos lighter through his messy flat. Sobo Swobodnik observes Phettberg in the drab lowlands of his everyday life, a man whose body has ceased to obey him. The lonely hours belong to his diary, which he puts online every day. A marginal existence who once managed to entertain the people but now pays the price for his addictions and sublimations. Swobodnik depicts this state of uncertainty between wanting to live and having to die in a striking and radical passion play in black and white. Hannes Lang, Mareike Wegener Kamera: Titus Kreyenberg, Unafilm Koproduktion: Mario Mazzarotto, Movimento Film Kontakt: Titus Kreyenberg, Unafilm, Alteburger Str.

Hannes Lang, born in Brixen, South Tyrol, in , grew up in the mountains. A trained carpenter and design draughtsman he worked for some time as a production assistant in a film production company before enrolling at the Academy of Media Arts Cologne in Diese Alpen aber, so macht uns Hannes Lang schmerzhaft deutlich, gibt es nicht mehr.

Skigebiete, die sich wie industrielle Komplexe mit riesigen Schneefabriken online verbunden mit der Zentrale in Israel! Nur ein paar Alte sind geblieben. Die Jungen sind weg, bei den Liften und Schneefabriken. Wer wollte es ihm verdenken? The Alps are a symbol of home for us, their unshakeable, snow-covered summits defying the ages, conquered only by the likes of Luis Trenker and Reinhold Messner, if at all. We see pictures of the relentless advance of technology, often filmed from above, which clearly show the extent of destruction: Ski-lifts, surge to a Fordist beat, and crowds of people that evoke the Tokyo Metro.

Concrete as far as the eye can see, futuristic resorts where nature used to be, party noises where silence used to reign. Silence can be found only in summer, when the tourist developments turn into abandoned ghost towns set in a residue of nature that has no life of its own any more. In contrast, former cultivated landscapes turn back into forests in deserted Ticino valleys.

Lang shows the end of an alpine agriculture in which man lived in harmony with nature. While the camera records only crowds and long shots in the skiing areas, here it discovers the individual, endlessly carrying a bag through the mountains. Only a few old people are left. The young are gone, to the ski-lifts and snow factories. Even the glacier is withdrawing, and who can blame it? Bernhard Sallmann, born in in Linz, Austria, studied communication science, German language and literature studies and sociology in Salzburg and Berlin diploma in He has lectured at universities in Kiel, Karlsruhe and Potsdam and published several essays.

Die sachliche Art der Schilderung nimmt den Momentaufnahmen nicht ihren Schrecken. Die Kamera fokussiert sich derweil auf die vorbeirasenden Autos. Bernhard Sallmann was born in and grew up in the Upper Austrian Alps. Or can memorial stones and cemeteries replace memories? Where does turning a blind eye stop and guilt begin? The factual tone of the narrative cannot take the horror out of these snapshots. The camera meanwhile focuses on the cars racing by. Stefan Oliveira Produktion, Kontakt: Carolin Schmitz was born in Wiesbaden in Ein solcher Film muss wehtun.

Who does not want to spend life in beauty? It takes a lot of effort, though: Carolin Schmitz shows people whose purpose in life is the production of beauty, doctors as well as their objects. By refusing largely to empathise with her protagonists, the director pushes the boundaries of documentary filmmaking and leaves room for controversy. This kind of film must hurt.

Klaus Stern, Sternfilm Kontakt: Klaus Stern, born in Ziegenhain, Northern Hesse, in , learned postman before enrolling at Kassel University to study business and economics education and political science. Since he has been lecturing at Kassel School of Art. War da nicht was? Zu besichtigen ist hier der Arbeitsalltag einer Vertriebssekte, der auf Erfolg programmiert ist und sich am Ende selbst verschlingt. Nein, wir haben keine Fragen mehr. Oh yes, the Hamburg-Mannheimer insurance company and the white ribbons around the wrists of the ladies reserved for the top management in the Budapest open air brothel.

Just another media event with lots of hot air, because the public learned next to nothing about the practices of insurance companies. But the film is more than just the portrait of a greedy climber who falls for his own image. We also learn something about the health business. We hear that every reform of the health system brings bigger profits for the private insurance companies. Andreas Goldstein, Oktoberfilm Kontakt: Andreas Goldstein, Oktoberfilm, Kopenhagener Str.

Britt Beyer, born in Kayna, Sachsen-Anhalt, in , studied German language and literature studies and history at Leipzig University until Was ist typisch deutsch? Kann als integriert gelten, wer ab 20 Uhr die Musik leise dreht? Und ist automatisch nicht integriert, wer zu Hause arabisch oder chinesisch spricht statt deutsch? What is typically German? Can someone who turns the music down after 8 p.

And is someone who speaks Arab or Chinese instead of German at home automatically not integrated? The strenuous appropriation of the own by the other or vice versa generates an image of German identity one might not wish to see in the mirror. Precise observations of situations in class or in the everyday life of the participants are complemented by biographical forays into their family backgrounds and stories. Mahesh Narayanan, Ajay Kuyiloor Produktion: Ranjini Krishnan, Tropical Cinema Kontakt: A postgraduate in media and communication studies, K.

Manoj, born in Thiruvananthapuram in , initially worked as a journalist. Dabei arbeitet der Film detektivisch genau. Dieser Regisseur ist zornig. Imagine a North-South Intercity train commonly called Cancer IC because the majority of the passengers have precisely this disease and can buy cheap medication only in the South. The cancer train leaves every Monday. Its passengers are rural workers who were exposed to highly toxic chemicals and pesticides for years.

The film works with the precision of an investigator. Like a pest control officer who changed sides and now looks up, to the top management floors. The demand for justice for the victims, the naming of those responsible, the questioning of political contexts form the credible and authentic basis for the introduction of a further, more philosophical dimension: Which in turns leads to the question what exactly a pest is?

And this brings us to one of the lasting images of this exceptionally precise film: No doubt about it, this director is angry. Anna Dziapshipa, sakdoc film Kontakt: Es leitet die filmische Begehung eines Mikrokosmos ein: An der Hausmauer ein paar Schilder. Eine Parzelle Christdemokratische Partei.

Und das, was sie tun, weil sie es schon immer getan haben, schon gar nicht. So sitzen sie einfach da und warten. Jeder steckt in Schulden, die aus heiterem Himmel kommen. Zu heilen ist hier nichts mehr. The barking of dogs initiates the cinematic inspection of a microcosm: A few signs on the walls. A restaurant Chinese lanterns. A small plot Christian Democratic Party. So they just sit and wait. A child practices karaoke and provides an element of post-modern kitsch patriotism. Everyone is in debts that came out of the blue.

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There is nothing left to be cured. Res Balzli was born the son of a dialect poet in in Bern. Wir reisen in diesem Leben entlang einer Zeitlinie, an deren fernem, unwirklichem Ende ein schwarzes Loch auf uns wartet. Sie ist erst 33, ihr Zeitbudget noch lange nicht aufgebraucht, ihre Kinder noch ungeboren.

Bouton ist eine fransige, butterblumengelbe Handpuppe, mit der Johana die letzten zehn Jahre als Bauchrednerin aufgetreten ist. Im wirklichen Leben ist er Johanas Vertrauter, ihr magisches Alter Ego, neugierig, witzig, ironisch und wahrhaftig. Solange es Bouton gibt, solange gibt es Leben und damit Hoffnung.

Die Schauspielerin Johana Bory starb am In this life we are travelling along a timeline at whose distant, unreal end a black hole is waiting for us. This is the order of things we trust, even if we suppress the awareness of death as much as possible. This order has been upset for Johana, the protagonist of this moving film about the desire for more life. She is only 33, her time budget still full, her children still unborn.

Maybe life is just playing a trick on me to wake me up she tells herself when she is diagnosed with cancer. Bouton is the fringed, buttercup-yellow hand puppet Johana used for ten years in her ventriloquist performances. Bouton is a little grumpy, a little selfish, a little naive. While Bouton exists, there is life and thus hope.

The actress Johana Bory died on 15 March Bram Van Paesschen Kamera: Bram Van Paesschen was born in Vilvoorde, Belgium, in Until he studied film and video at Sint-Lukas Academie, Brussels, specializing on documentary. At the academy he made some short films, experimenting with essayistic and fake documentary elements. He is currently working as a director and editor in Brussels. Doch am Ende entdeckt auch Yang, der kleine Mann, wie ihn Eddy heimlich nennt, was noch jeder Besucher Afrikas entdeckt hat: So much for politics.

As usual, the employees are paying the bill, in this case Lao Yang, the Chinese site manager, and Eddy, his translator from Kinshasa. At the end even Yang, the little man, as Eddy secretly calls him, discovers what every visitor to Africa discovered before him: Daniel Kedem, Tamar Tal Schnitt: Tamar Tal was born in Tel Aviv in She graduated from the photography department at the Camera Obscura School of Art in her home town.

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The Iron Lady and the Photo House Man kann es nicht anders sagen: Jede der oft wiederkehrenden Einstellungen ist sorgsam, ja liebevoll gerahmt. Miriam Weissenstein is an institution in Tel Aviv and the lives of all who are close to here, especially her grandson Ben. He has taken over the photo studio of his grandparents, who recorded the building of the young state of Israel from the beginning, in pictures celebrated across the world today. Each of the often repeated shots is carefully, even lovingly framed. As if the pictures were meant to remind us that we must go forward — no matter how much the past weighs us down.

Mommsen-Gesellschaft e.V.

Norwegisch Buch, Kamera, Schnitt: Ellen Ugelstad was born in Norway in She studied philosophy and social anthropology at the University of Oslo. Relocating to California for seven years, she attended photography and film classes at the Academy of Art University, San Francisco, graduating with honors. Her photographic work is shown widely across Norway and the United States. Ein Indianer wollte er sein. Mit der Natur leben, frei. Eine Wohnung haben, ein eigenes Leben.

Stattdessen wird Torsteins innere Welt zur narrativen Instanz, ein beeindruckender Reichtum von brillant montiertem Material auf der Bild- und Tonebene: He wanted to be an Indian, live in the wild, be free. It also shows how helpless friends, family and even Torstein are in the face of the disease and how unable to cope with the situation on their own. The director manages the difficult feat of telling the story without mawkishness.

Carina Molier, Maria Mok Kamera: Henk Bakker, Martin Fondse Schnitt: Exploring the borders between theatre, film, the visual arts and music, she has created a series of theatre productions, short films and video installations, often reenacting dramatic documentary realities within a philosophical framework.

Maria Mok was born in Haarlemmermeer in Since she has been writing numerous scenarios for documentary films. Sie ist ein rastloser Kosmopolit, so frei wie entwurzelt, immer auf der Suche nach dem inneren Zuhause. Menschen, die durchs Leben fliegen, faszinieren jene, die am Boden bleiben. OG is a black beauty from Zimbabwe, a dancer and party queen who has lovers in every corner of the globe.

She is a restless cosmopolitan, both free and uprooted, always looking for an inner home. OG is the intimate and at the same time distant friend of film and theatre director Carina Molier and the tangible centre of this intricate film about wanderlust, lifestyles and the feeling of being at home. People who fly through life fascinate those who stay on the ground. While he worked in India, his wife and kids stayed behind in the Netherlands.

She lives in Amsterdam with her daughter, while people like OG stride through life in a state of rapture. Accompanied by a restless Electronica score, OG enjoys the camera like a stage and infuses the film with a magical allure. He has been directing commercials, music videos and TV programmes. Unter ihnen Ilan und Saran. Ilan, so seltsam naiv und weltverloren, hat es aus Israel hierher verschlagen. Saran, seine kambodschanische Freundin und Mutter der gemeinsamen Tochter, trinkt zuviel. Auf der einen Seite der permanente Krisenzustand des Paares.

Aber wie soll der bettelarme Ilan ein zweites Kind durchbringen? Vietnamese prostitutes, child junkies, rats and street vendors. Among them are Ilan and Saran. Ilan, oddly naive and dreamy, came from Israel. At 51st street, he reads Tarot Cards for the tourists. Saran, his Cambodian girl-friend and the mother of their daughter, drinks too much. What starts out as a portrait of marginal existences grows into a great narrative of the tragedy and inscrutability of human relationships.

On the one hand the couple in their permanent state of crisis; there is hardly any space for tender moments. On the other hand the grainy black and white candid shots of pimps offering the tourists children for sex. But how can the destitute Ilan feed a second child? No chronology, no niche for the viewer to withdraw to, no beautiful images. Atousa Bandeh Ghiasabadi Kamera: Atousa Bandeh Ghiasabadi, born in Tehran in , earned a degree in physics at the local Azad University — In she moved to the Netherlands to do graduate studies in astronomy physics at Groningen University.

Turning to fine arts, she went on to study painting at Minverva Art Academy, Groningen, — and film and video at Sandberg Institute, Amsterdam — , graduating with an MFA. Lately, she is focussing on drawings, video works and filmmaking. Ghiasabadis Geschichte ist die von vielen und dennoch ihre ganz eigene Odyssee, die nicht nur eine illegale und gefahrvolle Reise von einem Kontinent zu einem anderen meint. Emigration bedeutet nicht Ankunft, sondern vor allem Abschied.

In her opening sequence the Iranian filmmaker Atousa Bandeh Ghiasabadi depicts a picturesque landscape full of almond blossom trees, a cut barbed-wire fence drifting in the wind and a dreary backyard in some anonymous city — the chronological stations of her escape from Tehran to Europe.

Kept together by a hubbub of childhood memories, letters and an interior monologue, these snapshots are the starting point of an overflowing essay which increasingly moves away from real events to depict soul landscapes that are all about foreignness. Emigration is not about arrival, but about farewell. Wistfully she reconstructs every step that leads to alienation — from her family, her language and her culture. The West has another word for it: She, the foreigner, can now only be identified by her fingerprint.

Ghiasabadi pulls out all the stops as she turns this very private narrative into cinematic entertainment: Iris Olsson, Yves Niyongabo Kamera: Iris Olsson, Oskari Korenius Produktion: Subsequently, she worked as a freelance producer in the field of television and film, currently holding the position of full time documentary director at the Finnish National Broadcasting Company YLE. After the genocide in he returned with his family to his home country Rwanda.

Jeder in diesem Land hat seine eigene Art des Umgangs mit dem Unfassbaren. In einer Schule lernen Kinder, was ein Genozid ist. Doch auch hier blitzt immer wieder Hoffnung auf. Weil es weitergeht — irgendwie. Loosely linked impressions of people who mourn, cope, suppress and continue to live in spite of everything.

KINO-FILME

Everybody in this country has their own way of coping with the inconceivable. Survivors shout out their grief in an evening service. A young man in the nocturnal street claims he is glad to have no more emotions. A woman with amputated legs rediscovers her smile while dancing in a church. Children at school learn what genocide is. And a street kid comforts himself: But even here there are rays of hope. Because things continue — somehow. Tran Phuong Thao Kontakt: French filmmaker Swann Dubus, born in Argenteuil in , is currently based in Hanoi.

Ville Tran Phuong Thao was born in in Hanoi where she studied foreign trade and interpretation. Dien Bien ist eine Region auf Droge. An AIDS zu sterben, ist gespenstisch normal.

Sie lungern mit ihren Motorrollern in der Stadt herum oder liegen daheim lethargisch auf dem Bett. The province of Dien Bien lies in the extreme Northwest of Vietnam. Peace rules among the rich green of the rice paddies and mountains — and addiction.

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Dien Bien is a junkie region. The men have been on the needle ever since opium was banned in the s. This border region lies along the main heroin route between China and Laos. They hang around the town on their motor scooters or lie lethargically on their beds all day. Unlike the women, who take their men by the hand, organise their struggle against HIV and defy their misery with cheerfulness.

A quietly observant film whose steady camera follows two addicts through their days. The quiet sympathetic tone of this film will stay with the viewer for a long time. Carlos Esbert, Artika Films Kontakt: Upon his graduation from the University of Edinburgh in Bachelor of Commerce he gave in to his interest for documentary cinema and subsequently learned the craft in diverse courses and workshops. Since he has directed several documentary short films.

She graduated in audiovisual communication at Complutense University, Madrid, and subsequently studied filmmaking. In addition to her documentary work she produces audiovisual translations for the Spanish National Filmhouse. Held hin oder her. Dass sich irgendjemand in der Verwaltung ihrer erbarmt und ihnen Papiere gibt. Um Geld zu verdienen. Seit nunmehr 18 Monaten. Weshalb ihre Botschaft auch lautet: Den falschen Versprechungen nicht glauben.

Mehr bleibt nicht zu sagen. Bei den Gestrandeten von Ceuta wird man den Eindruck nicht los, dass sie von vornherein verloren haben. But what crimes did the 57 men from the Indian subcontinent commit to deserve being washed up by the waves of global migration on the beaches of North Africa? Now they sit in the forests of the Spanish enclave of Ceuta, waiting for something to happen. For someone in the administration to have pity on them and issue papers that will allow them to work, to earn money.

The director links the stranded men with their families at home via video messages. Which is why their message is: Do not believe in the false promises. A happy ending was waiting for our classical hero at the end of his odyssey. One cannot help thinking that the men stranded at Ceuta were lost from the start. Russisch Buch, Kamera, Schnitt: September ist der Tag, an dem Dima Zavjalov sich aufmacht, seine Verwandten zu besuchen. Later he will recognise the swing and the spot in the flat where his father beat his mother to death.

Where everything seems rotten, where people vegetate more than live and moral categories like right and wrong, crime and punishment have ceased to exist, the lanky Dima Zavjalov enters the scene to tell his father: Exhibiting internationally, he combines his filmmaking with video works, installation art and photography. Aber hat man schon je zwei Menschen erlebt, die so mit und durch die Kunst leben? A strange party has gathered here in Moscow in a flat shaded by heavy curtains. The paintings miraculously survived the storms of history and are now spending their lonely existence among the dust and cobwebs.

But have you ever met two people who live so intensely with and through art? Die Katakomben von Odessa sind eine Schatzkammer voller Geschichten. The catacombs of Odessa are a treasure chamber of history. Started in the 19th century as sandstone quarries for construction, a labyrinthine tunnel system developed over the years which now spreads under the whole city with a total length of kilometres. She finds an adequate cinematic form of representation for this polymorphous parallel universe by combining documentary shots from her tunnel expeditions, including countless murals, with animated scenes, her own drawings to visualise non-representable events, weaving these and a many-voiced offscreen narrative into a pleasantly unfinished, fascinating patchwork rug.

A graduate from the Stockholm Film School — , Martina Carlstedt, born in Stockholm in , studied psychology at Stockholm University and is currently enrolled in documentary filmmaking at the University College of Film, Radio, Television and Theatre in Stockholm. Taint , Badet Ein Tag hat 24 Stunden. A day has 24 hours. Film student Martina Carlstedt sketches the life of pensioner and eccentric Claes in a few carefully framed shots.

He went to barbecue parties and followed the stock market before loneliness and isolation grew into neurosis and turned his life into a prison. But now he shares the claustrophobic space with a camera that watches him silently and listens when he talks in sentences that are as short and uncertain as his steps. Schwedisch Buch, Kamera, Schnitt: Apart from directing his own documentaries he has been working as a director, editor and narrative consultant for both documentary and feature films. Das Trauma aber nistete sich tief in seiner Seele ein und wirkte als bleischweres Erbe jahrelang in ihm fort.

Bis zum Moment der Aufarbeitung. Sometimes it takes very little to tell a great story. What was left was the memory of a loving man whose depression had driven him deeper and deeper into isolation. His death was no surprise to the boy and left him more or less unaffected. The trauma, however, burrowed deep into his soul and left the legacy of a heavy burden on him for years.