Reverse Angle – Rebellion of the Filmmakers

Reverse Angle - Rebellion of the Filmmakers

Reverse Angle – Rebellion of the Filmmakers

  The 18th April 1971 for the New German Cinema is something of a historical date. On that day, met in Munich, the filmmakers Hark Bohm, Michael Fengler, Peter Lilienthal, Hans Noever, Pete Ariel, Uwe Brandner, Veith von Furstenberg, Florian Furtwängler, Thomas Schamoni, Laurens Straub, Wim Wenders, Hans W. Geißendörfer and Volker Vogeler . The purpose of their meeting was the establishment of “Filmverlag the authors” who should be organizing on the model of Frankfurt’s “publishing of the authors’ common Verwertungsstufen all of the film. The work of the publishers ranged from editing the scripts on the production, financing and contracts through to distribution and sale of films in Germany and internationally. In content, the focus was more ambitious, focused primarily on early works, challenging and experimental cinema and on foreign works of filmmakers of New German Cinema – all films are written (in the former cinema scene, the first cinemas now arose only) were scarcely shown and it against the competition from soft porn magazines, clothes and parlous state of Bud Spencer and Terrence Hill strips were hard. During this time, understood the film der Autoren as an engine of artistically valuable film. But the engine was suffering from teething problems and was only stammer in motion.

Financially not exactly lavish plans were subject to the filmmakers from the first significant limitations, especially since the meager revenues flowing from the films between the film and publishing their respective directors had to be shared. Within a few years of the debt mountain, which pushed the group in front of them rose to 1 million D-marks. Even a change of strategy that gave greater weight to the rental activity, did not bring the desired success, the films were demanding the publisher of the film, such as lead authors on the shelves. Internal disputes pricked the situation further, until the Mirror editor, Rudolf Augstein, in 1977, got in as a patron and the publisher took over the majority. At the same time, the strategy was again slightly modified, in addition auteur should now also be placed increased emphasis on challenging and commercially successful movies. And in fact presented with films like Doris Doerries men or Theo against the rest of the world’s first great success, a – both have significantly to do with the original program of Filmverlag precious little to the authors. The pressure for success grew, the managers gave themselves the handle in his hand and suddenly there were films such as the Creek, ‘Oh dear Harry – slapstick with Dieter Hallervorden and terminator in the program again, much to the dismay of many founding members. When Augstein sold the film of the authors publishing in 1986, he had zugeschossen approximately 20 million D-mark – but a strengthening of the German auteur cinema has been able to bring the collective with the noble objectives only in the early years. Since 1999, the film belongs to the publishing of the authors Kinowelt Group.

Dominik Wessely and Laurens Straub’s inventory of new German auteur cinema is primarily interested in film history for a task in which there is no passing. With numerous interviews of many witnesses and parties formed a dense picture of the mood of optimism at the end of the sixties and early seventies, the author presented in the movies sometimes even an almost amateurish attitudes of the day and was used primarily for self his protagonists. Given the diversity and eccentricity of the parties, it almost seems like a miracle that the film could work at all, the authors publishing for so long and that could arise in this way great masterpieces of German cinema. In the meantime, the German film industry has undergone huge changes, ambitious films and dedicated debut films are now more encouraged than in the pioneering days of German auteur cinema. Are well developed with the cinema landscape also – at least in theory – enough screens available to publicize these films to a wider audience. And with the so-called “Berlin School” is a new generation of filmmakers set out to make like their role models bulky, uncomfortable and experimental cinema. Nevertheless, the balancing act between art and commerce, between aspiration and reality – it’s one more day to the German cinema, as in those days the early seventies in Munich. The times and structures may have changed, the problems are – in slight variations – always remained the same. The struggle for the film goes on …

(Joachim Kurz)

Title: Reverse Angle – Rebellion of the Filmmakers Country of production: Germany Year of production: 2007 Length: 120 (Min) Rental: Kinowelt Film Distribution

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