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February 26 2013


February 23 2013

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February 19 2013

February 13 2013

Reorganizing a vast Archive: ITS - SPIEGEL ONLINE

By David Crossland in Bad Arolsen, Germany


Global Web of Memory

Reorganizing the database is one of the tasks of Susanne Urban, the ITS head of research, who joined the archive in 2009 after working in Yad Vashem, Israel's official memorial to the Holocaust. She says she expects the archive to reveal a plethora of "mosaic stones" to complete the picture of the genocide rather than alter it.

"Here you keep getting confronted with the global aspect of the Holocaust and survival, you see how it started in Germany, spread across Europe and with the documents about the survivors we see how a web of memory has spread across the whole world. Here you get an overview over everything. What makes it so harrowing is that you don't just get one aspect, you get them all. You sense this monolith that was built of pain and sorrow."

The work may be fascinating, but it can also be exhausting and saddening. Urban has only two research assistants on temporary contracts, which she says isn't enough.

Reposted from02mysoup-aa 02mysoup-aa
Destins d’exilés. Fremd bin ich den Menschen dort

En 2013, la Maison des Buddenbrooks de Lübeck consacre deux grandes expositions au thème de l’exil. L’une d’entre elles, intitulée « Traumland und Zuflucht. Heinrich Mann und Frankreich » (« Pays de rêve et refuge. Heinrich Mann et la France »), le rapport de l’écrivain Heinrich Mann à la France. Elle sera présentée du 14 juin au 3 novembre 2013, et s’inscrira dans le cadre des célébrations du 50e anniversaire du traité franco-allemand de l’Élysée.


Éminente figure de la littérature allemande du début du XXe siècle et frère aîné du Prix Nobel de littérature, Thomas Mann, Heinrich Mann aimait profondément la France. Artistiquement, politiquement, intellectuellement. Avant la Première Guerre mondiale, il y voyait ainsi l’antithèse démocratique du régime autoritaire de l’Allemagne impériale.


Heinrich Mann et la France

Lorsqu’Hitler devint chancelier, en 1933, Heinrich Mann prit immédiatement le chemin de l’exil en traversant le Rhin. Il devint l’une des figures de l’émigration allemande en France dans les années 1930. La situation perdura jusqu’en 1940. Heinrich Mann dut alors quitter la France occupée pour rejoindre sa famille et son frère Thomas, installés depuis 1938 aux États-Unis. Jamais cependant, il ne devint comme ce dernier une figure de l’émigration allemande outre-Atlantique. Son intégration fut plus difficile.

Comme Heinrich et Thomas Mann, beaucoup d’Allemands de cette époque virent leur destin basculer à l’arrivée au pouvoir des nazis. Juifs, opposants communistes ou socialistes, artistes « dégénérés » : l’exil fut leur seul refuge. France, États-Unis, mais aussi Suisse, Brésil, Grande-Bretagne, Palestine, Turquie : leurs destinations furent multiples. Mais tous, firent l’expérience existentielle de l’exil, marquée par les difficultés à s’intégrer, par la nécessité de se fondre dans une autre culture, une autre langue, de refaire sa vie…


Expérience existentielle

Ces destins d’exilés sont le sujet d’une autre exposition de la Maison des Buddenbrooks. Jusqu’au 26 mai, celle-ci retrace 16 destins d’artistes, de chercheurs, de juristes ou encore d’artisans contraints de quitter l’Allemagne entre 1933 et 1945. L’exposition est parrainée par l’écrivain germanophone d’origine roumaine et Prix Nobel de littérature, Hertha Müller, elle-même figure de l’exil imposé par la dictature communiste.


Rund eine halbe Million Menschen verloren nach der Machtübernahme der Nationalsozialisten ihre bisherige Heimat. Sie wurden verfolgt und entrechtet, weil sie Juden waren, politisch oder kulturell unliebsam oder als »Volks- und Reichsfeinde« betrachtet wurden. Anlässlich des 100jährigen Jubiläums der Deutschen Nationalbibliothek wurden von dem dort angesiedelten Exilarchiv Biografien von 16 Persönlichkeiten zu einer inszenierten Ausstellung zusammengestellt, die exklusiv im Buddenbrookhaus zu Gast ist. Vorgestellt werden nicht die prominenten Exilanten, zu denen auch Familie Mann gehörte, sondern weniger bekannte Künstler, Wissenschaftler, Juristen oder Handwerker, denen allen gemein ist, dass ihr weiterer Lebensweg durch die erzwungene Flucht aus dem deutschen Machtbereich geprägt wurde.

Reposted from02mysoup-aa 02mysoup-aa

October 29 2012

February 22 2012

December 22 2011

October 28 2011


U B U W E B - Film & Video: Walter Benjamin - One Way Street: Fragments for Walter Benjamin (1993)

Duration: 58 min.
Directed by John Hughes

One way street explores the life and work of German Jewish critic and philosopher, Walter Benjamin, who died escaping the Gestapo in 1940. Although Benjamin's work is little known in this country, he is regarded in Europe as one of the most influential figures in 20th Century thought.

One way street provides clear and accessible introductions to some of the central ideas in Benjamin's writings. Expert commentary from a range of English scholars situate Benjamin's work in the context of their time and evoke a sense of the excitement that his work has generated. A heightened visual style, montage structure and strong musical treatments correspond in evocative and powerful ways with the concerns and the strategies of Benjamin himself.

October 05 2011

reposted by oAnth at Diaspora*

It seems to me that the next crucial stage #occupyWallStreet will be whether the protesters can win the hearts and minds of those whose duty it is to serve and protect: the police.

Remember the story of Gandhi's jailer:

"Bapu spoke to us," reminisces Balsara, "His calm demeanour amid so much uproar over his arrest completely took us by surprise. He was humble to a fault and respected all who served him."

Balsara recalls that, by the time the train reached Poona, he and his police guards were thoroughly mesmerized by Gandhi's personality and his unshakable belief in India's right to its own destiny.

In those few hours it dawned on him that the path of non-violent resistance that Gandhi had chosen to guide India to freedom was so completely at odds with what he was doing as a police officer.

'We were so influenced by Gandhi's charisma and his captivating toothless smile that on reaching Poona we decided to quit our jobs, even though we knew quite well that we would be imprisoned," said Balsara.

That is exactly what happened: all six police officers became prisoners of the Raj.



this entry is part of the OccupyWallStreet compilation 2011-09/10, here.

Reposted byRKcheg00

September 04 2011

5467 29b9 500

staircase in the rue Rollin

Brassai 1899–1984

Reposted fromtsparks tsparks

July 24 2011

June 29 2011

Japanischer Tango

Drüben bei un loco (”Tangomagazin eines Verrückten”) heißt es zu der japanische Sängerin Ranko Fujisawa:

“Bereits Anfang der vierziger Jahre des letzten Jahrhunderts zog der Tango sie in seinen Bann. Sie lernte Tango auf Spanisch zu singen und ließ sich von Azucena Maizani, Mercedes Simone, Ada Falcón, Libertad Lamarque, Hugo del Carril und Carlos Gardel inspirieren. Sie änderte, sehr zum Leidwesen ihrer Eltern, Ihren Berufswunsch von Opernsängerin auf Tangosängerin. Später heiratete sie Shimpei Hayakawa, Chef des Orquesta Típica Tokyo, in dem sie fortan mitsang.”

Ranko Fujisawa, “Milonga Triste - Yira Yire”:

(Gefunden bei marieaunet)

Reposted fromglaserei glaserei

May 22 2011


The Third Man (1949) directed by Carol Reed - Film noire - Music: Anton Karas

The third man (1949) directed by carol reed - film noire - music: anton karas | offene ablage: nothing to hide 2011-05-22 | oanth-miscellaneous |
by oAnth:

- The film (British release without subtitles) is now completely available at Youtube - to see with all necessary links on oAnth / by clicking the entry title line ....
- .... together with 2 original recordings (1949/50) also via Youtube with zither player & composer Anton Karas playing his famous "Harry Lime Theme"


From Wikipedia-Entry



The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted camera angles, is a key feature of The Third Man. Combined with the unique theme music, seedy locations, and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War. The film's unusual camera angles, however, were not appreciated by all critics at the time. C. A. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, a close friend of Reed's, sent him a spirit level, with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you?"[1]

Through the years there was occasional speculation that Welles, rather than Reed, was the de facto director of The Third Man. Film scholar Jonathan Rosenbaum, in his 2007 book, Discovering Orson Welles, calls it a "popular misconception",[2] although Rosenbaum did note that the film "began to echo the Wellesian theme of betrayed male friendship and certain related ideas from Citizen Kane."[3] In the final analysis, Rosenbaum writes, Welles "didn’t direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise."[3] Welles himself fueled this theory with an interview he gave in 1958, in which he said that he had had an important role in making The Third Man, but that it was a “delicate matter, because [he] wasn’t the producer”.[4] However, he later admitted in a 1967 interview with Peter Bogdanovich that his involvement was minimal: "It was Carol's picture", he said.[5] However, Welles did contribute some of the film’s best-known dialogue. Bogdanovich also stated in the introduction to the DVD:

However, I think it’s important to note that the look of The Third Man—and, in fact, the whole film—would be unthinkable without Citizen Kane, The Stranger, and The Lady from Shanghai, all of which Orson made in the ’40s, and all of which preceded The Third Man. Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.[6]

Differences between releases

As the original British release begins, the voice of director Carol Reed, unnamed, is heard describing post-war Vienna from the point of view of a racketeer. The version shown in American theatres replaced this with narration by Joseph Cotten as Holly Martins. This change was instituted by David O. Selznick, who did not think American audiences would relate to the seedy tone of the original.[7] In addition, eleven minutes of footage were cut.[8] Today, Reed's original version appears on American DVDs, in showings on Turner Classic Movies, and in U.S. theatrical releases, with the eleven minutes of footage restored. Both the Criterion Collection and Studio Canal DVD releases include a comparison of the two opening monologues.



In Austria, "local critics were underwhelmed"[14] and the film ran for only a few weeks; William Cook, after his 2006 visit to an eight-room museum in Vienna dedicated to the film, wrote "In Britain it's a thriller about friendship and betrayal. In Vienna it's a tragedy about Austria's troubled relationship with its past."[14]

Upon its release in Britain and America, the film received overwhelmingly positive reviews.[15] Time magazine called the film "crammed with cinematic plums that would do the early Hitchcock proud—ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre." ....



The musical score was composed by Anton Karas and played by him on the zither. Before the production came to Vienna, Karas was an unknown wine bar performer. According to a November 1949 Time magazine article:[20]

The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmalzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music.

Reed later brought Karas to London, where the musician spent six weeks working with Reed on the score.[20] Decades later, film critic Roger Ebert wrote, "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's The Third Man?"



* Joseph Cotten as Holly Martins
* Alida Valli as Anna Schmidt
* Orson Welles as Harry Lime
* Trevor Howard as Major Calloway
* Bernard Lee as Sgt. Paine
* Wilfrid Hyde-White as Crabbin
* Erich Ponto as Dr. Winkel
* Ernst Deutsch as 'Baron' Kurtz
* Siegfried Breuer as Popescu
* Paul Hörbiger as Karl, Harry's Porter
* Hedwig Bleibtreu as Anna's Landlady
* Robert Brown as British Military Policeman in Sewer Chase
* Alexis Chesnakov as Brodsky
* Herbert Halbik as Hansl
* Paul Hardtmuth as the Hall Porter at Sacher's
* Geoffrey Keen as British Military Policeman
* Eric Pohlmann as Waiter at Smolka's
* Annie Rosar as the Porter's Wife
* Joseph Cotten as the Narrator (pre-1999 US version)
* Carol Reed as the Narrator (pre-1999 UK, and all post-'99 versions)



All entries to "The Third Man" on are bundled via

May 16 2011

Theme from the Third Man Anton Karas (Wien, 1906-1985), zither - 1950

Youtube permalink


Fotograph from Wikipedia entry EN / DE

Datei:Anton karas (1906-1985).jpg


  1. Wiener Rathauskorrespondenz vom 8. Jänner 2010
  2. Gedenktafel für Anton Karas in der Brigittenau Rathauskorrespondenz vom 4. Juli 2006 (Abgerufen am 14. Juni 2010)


Film and music for "The Third Man" (1949) on are bundled by tags!

Reposted bySigalon02 Sigalon02

The Third Man - Classic Film Noir available to watch in full on (YouTube - no more available, account closed due to copyright infringement) e.g. dailymotion

Carol Reed’s Classic Film Noir Thriller. An American pulp writer arrives in post-WWII Vienna only to find that the friend who waited for him is killed under mysterious circumstances. The ensuing mystery entangles him in his friend’s involvement in the black market, with the multinational police, and with his Czech girlfriend.

From openculture:

Graham Greene wrote the screenplay; Orson Welles played a starring role; and Carol Reed, an Oscar-winning filmmaker, sat in the director’s chair. A recipe for a classic noir film, to be sure. And the movie didn’t disappoint.

The Third Man won the Grand Prix at the 1949 Cannes Film Festival and an Academy Award for Best Black and White Cinematography in 1950. A half century later, The Third Man proved that it stands the test of time when the British Film Institute named it the best British film of the 20th century. Quite a statement.

The Third Man, 1949 - Wikipedia entry in EN / DE


Film and music for "The Third Man" (1949) on are bundled by tags!

Reposted fromStellaVista StellaVista

May 10 2011

BELLACIAO - Handicap et nazisme - MARTINE LOZANO | 2011-05-02

Le 7 avril 2011 à Clermont de l'Oise se tenait une commémoration sur Le sort des 48000 malades mentaux morts de faim, de froid et de maltraitance entre 1940 et 1944dans les hôpitaux psychiatriques en France. ....


April 21 2011

April 03 2011

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