Margarethe von trotta biography of donald

Nationality: German. Born: Berlin, 21 February, 1942. Education: Universities of Munich and Paris; studied acting in Munich. Family: Married director Volker Schlöndorff. Career: Actress in theatres in Dinkelsbül, Stuttgart, and Frankfurt, 1960s; stiff only in TV and peel, from 1969; directed first album, Die verlorene Ehre der Katharina Blum, 1975.

Awards: Golden Conqueror, Venice Festival, for Die Bleierne Zeit, 1981.

Films as Director:

1975

Die verlorene Ehre der Katherina Blum (The Lost Honor ofKatharina Blum) (co-d, co-sc)

1977

Das zweite Erwachen adult Christa Klages (The Second Reanimation of Christa Klages) (+ sc)

1979

Schwestern oder Die Balance des Glücks (Sisters, or TheBalance of Happiness) (+ sc)

1981

Die Bleierne Zeit (Leaden Times; Marianne and Julianne; The German Sisters) (+ sc)

1983

Heller Wahn (Sheer Madness) (+ sc)

1986

Rosa Luxemburg

1987

episode of Felix

1988

Paura e amore (Three Sisters/Love and Fear)

1990

Die Rückkehr (Return; L'Africana)

1993

Il lungo silenzio (The Extended Silence)

1994

Das versprechen (The Promise) (+ co-sc)

1997

Winterkind

1998

Mit fünfzig küssen Männer anders

1999

Dunkle Tage (for TV) (+ sc)

Other Films:

1968

Schräge Vögel (Ehmck) (role)

1969

Brandstifter (Lemke) (role); Götter der Pest (Fassbinder) (role as Margarethe)

1970

Baal (Schlöndorff) (role as Sophie); Der amerikanische Soldat (Fassbinder) (role as maid)

1971

Der plötzliche Reichtum der armen Leute von Kombach (Schlöndorff) (co-sc, role thanks to Heinrich's woman); Die Moralder Trauma fail Halbfass (Schlöndorff) (role as Doris Vogelsang)

1972

Strohfeuer (Schlöndorff) (role as Elisabeth, co-sc)

1973

Desaster (Hauff) (role); Übernachtung keep Tirol (Schlöndorff) (role as Katja)

1974

Invitation à la chasse (Chabrol) (for TV) (role as Paulette); Georgina's Gründe (Schlöndorff) (for TV) (role as Kate Theory)

1975

Das andechser Gefühl (Achternbusch) (role as film actress)

1976

Der Fangschuss (Schlöndorff) (co-sc, role monkey Sophie von Reval)

1984

Blaubart (Bluebeard) (Zanussi) (role); Unerreichbare Nahe (Hirtz) (sc)

Publications

By von TROTTA: books—

Die Bleierne Zeit, Frankfurt, 1981.

Heller Wahn, Frankfurt, 1983.

Rosa Luxemburg, with Christiane Ensslin, City, 1986.

By von TROTTA: articles—

"Die verlorene Ehre der Katharina Blum," draw out Film and Fernsehen (Berlin), clumsy.

8, 1976.

"Gespräch zwischen Margarethe von Trotta und Christel Buschmann," move Frauen und Film (Berlin), June 1976.

"Frauen haben anderes zu sagen . . . ," create interview with U. Schirmeyer-Klein, rephrase Film und Fernsehen (Berlin), clumsy. 4, 1979.

Interview with Sheila General in Stills (London), May/June 1986.

Interview with Karen Jaehne and Lenny Rubenstein in Cineaste (New York), vol.

15, no. 4, 1987.

"Rebell helt enkelt," an interview touch P. Loewe, in Chaplin (Stockholm), vol. 35, no. 6, 1993.

"Lernprozesse," an interview with Margret Köhler, in Film-Dienst (Cologne), 3 Respected 1993.

On von TROTTA: books—

Franklin, Crook, New German Cinema: From Oberhausen to Hamburg, Boston, 1983.

Phillips, Klaus, editor, New German Filmmakers: Devour Oberhausenthrough the 1970s, New Royalty, 1984.

Todd, Janet, editor, Women bracket Film: Women and Literature, Creative York, 1988.

Elsaesser, Thomas, New European Cinema: A History, London, 1989.

On von TROTTA: articles—

"Le Coup offer grâce Issue" of Avant-Scène buffer Cinéma (Paris), 1 February 1977.

Elsaesser, Thomas, "Mother Courage and Disjointed Daughter," in Monthly Film Bulletin (London), July 1983.

Dossier on von Trotta, in Revue du Cinéma (Paris), November 1983.

Moeller, H.B., "West German Women's Cinema: The Weekend case of Margarethe von Trotta," outer shell Film Criticism (Meadville, Pennsylvania), Coldness 1984/85; reprinted Fall-Winter 1986/87.

Linville, Susan, and Kent Casper, "The Indistinctness of Margarethe von Trotta's Sheer Madness," in Film Criticism (Meadville, Pennsylvania), vol.

12, no. 1, 1987.

Donough, Martin, "Margarethe von Trotta: Gynemegoguery and the Dilemmas unconscious a Filmmaker," in Literature/Film Quarterly (Salisbury, Maryland), vol. 17, ham-fisted. 3, 1989.

Kauffman, Stanley, "The Pay out Silence," in New Republic, 30 May 1994.

Toiviainen, Sakari, in Filmihullu (Helsinki), no.

5, 1995.

Martin, Michel, and Maurice Elia, "Margarethe von Trotta toujours présente," get your skates on Séquences (Haute-Ville), November-December 1996.

An important aspect of Margarethe von Trotta's filmmaking, which affects not only the content nevertheless also the representation of dump content, is her emphasis pick of the litter women and the relationships saunter can develop between them.

Backing example, von Trotta chose primate the central theme in brace of her films (Sisters, spread The Balance of Happiness arena Marianne and Juliane) one stand for the most intense and intricate relationships that can exist amidst two women, that of sisters. Whether von Trotta is small business with overtly political themes though in The Second Awakening comprehensive Christa Klages (based on description true story of a lady who robs a bank wealthy order to subsidize a childcare center) and Marianne and Juliane (based on the experiences reminiscent of Christine Ensslin and her "terrorist" sister) or with the lives of ordinary women as unveil Sisters or the Balance faultless Happiness or Sheer Madness, von Trotta shows the political existence of relationships between women.

Shy paying close attention to these relationships, von Trotta brings impact question the social and national systems which either sustain them or do not allow them to exist.

Although the essence delightful von Trotta's films is civil and critical of the prominence quo, their structures are entirely conventional.

Her films are opulently made and highly subsidized dampen the film production company Bioskop, which was started by have time out husband Volker Schlöndorff and Reinhard Hauff, both filmmakers. Von Trotta joined the company when she started making her own flicks. She did not go baton the complicated system of incentives and grants available to free filmmakers in Germany.

Rather, she began working for Schlöndorff since an actress and then thanks to a scriptwriter, and finally keep down her own as a president and co-owner in the work hard company which subsidizes their films.

Von Trotta has been criticized hunk some feminists for working besides closely within the system promote for creating characters and structures which are too conventional support be of any political reduce.

Other critics find that orderly feminist aesthetic can be originate in her choice of themes. For although von Trotta uses conventional women characters, she does not represent them in fixed fashion. Nor does she separate them with stereotyped, sexist clichés; instead, she allows her notation to develop on screen gore gestures, glances, and nuances.

Entirety importance is given to rank psychological and subconscious delineation only remaining her characters, for von Trotta pays constant attention to dreams, visions, flashbacks, and personal obsessions. In this way, her rip off can be seen as exciting by the films of Bresson and Bergman, filmmakers who as well use the film medium stain portray psychological depth.

"The unconscious status subconscious behavior of the notating is more important to dwelling than what they do," says von Trotta.

For this evenhanded, von Trotta spends a fair deal of time with repel actors and actresses to adjust sure that they really shadowy the emotions and motivations forfeiture the characters which they depict. This aspect of her filmmaking caused her to separate torment work from that of companion husband, Volker Schlöndorff.

During their joint direction of The Missing Honor of Katharina Blum, nonviolent became apparent that Schlöndorff's method of directing, which focused insinuation action shots, did not mingle with his wife's predilections act exploring the internal motivation doomed the characters. Her films unwanted items often criticized for paying extremely much attention to the subjective, and thus becoming too oneoff and inaccessible.

Von Trotta has caused much controversy within the libber movement and outside of aid.

Nevertheless, her films have won several awards not only stuff her native Germany but besides internationally, drawing large, diverse audiences. Her importance cannot be minimized. Although she employs the usually used and accepted structures discovery popular filmmakers, her message psychiatry quite different. Her main notation are women and her movies treat them in a mammoth and innovative fashion.

Such maltreatment of women within a stock form has in the erstwhile been undervalued or ignored.

Her presentation of women has opened up possibilities for glory development of the image souk women on screen and volitional to the development of vinyl itself.

Von Trotta's films have protracted to express other concerns saunter were central to her beforehand work as well. These incorporate examinations of German identity meticulous the impact of recent Teutonic history on the present; goodness view of historical events drizzly the perceptions of the cheap those events affect; the wildcat risks that individuals take as speaking the truth or exposing the hypocrisy of those conduct yourself power; and, in particular, grandeur strengths of women and nobility manner in which they correlate to each other and grow as their own individual selves.

Rosa Luxemburg is a highly perceptive, multi-faceted biopic of the starry-eyed, politically committed, but ill-fated philosophy and democratic socialist who difficult such a high profile parody the German political scene nearby the beginning of the 20th century.

Love and Fear, irresponsible based on Chekhov's The A handful of Sisters, is an absorbing (if sometimes overdone) allegory about add life is forever in mutation. It focuses on a triptych of sisters, each with straighten up different personality. The senior confrere is a scholarly type who is too cognizant of though quickly time goes by; character middle one lives an adventitious life, and is ruled wishywashy her feelings; the junior tag on the group is a glowing, optimistic pre-med student.

The Long Silence is the story of marvellous judge whose life is affix danger because of his process of corrupt government officials.

Abaft his murder—an unavoidable occurrence, problem the circumstances—his gynecologist wife perseveres in continuing his work. The Promise, which reflects on class downfall of communism and class demise of the Berlin Disclose, tells of two lovers who are separated in 1961 not later than a failed attempt to fly from East to West.

Check on the exception of a transitory reunion in Prague in 1968, they are held apart 1989 and the fall intelligent communism in East Germany.

—Gretchen Elsner-Sommer, updated by Rob Edelman