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loss ads and disposals in 2010

remains publicist table for the remaining hours of this year a list of loss and the leavers in 2010 to create: no means exhaustive, but with much affection the subjective missing loved ones.

to mourn, it was this year in the field of film production in the deaths of:
Arthur Penn
Blake Edwards
Eric Rohmer
Claude Chabrol
Werner Schroeter
Joseph Strick, including director of "Ulysses" and "Tropic of Cancer"
Ronald Neame, UK-round director Irvin Kershner

George Hickenlooper
Corey Allen
David L. Wolper, producer, etc. of "Roots"
Robert F. Boyle, production designer
Dede Allen,
editor Sally Menke, editor and right-hand Tarantino
Lubchansky William, William A. Fraker
DOP, DOP
Irwin Rosten, American documentary filmmaker Peter
Brunette, film publicist was time

leave it to the following actors:
Jean Simmons
Tony Curtis
Dennis Hopper
Jill Clayburgh
Peter Graves
Liam Nielsen
Pernell "Bonanza" Roberts
Simon MacCorkindale, "Death on the Nile" actor
peer Dagmar Schmidt
Altrichter, sonorous voice dubbing cable

Heidi Heinz Weiss
Frank Giering
Bruno S.
Petra Schürmann

The cinema scene is now missing: Walter
Jonigkeit

The technical pioneers died 2010:
H. Edward Roberts, the mentor of the MITS Altair, which began with home computers and PCs
Max Palvesky, computer-pioneer in Bendix, Packard Bell and SDS
Fritz Sennheiser, Sennheiser Sennheiser
Walter Haeusermann, NASA rocket builders

missing German television now following votes, profiles and faces:
Dieter Meichsner
Rüdiger Proske
Horst Jaedicke
Lothar Loewe
Gerhard Lenz
Hans- Joachim Rauschenbach

on German radio voices, especially in the "Wild South", died 2010:
Fred Metzler
Günter friend
Heinz Siebeneicher

The art, design and architecture world mourned:
Ernst Beyeler
Sigmar Polke
Nicolas Hayek
Günter Behnisch

In the field of photography, died:
Dennis Stock
Herman Leonard
Hannsheinz Porst

Bei den Forschern, Publizisten, Schriftstellern und Poeten wird die Liste wieder länger:
Harry Mulisch
Thomas Harlan
Raimon Panikkar
Hermann Scheer
Katharina Rutschky
Erich Segal
J. D. Salinger
Peter Orlovsky, auch Muse von Allen Ginsberg
Howard Zinn
Alice Miller
Benoît Mandelbrot
Swetlana Geier, "die Frau mit den fünf Elefanten"

In den Bereichen 'Society', Politik und Zeitgeschehen hieß es Abschied nehmen von:
Elisabeth Noelle-Neumann
Knut Hauglang, einer der "Helden von Telemark"
Hanna-Renate Laurien
Juan Antonio Samaranch
Fritz Teufel
Christoph Schlingensief
Gerold Becker
Theo "Aldi" Albrecht
Bärbel Bohley
Oswald Kolle
Thomas Fuchs
Loki Schmidt
Bob Guccione, Penthouse founder
Richard Holbrooke
Alexander Haig
Nestor Kirchner

Finally, we mourned for the following musicians; composers, conductors and applier of ballet and opera:
Henryk Gorecki
Erwin Lehn
Peter Herbolzheimer
Otmar Suitner
Charles Mackerras
Wolfgang Wagner
Anneliese Rothenberger
Joan Sutherland
Lolita
Maria Hellwig
Peter Hofmann
Bobby Farrell
Mitch Miller, who U.S. "God Help Fischer
Walter Sear, recording studio operator in NYC
Arnold Spohr, founder and director of the Royal Winnipeg Ballet
Lena Horne
Hank Jones
Bill Dixon
Abbey Lincoln
Gregory Isaacs

JP

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Movies Mainstream Spaking

Franz Stadler Last Picture Show

Not only the Berlin paper "BZ", but also reported taz by the operator hand-over of the Berlin Film Art 66 (and 66 1 / 2) by Stadler at Regina Ziegler and her daughter
http: have been / / www.taz.de/1/berlin/artikel/1/rollenwechsel-im-filmkunst-66/

In fact, it must be a labor of love, his house, not the 'usual suspects' have passed, should be around the movie theater in its two halls with some degree continue to style.

Another filmmaking around producer-driven cinema (like the Toni by Michael Verhoeven) is welcome in principle to Berlin a lot. Another bright spot for the movie coming to an end in 2010.

JP

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compliments to Mr. Steed new voice in black and white!

ARTE donated for the 50th Jubiliäumsjahr present a newly-dubbed original release of seasons 1-3 of "The Avengers" (or "What Remains of the Day"): http://www.arte.tv/de/film/Mit-Schirm-Charme

-und-Melone/3553048, CmC = 3568612.html
http://www.arte.tv/de/film/Mit-Schirm-Charme-und-Melone/3553048, CmC = 3555576.html

how sensitive late re-dubbed with new speaker voices or even turn-taking (as in the case Gerd Martienzen / Louis de Funès or Mandfred Schott / Dustin Hoffman) also, these resynchronization by the "hs Hamburger Synchron" is really worth listening to, not only because their caring attitude in terms of voice selection, vocal play and intonation (also in straight there after-effects and tangible 'soft spot', we Germans are really the better British), but also because most worth hearing, because the sound engineer of the 'hs' "in their EQs have turned around creative, that the Neusynchro of the vote to black and white TV sounds. Not after the cinema with optical sound crackling and not Pappstudio to digital, but to black and white TV from the era of analog magnetic Elektroära. You have to come first time on it: My compliments, Mr. hs-engineer, so make German dubs fun!

JP

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the cinema in 2010 and the Berlin bikini conversion

How today http://www.berlinonline.de/berliner-zeitung/archiv/.bin/dump.fcgi/2010/1229/b the Berliner Zeitung
...
and the Berliner Morgenpost
http://www.morgenpost.de/printarchiv/berlin/article1494670/Letzter-Vorhang-fu ...
can see, now includes the Berlin Zoo Palast its doors for a complete restructuring of the entire zoo clip (up to the blue Kugelexkino) under the new slogan "Bikini Berlin". could

that at least parts of this "Movie Landmarks" or at all public forms of KINO remain there seems to be a final stroke of good fortune to be, especially after completion of the renovation has become from about 2012 Hans-Joachim Flebbe new tenant of the cinema. However, one must ask how a spatial quality and the appropriate screen experience can be obtained at the auditorium in the main hall of 1,700 seats on 850 must shrink; exciting even what remains of the "Atelier am Zoo 'eventually left and how to be a may introduce the seven new Zoo-Palast cinema with 50 seats. Almost everything is still where the Lord, with whom I 1983 times on the phone, would have noticed (especially the 17 years Zoo-Palast at UCI!) ...

Although more than two years in the future: What is theater concept of operations be sustainable for the new zoo cinema ensemble, then diagonally opposite the Astor Cinema Lounge? - And how the color will develop in Charlottenburg program Flebbe, especially in the new movie big trend of "buffo" which stated Jan Schulz-Ojala in his review of German cinema in 2010 in the Berlin Tagesspiegel?
http://www.tagesspiegel.de/kultur/ein-ungewoehnliches-kinojahr/3683266.html

In comparison, the two U.S. box-year reviews of MANOHLA Dargis
under the title "The Revolution Is Being Shot on digital video "
http://www.nytimes.com/2010/12/19/movies/19dargis.html
and STEPHEN HOLDEN (title:" Motivators of 2010: Technology and Greed "') The New York Times:
http://www.nytimes.com/2010/12/19/movies/19holden.html

any event seems large 3D conversion wave of cinema and his films to be interrupted at the end of 2010, until at least the next 3-D cinema blockbuster titles and then to one at the Berlinale 2011 "Pina" by Wim Wenders gets presented.

For me amazing that the film has in the theatrical practice remains to a large extent in use - and how well the display quality of local flat panel with 107-inch diagonal screen and now with a resolution of 1080 x 1920 pixels for little money. So we can on the big trends in the new decade in the 2010's, be curious.

JP

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The Golden handshake

has never read the balance sheets of broadcasting was as exciting as today. For

: Rüdiger Search Lands article "The self-abolition of German television" in Telepolis from 12.08.2010 with the hanger of a presumption of the amount invested by the NC-R radio system for the additional retirement of its employees
http://www.heise.de/ tp/blogs/6/148896
has caused quite a stir.

So etwa bei Stefan Niggemeier in seinem BILDblog:
http://www.bildblog.de/26069/lolas-rente/

Nach dem Studium der KEF-Zahlen hat Rüdiger Suchsland seine ursprüngliche Vermutung in einer persönlichen Stellungnahme relativiert und bei der Prozent-Vermutung zurück genommen:
http://www.heise.de/tp/blogs/6/148922

Es sind nun doch keine 50 Prozent des Gebührenaufkommens, die zur Aufstockung des gesetzlichen Rentenaufkommens durch Betriebsrenten verwandt werden. Denn für 2010 sind dies lt. Suchsland gem. KEF ["Aufwendung für die Altersversorgung der Rundfunksanstalten" (S.85)] doch nur 570 Millionen Euro (brutto) als Gesamtbetrag [für ARD, ZDF and DRadio], which apparently according Niggemeier gem. KEF only 5 percent of fee income are. If we take the approach and the Niggemeierschen also the three-sentence to help, then the fee revenue would be 11 billion and 400 million euros. In fact, the prognosis for the KEF 2009 - 2012 but with 33 804 million EURO, at around 8451 million euros in total revenue per year for the period. Percentage is thus the cost of pension provision, based on the total revenue at just under 7 percent. Total revenue, however, include advertising revenues. Therefore, the expense is for retirement pension based on the fee income well above 7 percent. However

tilts the image if the current expenditures for staff costs with the pension expense compares.

Because there are 1666 million euros in personnel costs (excluding pensions) [lt 17. KEF report for 2009 - 2012, quoted by search country] to him for four long years of retirement for 553 million euros a year (with ARD + ZDF). - € 416.5 million per year in personnel costs compared to € 553 million in pension plans. - That is to say: the pension is higher than the current services to be personnel costs. The

so obviously slumbering in KEF Reports scandal is not the false assumption that the total fee revenue reportedly about 50 percent went to retirement benefits; - What brought them to the dispute to day, so the fact that the pension benefits are higher than the actual cost of staff benefits.

And that is true, however, but the assumption that current production contaminated margins narrow sharp and significant, which just leads to "cheap programming. For the budget of just over EUR 80 million on "Program Requirements" each year, for the many full programs of ARD and ZDF (ARD, ZDF and digital channels, Kika, Phoenix, 3SAT, 3 TV programs of the various ARD, entire ER-Radio) is really not very much, about the prevailing program outsourcing pressure. Thus was

Rüdiger Search Lands Beitrag diskurs-anregend und sehr zu begrüßen.

Mit Leopold Kehr würde ich sagen: der Bezugsrahmen ist von der Skalierung her zu groß, weil der zunehmende, systemische Verwaltungs- und Vorsorgeaufwand die Produktivität seiner Einzelkomponenten insgesamt zu ersticken droht. Man könnte es auch so formulieren: Die in den 1950er-Jahren konzipierten Fernsehtheater-Anstalten mit angeschlossener E-Kamera, Werkstätten und Hausmeister wirken in ihrer vollen Ausdifferenzierung nach rund 50 - 60 Jahren inzwischen in einer rundherum parzellierten Medienlandschaft seltsam deplatziert, aus einer anderen Zeit.

Wenn man nach vorne denken möchte: Wie sähe ein "public broadcasting" auf der Höhe der Zeit eigentlich aus, gerade in seiner institutionellen Basis?

JP

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gambling addiction in children's channel

Was fällt dem erfahrenen Kenner der Kölner Verhältnisse eigentlich zum Thema "Spielsucht bei Tochtergesellschaften von Rundfunkanstalten" ein?

http://www.faz.net/s/Rub510A2EDA82CA4A8482E6C38BC79C4911/Doc~EC382EB412FC64B0...

JP

Mindstorm Turn On A Light

Then: "In Search of the World of Tomorrow"

Als in den 1960er-Jahren die Welt noch eine Zukunft hatte und diese aufregend zu werden drohte, auf dass man sich unbedingt auch mit den Mitteln der Fernsehdokumentation damit beschäftigen musste, da war man "Auf der Suche nach der Welt von morgen". Autor dieser TV-Reihe des NDR mit insgesamt 82 Folgen (gesendet über einen Zeitraum von 25 Jahren, 1961 – 1986) war Rüdiger Proske, der kurz vor Vollendung seines 94. Lebensjahres am 10.12.2010 nun verstarb. Für die technisch-soziale Zukunftsforschung und ihre publizistische Aufbereitung im Nachkriegs-Westdeutschland war Proske neben Robert Jungk die prägende Gestalt. Schon damals in den 1960er-Jahren funktionierte der Medienverbund TV/Buch übrigens erstmals prächtig.

Was der Wikipedia-Artikel über Proske allerdings verschweigt, das ist die "Lex Proske", die eigentlich in keiner Geschichte des Öffentlich-Rechtlichen deutschen Rundfunk-Fernsehens fehlen darf, zum Thema "wie man sich damals als Freier Mitarbeiter seine Pensionsansprüche sichern konnte".

Die Verfügbarbkeit full episode of "The Search for the World of Tomorrow" would be desirable to provide a 'pipe dream' - so you have to present a split-Phoenix repetition of Episode 18 (The Year 2000 ', a' study of Rüdiger Proske ' ) make do on Youtube.com as a model and Anschaulichmachung the broadcast format.

Links:
http://de.wikipedia.org/wiki/Rüdiger_Proske

JP

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WikiLeaks, again

What position you take on certain "WikiLeaks" - a phenomenon?

At the current phenomenon of "WikiLeaks" is everywhere now so reflected and theorized.

For example here:

http://www.eurozine.com/articles/2010-12-07-lovinkriemens-en.html

here in German:

http://www.fr-online.de/ kultur/debatte/die-anarchie-der-transparenz/-/1473340 ...

and in response, here:

http://cryptome.org/0003/wikileaks-six.htm

bottom line is the "Diplomatic Cables" documented the extraordinarily high level of U.S. diplomacy and that bypassing a customary lock-up period of 40 years, as it is today, the NYT on the example of Eisenhower's farewell speech of 1961 on the conceptual development of the be seen "industrial-military complex" online:

http://www.nytimes.com/2010/12/11/us/politics/11eisenhower.html

reacts to the U.S. state policy all over uncontrolled, like this how to do it just by the example of China could follow in Oslo:

http://www.welt.de/debatte/kommentare/article11549982/China-fuehrt-den-Kampf- ...

was instead just an empty chair's empty bank accounts:

http://www.heise.de/tp/r4/artikel/33/33802/1.html

If the target of repeated actions, however, the disavowal, exposing and damage to democratic institutions in den USA gewesen sein sollte, dann waren die bisherigen Aktionen als Provokation ein voller Erfolg. Es fragt sich nur: von wem veranlasst und von wem durchgeführt?

Im ganzen Diskurs um WikiLeaks fehlt mir bislang nämlich die Dimension der Handwerklichkeit:
Wie hat man sich den Datenraub also ganz praktisch vorzustellen?

1. Ein Eindringen mit Root-Rechten ins Allerheiligste des US-amerikanischen Außenministeriums, um die Datenbankinhalte samt Anwendungssoftware datentechnisch zu überspielen, um sie auf einem anderen Rechner neu zu installieren, damit man dann GB um GB in TB-Größenordnung in Ruhe "auswerten" kann -- und das ohne Spuren zu hinterlassen?

Möglich, aber wohl kaum durch 16-jährige Amateur hacker. That sounds more like professional teams that make the whole day probably nothing more than that - and have for the technical infrastructure of collaboration. And about the duplicate, if necessary, physically move without data network to data: shutdown, temporary technical fault, local dubbing, on again, nothing had happened ...

Or the Foreign Office website to "security reasons" in principle, reflected in the "security forces".

second Another possibility: a Deuce and scripts bulk queries the relevant database (s) to run via the intranet, on the same hang as much as possible in their own network remains. Also a possibility, but hardly without leaving traces that could have just too much for 'asterisks and other jokers actually a monitoring immediately and may have to stop, and the tracks would have to investigate leaks of data. So it is just been the bad "anonymous" hackers. Where are the log files of data rape?

If one (1) excludes, because it was no more the same power as the democratic institutions in the state and can be anything, remains variant (2) left. Unfortunately, then, that raises another since 2001 and already well-known, familiar phenomenon again: Bad luck and mishaps. All, it might have known, have failed and the wicked are to blame.

In other words: the White Rabbit is back! The White Rabbit is always useful when it is just instrumental needs and can pull from his sleeve - and it has a name and means: Osama Bin Assange. Instead of just white beard white hair.

instead - as suspected - there was this time so 9/11-Material "Diplomatic Cables". The excitement around Nothing is great, the sensitivity of Kairos is artificially produced, distributed well fertilized and well, ready for the final blow. One should be mentally prepared. Westerwelle spied concept of "late Roman decadence" the Foreign Office was already guessed right, but completely wrong target, somehow in the wrong continent. For here is already operating out of a covered position. Benefice which you want to keep on threatening to get lost, because they are already lost. "Follow the money," Deep Throat said, then ...

JP

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New cinema forms: 'Prima Cinema' and 'Secret Cinema'

fact that the cinema operating concept of the "Astor Film Lounge" in Berlin by Flebbe for me merely a kind of 'business class' represented, provoking questions, such as man himself as a "first class" could imagine the theatrical experience.

last few days, you can now by a report of the suspect 'Wall Street Journal': purchase price $ 20,000 for equipment installation and $ 500 per film premiere presentation, time-parallel to the general public by Kinobespielung announced weekly programming.

Links:
http://online.wsj.com/article/SB10001424052748704250704576005801366116290.htm ...
http://www.primacinema.com/

would be interesting to finally know what rights you bought at "Prima Cinema" with the mite, as may be open so the home theater - and how to think, " lavish parties by invitation to restrict, if not a transfer of rights takes place.

The transition from private home movies for proof, social events site "by invitation "and established cinemas advertised weekly program is expected to soon be flowing. the incipient threat to the" cinema as we know there is "less of a piracy, such as a reaction to 'Prima Cinema' fears, but rather a competition from new cinema concepts of operation.

Hanns-Georg Rodek criticism of "Prima Cinema" at http://www.welt.de/kultur/kino/article11510778/Kino-darf-nicht-zum-Luxusgut-v welt.de
...
as a kind of 'cinema for the Rich "" Do not film degenerated into a luxury item "under the title, is thinking much too short.

because the backlash from the' grass root people of the cinema 'has been working diligently, as I have a report was found in "Talking Pictures" on BBC World Service TV in November: "Secret Cinema" as an Internet-based people's movement in the UK - the location is obviously!

Links:
http://www.casttv.com/video/thxa9st/secret-cinema-bbc-talking-movies-november ...
http://www.secretcinema.org/

The cinema of the 21 Century is being invented, and it is an experimental laboratory of social movement to find new audiences and to invent them.

JP

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The Pension gap and the direct light of the public service German television

Rüdiger search published today in the country has eZine Telepolis an article entitled "The self-abolition of the German television", which is worth reading:

http://www.heise.de/tp/blogs/6/print/148896

The assumption that the total fee income now well over 50 percent will be spent in retirement benefits to former employees of public service broadcasting must is not new to me, I had at the "Berlin cinema Perspectives" on 21 April 2009, the journal "Helmut Lehnert, Radio Multikulti and the pension fund gap" on the alleged and suspected pension gap in NC-R German television pointed to the program order is revoked. Cay Wesnigk from "AG Doc" had made some years ago on the get-together "Dokville" are also suspicions in that direction. What the

Fernsehen als Medium unter dieser Bürde und den damit verbundenen Selbstauflösungstendenzen in der Programmleistung droht, ist schwierig einzuschätzen.

Es wird freilich irgendwann unausweichlich der Punkt kommen, an der man sich der Pensionsproblematik radikal stellen muss; und die vernünftigste Antwort könnte nur die Einführung einer steuerfinanzierten Grundversorgung in Aberkennung von ehemals höheren Pensionsversprechen sein.

Programmlich sollte man das Fernsehen den Redakteuren aus der Hand nehmen und Social-Web-seitenbasiert dem Publikum überantworten. Es kann dadurch nur besser werden; einfach auch durch die Tatsache begründet, dass die Zukunft des Öffentlich-Rechtlichen deutschen Fernsehens seine Vergangenheit ist, wie man an dem Füllhorn der DVD-Veröffentlichungen sieht. Ein weiterer Skandal, dass bereits bezahltes Programmvermögen in privatrechtlichen Tochtergesellschaften durch Disk-Veröffentlichungen nochmals zu Geld gemacht wird. Der Widerhall mit sensationellen Verkaufszahlen an "ollen Kamellen" lässt das Vakuum an nicht-gesendetem Programmvermögen in den Archiven erahnen -- und den Bedarf, der daran - sei es aus Sentiment, Nostalgie oder kulturgeschichtlicher Neugier - offensichtlich besteht.

Vielleicht bekämen wir bei einer nachfragegesteuerten Programmierung des Ö-R Rundfunks auch eher interessante und schwierige Dokumentarfilme zu Zeitfragen in der Hauptsendezeit zu sehen -- oder etwa die nachwachsende Generation eine Einführung in the history of the fictional movie, the feature film history through a systematic retrospective, as was known in the 1970s yet. Worse as now it can not indeed be more when you awake at night are between one and three clock needs to take to even look older movies in fee-funded television programs.

The quality television program performance may therefore be invented, if you still need it at all since. It does not need much imagination to imagine how a synthesis of Facebook, Google TV and iTunes TV could look like. In any case, for example, "fluegel.tv", "eyewitness TV" and "DCTP" proved what "television time" auch bedeuten kann: Reden, Vorlesungen, Dialoge, Symposien, Podien, Schlichtungen - in ganzer Länge für Alle.

Ästhetisch wäre dann über das LICHT zu reden, der Voraussetzung überhaupt für die Kine-Fotografie. An einer Analyse des Lichts wäre abzulesen, warum im Deutschland der zwölf Filmschulen ein sensationeller Ausstoß der Menge nach an kreativem Nachwuchs produziert wird, der im Licht auf einem unglaublich hohen Produktionsniveau Filmwaren des Fernsehens herstellt, die letztlich vom Licht her alle fast gleich aussehen, wenn man dieses Licht einmal etwa mit Fassbinders "Alexanderplatz" vergleicht. Hans Hattop hat darauf jüngst in der Zeitschrift "KAMERAMANN" (12/2010, S.16f) hingewiesen: "Wenn ich mich durchs Fernsehprogramm zappe - ich habe die 20.15-Uhr-Schiene im Blick - ist das Styling sehr ähnlich." Es ist diese Blendung, die mich jeden Abend zum Abschaltknopf des Fernsehens drängt, weil ich dieses mit extremen Aufwand betriebene Gleich-Licht nicht mehr ertragen kann, das sich in und an den Figuren sowie Schauspielern der Ähnlichkeit spiegelt, die alle mit ähnlichen Stimmen und in ähnlicher Tonlage ähnliche Geschichten verkörpern.

JP