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19th cinefest - International Festival of German Film Heritage

Cranked, Unchained, Colorful, Digital.
The Development of Camera Technology and Film Art in German Cinematography

11 - 20 November 2022

Workshop in Berlin: 12 - 15 May 2022
Shooting of DIE BÜCHSE DER PANDORA (1929, G.W. Pabst) - Source: CineGraph / Collection hmb

The camera is both a technical device and an artistic centerpiece of film production. Driven by the dream of capturing moving images that could be viewed again in the future, the technical development of the film camera and all associated technologies (such as film stock, lighting, and digitalization) is a process which started with the first moving images and is still developing today.
Technical innovations enable and inspire new aesthetic developments, and vice-versa. Accompanying this, political developments such as the First and Second World War have also strongly influenced and inspired changes in filming techniques.
German cinematography has long been highly regarded and has influenced filmmakers worldwide, with established German filmmakers traveling abroad and helping to professionalize film production and young filmmakers from other countries perfecting their skills in German studios.
Further development of the camera as an artistic tool has been driven in the late 20th and 21st century by the creative minds and technical experimentation of e.g. Guido Seeber, Karl Freund, Bruno Mondi, Michael Ballhaus, Roland Dressel, Judith Kaufmann and many others.

cinefestand the 2022 CineGraph Film Conference will explore the wide range of connections and interactions between technology, aesthetics, and politics in the panorama of the 20th and 21st century.

A detailed catalog with reviews and materials on the films and themes of the festival is published for cinefest

The 35th International Film History Conference is an integral part of the festival.

Discussion forums on current and archival topics accompany cinefest

18th cinefest - International Festival of German Film Heritage

Go West! Eastern European Filmmakers in Western Europe

12 - 21 November 2021

Online Workshop: 6. Mai 2021
Slatn Dudow
Slatan Dudow during shooting of CHRISTINE (1963) ©DEFA-Stiftung/Herbert Kroiss, Waltraut Pathenheimer

In recent decades, the fate of Eastern and Central European, Jewish filmmakers who, while working in the German speaking film industry were driven into exile by the Nazi’s racism, has been relatively well researched – not in the least through CineGraph and cinefest. But in addition there are countless filmmakers of all trades from Eastern and Central Europe who worked in Western Europe in the 20th century; whose careers have been far less researched. They migrated not only in reaction to political upheavals (from the “October Revolution” up to the end of the Prague Spring), but also to improve their professional opportunities. Their careers and experiences in the west spanned a diverse spectrum of both success and failure.
One example, Latvian actress Marija Leiko travelled from Riga (then Russian Empire) to Germany, where she became a star in silent film. As sound films became the market standard, her film career ended and she returned to Riga. During the Stalinist terror, she was shot by the NKVD in 1938 (rehabilitated in 1957). Her partner Janis Guters (Johannes Guter), with whom she had come to Berlin, worked in the theater until he made his debut as a film director in 1917. He directed numerous films in Weimar cinema, then stayed in Nazi Germany and ended his film career with a series of “Tran und Helle” propaganda shorts. He died in the GDR in 1962.
After the founding of the Soviet Union, numerous Polish and Ukrainian filmmakers (from the Russian Tsarist Empire) were faced with the choice of either continuing to work under the strong influence of Moscow or go West. The rift even ran through families: while David Kaufman (Dziga Vertov) became a major representative of Soviet documentary film – supported by his brother Mihail as his cameraman, his other brother Boris went to Paris via Berlin in 1917 and eventually won an Oscar as director of photography.
After 1917, Russian set designer and film architect Andrej Andrejev decorated numerous important films in Berlin (THE 3 PENNY OPERA), London, and Paris. After having worked closely with the German occupation company Continental (LE CORBEAU) during World War II, he no longer received commissions in France and went to England (THE MAN BETWEEN) and the Federal Republic of Germany (MADELEINE UND DER LEGIONÄR). His colleague Jacek (Jacques) Rotmil worked widely in the German film industry (more than 150 films) and from 1932 in Poland. After the German invasion, he went underground and was shot in 1944.
Possible candidates from Czechoslovakia with interesting careers are producer Miloš Havel, writer & director František Čáp, director Stanislav Barabas or cinematographer Igor Luther, whose biographies can be used to illustrate the different political relationships between the German Reich, Czechoslovakia, the “Protectorate of Bohemia and Moravia” and the Federal Republic.
The DEFA Foundation is currently working on the work of Slatan Dudov (1903, Bulgaria – 1963, GDR). It includes about 10 films, which – as well as his career in the Weimar Republic, in France and in the GDR – will be a focus at cinefest.
In cooperation with colleagues from Eastern European film institutes and archives (e.g. in Riga and Kiev), we are researching numerous “fractured” careers of filmmakers from Eastern and Central Europe to Western Europe. We will present an interesting in-depth cross-section of such largely forgotten filmmakers at cinefest 2021.

cinefest 2021 catalog Cover

cinefest catalog 2021

A detailed catalog with reviews and materials on the films and themes of the festival is published for cinefest

Integraler Bestandteil des Festivals ist der 34th International Film History Conference.

Discussion forums on current and archival topics accompany cinefest

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