{"id":996,"date":"2020-10-17T21:16:12","date_gmt":"2020-10-17T19:16:12","guid":{"rendered":"https:\/\/cinefest.de\/festival\/awards\/reinhold-schuenzel-award\/"},"modified":"2024-02-07T14:19:37","modified_gmt":"2024-02-07T13:19:37","slug":"reinhold-schuenzel-award","status":"publish","type":"page","link":"https:\/\/cinefest.de\/en\/festival\/awards\/reinhold-schuenzel-award\/","title":{"rendered":"Reinhold Sch\u00fcnzel-Award"},"content":{"rendered":"\t\t
The Reinhold Sch\u00fcnzel Prize 2023 will be awarded on 17.11.2023<\/strong> as part of the opening of cinefest<\/em> at the Metropolis cinema.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t The jury’s laudatory speech and reasoning were presented by Hans-Michael Bock on behalf of the jury.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t Leonardo Quaresima and Luisa Quaresima<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t The Jury 2023:<\/p>\n The Reinhold Sch\u00fcnzel Award 2022 was awarded on November 11, 2022<\/strong> as part of the opening of the cinefest<\/em> in the Metropolis cinema.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t The international jury awarded the Reinhold Sch\u00fcnzel Award 2022<\/b> to the film historian<\/span> <\/p>\n The jury’s laudatory speech and reasoning were presented by Hans-Michael Bock on behalf of the jury.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t Sabine Hake and Hans-Michael Bock<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t Sabine Hake studied German studies and sociology in Hanover. In 1984 she wrote her dissertation \u00bbErnst Lubitsch, a German Rising History\u00ab and emigrated to the USA, where she taught at the University of Pittsburgh for 16 years. In 2004, she moved to Austin to the University of Texas as Professor and Texas Chair of German Literature and Culture. As a cultural and film historian, she focuses on German film history and the culture of the Weimar Republic. In addition to classical film theory, her area of expertise lies in the relationship between cultural practices and aesthetic sensations such as modernism and fascist aesthetics, as well as in mass, popular, urban and working-class culture. The Jury 2022:<\/p>\n The Reinhold Sch\u00fcnzel Award 2022 was awarded on November 12, 2021<\/strong> as part of the opening of the cinefest<\/em> in the Metropolis cinema.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t The international jury awarded the Reinhold Sch\u00fcnzel Award 2021<\/b> to the film historian<\/span> <\/p>\n Jury 2021:<\/p>\n The Reinhold Sch\u00fcnzel Prize 2020 was awarded on 13.11.2020<\/strong> as part of the opening of cinefest<\/em>, which could only take place online this year.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t Die internationale Jury verlieh den Reinhold-Sch\u00fcnzel-Award 2020<\/b> to the film historian and cultural politician <\/span> <\/p>\n Kathinka Dittrich van Weringh studied history, political science and English Studies in Heidelberg, Hamburg, Manchester and Munich. After graduating in 1966, she worked for the Goethe-Institut for 27 years: first in Barcelona, then in New York, and from 1979 in Amsterdam, where she was director of the Goethe-Institut from 1981-86. There, despite the tensions that still existed after the Nazi occupation in the Second World War, she began to draw attention to the numerous cultural relations between the Netherlands and Germany. In 1981, together with Prof. Hans W\u00fcrzner, she organized the conference “Nederland en het Duitse Exil 1933-1940 \/ Die Niederlande und das deutsche Exil 1933-1940” in Leiden (with a book of collected essays). The following year, in Amsterdam (and other Dutch cities), she organized the exhibition “Berlijn-Amsterdam 1920-1940: wisselwerkingen” with an extensive catalogue book. Jury members 2020:<\/p>\nLaureate 2023:<\/h4>\n
Leonardo Quaresima
<\/strong><\/span>Film Historian, Udine, Italy<\/h2>\n
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REINHOLD SCH\u00dcNZEL AWARD 2022<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
Sabine Hake<\/strong><\/span><\/h2>\n
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In 1992 she published her first book \u00bbPassions and Deceptions: The Early Films of Ernst Lubitsch\u00ab, in which she examined Lubitsch’s early German films. \u00bbWhat impressed me then, and still impresses me now, is the way she pushed aside competing schools of thought to take a more comprehensive approach that went far beyond what was fashionable at the time. From the beginning of her academic career, she respected the films and their makers, rather than encountering them through changing waves of ideology and theory.\u00ab (Weissberg). Her second book \u00bbThe Cinema’s Third Machine: Writing on Film in Germany, 1907-1933\u00ab (1993) does not deal with so-called \u00bbexpressionist cinema\u00ab, but describes the journalistic and theoretical environment in which film culture emerged at the time. \u00bbThe volume presented important texts to English-speaking readers that were previously difficult to access, and demonstrated their comprehensive approach to film history, which was based on the integration of film, reception and analysis.\u00ab (Jury). In 2001, her book was published with her introduction to the topic of \u00bbFilm Journalism of the Weimar Years\u00ab (1997), and was expanded in 2007 in the series of \u00bbGerman National Cinema\u00ab. In the following decade, she investigated the forms of entertainment genres within the \u00bbThird Reich\u00ab, and wrote two books on \u00bbPopular Cinema of the Third Reich\u00ab. \u00bbShe went beyond simplistic ideas of propaganda and its power to discuss the imagery and the effect of pleasure in a more informed way.\u00ab (Jury). In the years that followed, she conducted intensive research on the topic of workers’ culture, as she did in 2008 in \u00bbTopographies of Class: Modern Architecture and Mass Society in Weimar Berlin\u00ab. Her latest work to date \u00bbThe Nazi Worker\u00ab (2023) is the second part of a three-volume project on the figure of the worker and, in a broader sense, on class issues in 20th-century German culture.
In 2005-16 she co-edited with Hans-Michael Bock (CineGraph, Hamburg) and Tim Bergfelder (University of Southampton) the series \u00bbFilm Europa. German Cinema in an International Context\u00ab published by Berghahn Books in New York and Oxford. From 2011 to 2021, she also served as editor of \u00bbGerman Studies Review\u00ab, the magazine of the influential German Studies Association.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n
REINHOLD SCH\u00dcNZEL AWARD 2021<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
Christiane M\u00fcckenberger<\/strong><\/span><\/h2>\n

The jury’s laudatory speech and reasoning were presented by Hans-Michael Bock and jury member Jay Weissberg. Since Christiane M\u00fcckenberger was unable to attend in person, the prize was presented to her in advance at her apartment in Potsdam-Babelsberg.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n
REINHOLD SCH\u00dcNZEL AWARD 2020<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
Kathinka Dittrich van Weringh<\/strong><\/span><\/h2>\n
<\/span><\/p>\n
Her personal interest lay primarily in the field of film. With her doctoral thesis \u00bbDer niederl\u00e4ndische Spielfilm der dreissiger Jahre und die deutsche Filmemigration\u00ab (<\/span>1987 at the University of Amsterdam)<\/span>, she pointed out in detail for the first time this rather overlooked stage of film exile.
<\/span>In 1996 she was awarded the Dutch Von der Gablentz Prize for her contribution to a better mutual understanding between Germany and the Netherlands through her numerous cultural initiatives.
At the request of her Dutch husband Koos van Weringh, a freelance author and journalist, she turned down the offer to become director of the Nederlands Film Museum in order to stay with Goethe.
After some time at the headquarters in Munich, she organized the founding of the first Goethe-Institut in Moscow in 1991 after the collapse of the Soviet Union and published the book \u00bbAbenteuer Moskau\u00ab (1994\/95) on the subject.
From 1994 to 1998 she was head of the cultural department of the city of Cologne, where she still lives today. Since then, she has been a freelance cultural consultant and author. In 2003 she became Chair of the Board of Directors of the European Cultural Foundation in Amsterdam.
In 2017, she published her voluminous memoirs (more than 600 pages): \u00bbWann vergeht Vergangenheit?\u00ab. In it, she lets the reader participate in her encounters with artists, filmmakers, writers and musicians, with functionaries and politicians. She was always curious about the world and its people, saw herself as an observer and, above all, as a mediator between cultures.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n