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Margarethe von Trotta Rosa Luxemburg and the Personal as Political 2009 45
>> YOUR LINK HERE: ___ http://youtube.com/watch?v=NW1BaVDOaYQ
http://www.egs.edu/ Filmmaker and director Margarethe von Trotta lecturing about the making of her film Rosa Luxemburg, which she continued after Fassbinders death. Margarethe von Trotta speaking about the german student rebellions in the 1970s, the Rote Armee Fraktion, communism, anarchism, as well as Marx and dialectical history. Public open lecture for the students and faculty of the European Graduate School EGS Media and Communication Studies department program Saas-Fee Switzerland Europe 2009.Margarethe von Trotta. • Margarethe von Trotta is the most important female director of New German Cinema, and one of the most important feminist film makes in the world. From the early 1960s, after returning from Paris to Germany where she was exposed to the films of Ingmar Bergman, von Trotta wanted to direct film but was prevented from doing so because, in her own words, you couldnt think that a woman could be a director. Instead of pursuing directing then, she pursued acting, working closely with both Werner Fassbinder and Volker Schlöndorff, who later became her husband. Her first film, The Lost Honor of Katharina Blum, which she co-directed with Schlöndorff in 1975, narrates the story of a young woman who has a casual affair with a man she later discovers to be a terrorist. In 1977, she wrote and directed her first film, The Second Awakening of Christa Klages which introduced many of the themes of female bonding and the uses and effects of violence that she would return to in her later films. Based on a true story, Christa Klages tells the story of a young woman who resorts to bank robbery in order to keep her kindergarten open. • Beginning in 1979, von Trotta introduced a trilogy of films which cemented her reputation as one of the leading directors of the German New Wave. Sisters, or the Balance of Happiness, describes the life of two sisters deeply joined, both emotionally and intellectually, a symbiotic relationship that weighs heavily on them, even after one of them commits suicide. In 1981 she followed this up with Marianne and Juliane (which won the Golden Lion Award at the Venice Film Festival, presented to the first woman since Leni Reifenstahls Olympia in 1938.) The film describes the fight in 1968 for changes in german society, as seen through the eyes of two sisters, one of whom is a committed reporter and the other, equally committed, a terrorist. Von Trotta followed this film in 1986 with Rosa Luxemburg, an epic portrait of one of the leading figurers of European socialism. Played with stunning grace by Barbara Sukowka, Rosa Luxemburg is based primarily on the heros letters and diaries, and strikes a balance between the deeply personal and the exacting political. • Despite being seen as a leading feminist director, von Trotta herself rejects the description of her films as the product of womans film making, arguing that it confines one to a ghetto of sorts. Von Trotta believes that she should instead be seen as a filmmaker who is at once a woman, as well as a director who examines the interior of the feminine personal as well as the exterior of the political, and one who, despite being the most enduring female director of her time, stands equally with the male likes of Bergman, Fassbinder, Herzog and others. Margarethe von Trottas credits include The Lost Honor of Katherina Blum (1975), The Second Awakening of Christa Klages (1978), Marianne and Juliane (1981), Rosa Luxemburg (1986), Love and Fear (1988), The Promise (1995), and Rosenstrasse (2003).
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