Media Department

Das Erkenntnisinteresse der Tagung konzentriert sich daher auf drei Schwerpunkte: Erstens soll aus bildtheoretischer Perspektive untersucht werden, ob diese vorgeschlagenen Dimensionen eines integrierenden Modalitätskonzepts auf Bilder angewendet werden können bzw. ob sie modifiziert oder erweitert werden sollten. Zweitens soll ausgelotet werden, inwiefern ein solches Modalitätskonzept für verschiedene bildwissenschaftliche Disziplinen (z.B. Archäologie, Design- oder Kunstwissenschaften) Relevanz besitzt.  Drittens soll der Fokus auch auf alle bildpraktischen Disziplinen gelenkt werden, wie beispielsweise Kommunikations- / Mediendesign, Bildende Kunst, Kunstpädagogik. Im Hinblick auf diese Disziplinen interessiert insbesondere, ob und wie im Gestaltungsprozess multimodale Perspektiven eine Rolle spielen.

Leggott, J., Hochscherf, T., (2010), "From the kitchen to 10 Downing Street,: Jamie's school dinners and the politics of reality cooking", in Taddeo, JA, Dvorak, K.(eds.), The tube has spoken: reality TV and history, pp. 47-64. ... There are no files associated with this item.

Abstract This article looks at a noteworthy cooperation that took place between the Amber Film Collective – an independent production film group that has been based in the north-east of England for nearly thirty years – and Deutsche Film-Aktiengesellschaft (DEFA) – the ...

Relying on original research, this article maps the various stages and trajectories of film professionals from Munich, Berlin and Vienna, who came to work in and around London. Unlike previous approaches that have restricted the analysis of German and Austrian exile cinema to the years ...

Rudolph Cartier is among the many early television pioneers that have been undeservedly forgotten. His career as scriptwriter, producer and director in continental Europe and England from the 1920s to the late 1970s make him a truly international phenomenon. Born in Vienna, he began a promising career as scriptwriter for Weimar cinema before he was forced to leave the Third Reich as a refugee. After stopovers in Austria and Czechoslovakia he eventually landed in Dover in 1935.
Although Cartier quickly learned the language and assimilated to his new surroundings, he failed to establish himself in the British film industry. Whilst his example illustrates the hardships of exile, his successful work for BBC television after the war also demonstrates that émigrés’ experiences in Britain cannot be limited to loss and trauma. Over the years, he was instrumental in the making of more than 100 programmes – including early landmark productions such as the Quatermass series (1953), Nineteen Eighty-Four (1954) and The Saint of Bleecker Street (1956).
His refusal to accept the notion that television was inferior to cinema led to programmes that challenged alleged limitations of the new medium by combining innovative aesthetics with appealing storylines. Besides his penchant for adaptations of continental plays and operas, Cartier’s central European roots and experiences in exile are particularly visible in his ability to adapt to different working environments. Beyond his various productions, moreover, his excellent overseas’ contacts and language skills were crucial in securing a job within the BBC as they were seen as a vital component in developing cross-national connections.