Volker Schl\u00f6ndorff
photo: vs archive <\/p>\n
At Plus Camerimage 2009<\/b><\/span>, the 17th International Film Festival of the Art of Cinematography a special Lifetime Achievement Award to Director <\/b> will be presented to Volker Schl\u00f6ndorff<\/b>. This award is annually presented to directors who make their films with a great aesthetic sensitivity and consciously adjust the technical and formal means to serve the purpose of an emotional impact of the story. <\/p>\n The Oscar winner for The Tin Drum<\/i><\/span>, was born in 1939 in Wiesbaden. His father was a doctor and his mother died when he was still a child. He spent most of his youth in France where he went as a teenager scholarship student (Brittany Jesuit boarding school and studies at the faculty of political sciences in Paris). Already during his studies he started learning the craft of filmmaking from the best French directors – Louis Malle<\/b>, Jean-Pierre Melville<\/b>, Alain Resnais<\/b>. His directorial debut Young T\u00f6rless<\/i><\/span>, won him the FIPRESCI Prize at Cannes Films Festival<\/b> in 1966, and his The Tin Drum<\/i><\/span> – Golden Palm<\/b> in 1979 and the before-mentioned Academy Award<\/b>. <\/p>\n He made a number of acclaimed films like The Lost Honor of Katharina Blum<\/i><\/span>, Germany in Autumn<\/i><\/span>, Swann in Love<\/i><\/span>, Death of a Salesman<\/i><\/span>, Homo Faber<\/i><\/span>, The Ogre<\/i><\/span>, The Ninth Day<\/i><\/span>, Strike<\/i><\/span>. While working on these movies he collaborated with many respected cinematographers including Sven Nykvist<\/b>, Michael Ballhaus<\/b>, Jost Vacano<\/b>, Pierre Lhomme<\/b>, Igor Luther<\/b>, Edward Lachman<\/b>, Franz Rath<\/b>, and also some DOPs of the young generation: Andreas H\u00f6fer<\/b>, Tom Erhart<\/b> or Tom F\u00e4hrmann<\/b>. <\/p>\n Almost all his films are adaptations of the world literature. Knowing the political involvement of Volker Schl\u00f6ndorff<\/b> and his then spouse, well known German director Margarethe von Trotta<\/b>, writer Heinrich B\u00f6ll<\/b> encouraged them to bring his novel The Lost Honor of Katharina Blum<\/i> to the screen. First Schl\u00f6ndorff\u2019s<\/b> films were made during so called “new wave”, but the director did not follow the trends and remained faithful to classical patterns of telling a story in a film. He become engaged in bringing literature to the screen and achieved both artistic and commercial success. Although Schl\u00f6ndorff<\/b> creates a fictional world, his films do not lack the autobiographical elements. Each of them bears a trace of director\u2019s life experiences starting from early childhood, growing up and studying in France through political involvement in the 60s. <\/p>\n The time when he lived and worked in France was of particular importance to Schl\u00f6ndorff\u2019s<\/b> filmmaking. On one hand it has shaped his artistic sensitivity and cultural awareness and on the other hand it was in France where he found his own identity. In postwar Germany the recent past was not talked about; in France he was seen as a German, a representative of the nation that gave birth to Nazism. All his works, from Young Torless<\/i><\/span> to The Ninth Day<\/i><\/span> are an attempt to find an answer to a question he was being asked by his schoolmates in the French secondary school after the screening of a film on Holocaust (Night and Fog<\/i><\/span>, dir. A. Resnais<\/b>): “How was it possible”? <\/p>\n A review of the director\u2019s films will be inaugurated at Plus Camerimage Festival<\/b><\/span>. This retrospective is a common undertaking of Tumult Foundation<\/b>, the organizer of the Festival, Goethe-Institut<\/b> in Warsaw and the Polish National Film Archive<\/b>. Goethe-Institut<\/b> and the Polish National Film Archive<\/b> have already presented several profiles of some great German directors but it\u2019s the firs time Schl\u00f6ndorff\u2019s<\/b> films have been presented this way. During the forty years of his professional work in the film he often addressed various important issues from a point of view of both Germans and Poles which has substantially contributed to the German-Polish communication. Volker Schl\u00f6ndorff Retrospective<\/b> will be presented in several Polish cities in 2009 including \u0141\u00f3d\u017a, Warsaw and Lublin and will be accompanied by a catalogue with the in-depth information about all Schl\u00f6ndorff\u2019s films and various essays by film experts. Also this autumn the Polish translation of director\u2019s autobiography Licht, Schatten und Bewegung<\/i> (Light, Shadow and Motion) will be published by Propaganda publishing house. <\/p>\n As a part of the series of books on directors, the Tumult Foundation<\/b>, the organiser of Plus Camerimage Festival<\/b><\/span> will additionally publish an album about the life and work of Volker Schl\u00f6ndorff<\/b>. Untill now the books on Krzysztof Kie\u015blowski, Jerzy Skolimowski, Alan Parker and Ken Loach were issued. The album on this year’s laureate will the next one. <\/p>\n It is worth mentioning that during his visit at Artistic Confrontations organized by TUMULT Foundation in Toru\u0144 in 1991 Volker Schl\u00f6ndorff<\/b> suggested Marek \u017bydowicz<\/b>, that one needs to have an original idea while organizing an international event rather than copy from other 2000 film festivals in the world. This conversation inspired Marek \u017bydowicz<\/b> to create a festival of cinematographers; and that is how the one and only Camerimage Festival<\/b> came into being. <\/p>\n SELECTED FILMOGRAPHY<\/b>: <\/p>\n Photos courtesy of Deutsches Filminstitut, Frankfurt am Main<\/b><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Volker Schl\u00f6ndorffphoto: vs archive At Plus Camerimage 2009, the 17th International Film Festival of the Art of Cinematography a special…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[148],"tags":[],"class_list":["post-9506","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-plus-camerimage-2009"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9506"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=9506"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9506\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=9506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=9506"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=9506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Dustin Hoffman and John Malkovich, Death of a Salesman<\/i><\/p>\n
Volker Schl\u00f6ndorff and Sven Nykvist A Free Woman<\/i><\/p>\n
David Bennent, The Tin Drum<\/i><\/p>\n
The Tin Drum<\/i><\/p>\n
Volker Schl\u00f6ndorff, Jeremy Irons and Ornella Muti, Swann in Love<\/i><\/p>\n
Bruno Ganz and Jerzy Skolimowski, Circle of Deceit<\/i><\/p>\n
John Malkovich, The Ogre <\/i><\/p>\n
The Lost Honor of Katharina Blum<\/i><\/p>\n
Andrzej Chyra, Strike<\/i><\/p>\n
Faye Dunaway and Robert Duvall, The Handmaid’s Tale<\/i><\/p>\n
Legend of Rita<\/i><\/p>\n
Albums on Krzysztof Kie\u015blowski, Jerzy Skolimowski, Alan Parker and Ken Loach<\/p>\n
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