Suchergebnisse

There is little evidence to enable us to reconstruct what it felt like to be a child in the Roman world. We do, however, have ample evidence about the feelings and expectations that adults had for children over the centuries between the end of the Roman republic and late antiquity.Thomas Wiedemann draws on this evidence to describe a range of attitudes towards children in the classical period, identifying three areas where greater individuality was assigned to children: through political office-holding; through education; and, for Christians, through membership of the Church in baptism. These

Given the state sponsorship of film production in Germany, this article examines general mechanisms in the formation of meaning in German filmmaking. With reference to Schimank's framework of agent–structure dynamics and based on a constructivist understanding of the world, the results of 97 expert interviews with screenwriters, directors, producers, distributors, cinema theatre operators, funding representatives and public television editors, as well as document analyses, show that the medium's construction of reality is anything but unconditioned. On the contrary, due to the fundamental role of film funding and public television in the agent constellations intertwined with social structures that shape the film production process in Germany, the medium's key communicators are confronted with expectations that go far beyond economic parameters. More precisely, the article reveals that German filmmaking reflects a political dimension, and expresses hierarchies and constraints that prompt struggles for legitimate meaning and challenge any autonomous practice in the field.

International ausgerichteter Band über Anschlussfähigkeit und Aktualität von Pierre Bourdieu in der Kommunikationswissenschaft. Der Beitrag von Pierre Bourdieu für die Scientific Community der Sozialwissenschaften ist unbestritten und aus dem internationalen Wissenschaftsdiskurs nicht mehr wegzudenken. Auch für die Kommunikationswissenschaft - eine Disziplin, die die mediale und kommunikative Wirklichkeit und ihre sozialen Zusammenhänge analysiert - sind die Denkwerkzeuge des französischen Soziologen für viele (wenn nicht für alle) Fragestellungen unverzichtbar. Was für zahlreiche internatio

With the help of a wide variety of source material, particularly legal documents and inscriptions, some of it made available for the first time in English, this book illustrates the activities associated with the household, demonstrating the different and frequently conflicting roles and moral values expected from its various members: male and female, old and young, freedman and slave

Abstract
Film festivals have become key agents in the movie business, with major competitive festivals enjoying outstanding importance. Based on this assumption, this paper focuses on the example of Germany and asks to what extent the Berlin International Film Festival offers a venue for domestic films, and which types of filmmakers, in particular, benefit from this springboard and gatekeeping mechanism. More precisely, given the diverging interests confronting the Berlinale as a platform for the film community, a quantitative program analysis was conducted of the festival's most significant sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016. The findings demonstrate that even good-faith efforts to strengthen domestic filmmaking in regard to weight and diversity have hardly changed the power structures that underlie the curatorial decision-making process. Respectively, the share of national film productions has been stagnating for many years. Moreover, female and young filmmakers are still broadly underrepresented.

Filmfestivals spielen eine entscheidende Rolle in den Prozessen von Produktion, Distribution, Zirkulation und Rezeption von Filmen und sind dabei mit zahlreichen (Macht-)Interessen konfrontiert. Ausgehend von dieser Annahme fragt der Beitrag am Beispiel der Internationalen Filmfestspiele Berlin, wie unterschiedliche Akteure die Zielsetzungen großer Filmfestivals strukturieren und deren Handeln in eine bestimmte Richtung lenken. Gestützt auf Schimanks Ansatz der Akteur- Struktur-Dynamiken werden dafür die Deutungs-, Erwartungs- und Konstellationsstrukturen untersucht, welche die öffentliche Debatte über die Zukunft von Deutschlands A-Filmfestival im Winter 2017/18 zutage gefördert hat. Die Dokumentenanalyse kommt zu dem Ergebnis, dass zur künftigen Gestaltung der Berlinale zwar Aushandlungen von Zielsetzungen (das Festival als Ort der Filmkunst, aber auch als Marktplatz und internationale Handelsmesse, Informations- und Innovationsbörse, Imageträger für den Medienstandort und Impulsgeber für die Filmwirtschaft) stattfinden, die Politik aber die Handlungsspielräume der übrigen Akteure bestimmt. Zu den Verlierern zählen dabei die nach künstlerischer Autonomie strebenden Filmemacher*innen, deren Lobby kaum Gehör findet. ; This paper is based on the assumption that film festivals play a crucial role in the production, distribution, circulation, and reception processes of movies, but are simultaneously confronted with numerous (power) interests. Using the example of the Berlin International Film Festival the study asks how different agents determine the objectives of major film festivals and push them in a specific direction. Therefore, based on Schimank's agent-structure dynamics, the paper explores the orientation, expectation, and constellation patterns, which came to light during the debate about the future of Germany's major competitive film festival in winter 2017/18. The document analysis reveals that different objectives of the Berlinale are negotiated (the festival as a place of film art, market and international trade fair, information and innovation platform, media location, and stimulus for the film industry). However, policy decisions limit the freedom of all agents. Particularly filmmakers striving for artistic autonomy hardly gain a hearing.