James Potter, Ph.D., Prof., University of California at Santa Barbara (USA). Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St-Petersburg State University (Russia).Īlexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia). Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia). Nikolai Khilko, Ph.D., Omsk State University (Russia). Tessa Jolls, President and CEO, Center for Media Literacy (USA). Valery Gura, Ph.D., Prof., independent researcher (Russia). Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia). Larissa Bazhenova, Ph.D., former head of screen arts department of Russian Academy of Education, Moscow (Russia).Įlena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia).ĭavid Buckingham, Ph.D., Prof., Loughborough University (United Kingdom).Įmma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain).Īlexei Demidov, head of ICO “Information for All”, Moscow (Russia). Kassel University (Germany), Honorary Prof. E-mail: board:Īlexander Fedorov (Editor), Prof., Ed.D., Rostov State University of Economics (Russia).īen Bachmair, Ph.D., Prof. Resource portal UN Alliance of Civilizations Media Literacy Education Clearinghouse: įounders: UNESCO Moscow Office, Russian Association for Film and Media Education,Īnton Chekhov Taganrog Institute, ICO “Information for All”.Īrticles for this journal publication are accepted via e-mail only. MIAR: Information Matrix for the Analysis of Journals (IF 7.5). Thomson Reuters Master Journal List: MEDIAOBRAZOVANIE-MEDIA EDUCATIONĮuropean Reference Index for the Humanities Web of Science – Emerging Sources Citation Index (ESCI): Frequency - 4 issues per year (Quarterly) In this pioneering volume, Hillman enriches our understanding of the powerful effects of music in cinema and the aesthetic and dramatic concerns of postwar German filmmakers.įounded 2005. Classical music conditioned the responses of German audiences and was, in turn, reinterpreted in new cinematic contexts. Through this music their films could reference and, in some cases, explore an embedded cultural tradition that included German nationalism and the rise of Nazism, especially during a period when German films were gaining international attention for the first time since the 1920s. By integrating the music of Beethoven, Mahler, and others into their films, directors such as Fassbinder, Kluge, and Syberberg consciously called attention to its cultural significance. Vielleicht war ich auch gerade in gütlicher Stimmung.“Hillman’s groundbreaking study enables both serious and casual film students to approach these works with sharpened vision and improved hearing.” -Klaus Phillips, Hollins University Unsettling Scores: German Film, Music, and Ideology examines the use of classical music in film, particularly in the New German Cinema of the 1970s and early 80s. War okay, hochstehende Güte sollte man aber nicht erwarten. Grosse Highlights sind rar, aber irgendwie ist man immer passabel unterhalten. Sie verleiht der flache Figur schon eine gewisse Aura und hievt den Film im Alleingang in akzeptable Spähren. Irgendwie verzeiht man ihm dadurch ein Stück weit seine Missgeschicke. Die Zeit ist dabei ziemlich rasant vergangen, die Runtime angenehm. Dennoch muss ich zugeben, dass der Film doch auch Spass gemacht hat. Hirnrissige Wendungen, vorhersehbare Handlung die wenig Klischees auslässt, Stars im Cashgrab Modus, platte Figuren…hier gibt’s viel das mich beim Sehen mehr oder weniger gestört hat. Am Schluss verblüfft Unlocked ganz unerwartet, in dem er gleich beide Optionen gleichzeitig auftischt.

Krass! Bei einer Figur, die ich aus Spoilergründen nicht nennen möchte, wusste ich sofort: Das kann nur auf eine von zwei Möglichkeiten hinauslaufen.

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