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European cultural history. And we can only wait, at the pinnacle of our technological power, for our last judgment at the edge of the apocalypse…. So that's the way it looks, for all of us, suffocating in unprecedented technological prosperity, without spirit, without meaning... Those who want to have good careers go along with Jews and leftists the race of superior men has been seduced, the land of poets and thinkers has become the fat booty of corruption, of business, of lazy comfort."
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are the pillars that mark the road from East to West. Neither are imaginable without
Jewishness. Their systems are defined by it. The axis USA-Israel guarantees the parameters. That is the way people think now, the way they feel, act and disseminate information. We live in the Jewish epoch of
265:, quotes several of Syberberg's controversial statements. Syberberg described modern German art as "filthy and sick... in praise of cowardice and treason, of criminals, whores, of hate, ugliness, of lies and crimes and all that is unnatural." He also wrote that:
269:"The Jewish interpretation of the world followed upon the Christian, just as the Christian one followed Roman and Greek culture. So now Jewish analyses, images, definitions of art, science, sociology, literature, politics, the information media, dominate.
252:"Whoever joined the Jews and the leftists was successful, and it did not necessarily have anything to do with love, or understanding, or even inclination. How could Jews tolerate that, being that these others only wanted power."
337:
words, 'made himself hard' for the sake of fulfilling his mission to the end. He did not admire this feeling, but he could understand it. Just as he could understand its opposite, the rejection of principles to act
235:, his comments began to scandalize a broad spectrum of writers and critics in Germany and elsewhere. Even Susan Sontag, who had written the introduction to the English translation of the book version of
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244:
231:, particularly from the Left, who were amongst many targets of his criticism in that book. In later essays, although he never presented himself as a conservative or sympathizer with German
315:, and the scourge of woolly thinkers of all political persuasions, is equally opposed to Syberberg and draws similar parallels with the Twenties and Thirties. And like the critic in
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304:, who rationalized his failure by blaming it on a conspiracy of left-wing Jews. Syberberg feels he is an unappreciated genius, and he too blames it on the same forces.
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in north-eastern
Germany, where Syberberg grew up and where he has made attempts to reestablish the central market square as a communal space. The film looks at
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94:, where he in 1956 began studies in literature and art history, completing them the following year. He earned his doctorate in Munich with his thesis on "The
296:
of 1942. In fact, he went on, they are worse, for "now we know that they are caked with blood…. They are not just abstruse nonsense, they are criminal." The
292:, the liberal weekly magazine. Syberberg's views, wrote the critic, were precisely those that led to the book burning in 1933, and prepared the way for the
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286:"It is not for his aesthetics, however, that Syberberg has been attacked, but for his politics. The strongest criticism of his book was published in
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Diedrich
Diederichsen; Peter Cametzky, "Spiritual Reactionaries after German Reunification: Syberberg, Foucalt and Others",
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Filmbuch – Filmästhetik – 10 Jahre
Filmalltag – Meine Trauerarbeit für Bayreuth – Wörterbuch des deutschen Filmkritikers
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Interpretationen zum Drama
Friedrich Dürrenmatts: Zwei Modellinterpretationen zur Wesensdeutung des modernen Dramas
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189:). Winifred Wagner objected to the inclusion in the film of conversations she did not know were being recorded.
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124:. Many commentators, including Syberberg himself, have characterized his work as a cinematic combination of
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A quarter of a century after his last previous film, Syberberg released the three hours long documentary
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Syberberg's work has attracted criticism at least since the publication of the film script of
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Verloren zonsondergangen. Hans Jürgen
Syberberg en het linkse denken over rechts in Duitsland
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Hans Jürgen
Syberberg und das Modell Nossendorf / Räume und Figuren ohne Ort und Zeit
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140:. Well known philosophers and intellectuals have written about his work, including
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in which
Syberberg claimed that he 'could understand' the feeling of the
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critic compared
Syberberg to the young Hitler, the failed art student in
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which he has bought back and restored, but has a secondary residence in
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Vom Unglück und Glück der Kunst in
Deutschland nach dem letzten Kriege
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Vom Unglück und Glück der Kunst in Deutschland nach dem letzten Kriege
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Syberberg is also noted for an acclaimed visual interpretation of the
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Winifried Wagner und die Geschichte des Hauses Wahnfried von 1914–1975
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102:." In 1963 Syberberg began producing documentary films about
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Syberberg currently resides mainly on his family estate in
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On the Fortunes and Misfortunes of Art in Post-War Germany
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864:, Belgrade: Musicological institute SASA, 2020, 121-136,
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Hans Jürgen Syberberg and his Film of Wagner's Parsifal
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Die freudlose Gesellschaft-Notizen aus dem letzten Jahr
319:, he singles out for special censure an interview with
309:"Frank Schirrmacher, the young literary editor of the
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Music in Postsocialism: Three Decades in Retrospect
222:
1353:People from Mecklenburgische Seenplatte (district)
185:(which she had run from 1930 until the end of the
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1028:Theodor Hierneis oder Wie man ehem. Hofkoch wird
52:, whose best known film is his lengthy feature
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729:Ian Buruma, "There's No Place Like Heimat,"
533:. Verlag für moderne Kunst, Nuremberg 2008,
242:In one notorious example Syberberg wrote in
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720:Syberberg, "Vom Ungluck und Gluck", p. 14.
431:Fotografie der 30er Jahre: Eine Anthologie
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996:Scarabea: How Much Land Does a Man Need?
82:. In 1952 and 1953 he created his first
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1368:Best Director German Film Award winners
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774:: CS1 maint: archived copy as title (
433:. Schirmer-Mosel Verlag, Munich 1977,
1358:People from the Province of Pomerania
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733:, Vol. 37, no. 20 (20 December 1990).
219:and the future of local communities.
43:
803:, University Press of America, 2006.
491:. Matthes & Seitz, Munich 1990,
346:
211:in 2023. The film is about the town
48:; born 8 December 1935) is a German
810:, Frederick Ungar Publishing, 1984.
796:, Amsterdam University Press, 2004.
683:"Hans-Jürgen Syberberg, Antisemite"
632:"Hans-Jürgen Syberberg, Antisemite"
606:"Hans-Jürgen Syberberg, Antisemite"
118:For Syberberg, cinema is a form of
13:
1044:The Confessions of Winifred Wagner
896:Hans-Jurgen Syberberg Bibliography
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559:Susan Sontag, "Syberberg's Hitler"
169:, an Englishwoman who had married
163:The Confessions of Winifred Wagner
25:Hans-Jürgen Syberberg in the film
14:
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1020:Ludwig: Requiem for a Virgin King
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503:Der verlorene Auftrag – ein Essay
414:Hans-Jürgen Syberberg filmography
837:, Altstadt-Druck, Rostock 2020,
350:
342:
223:Comments on culture and politics
45:[ˈhansˈjʏʁɡn̩ˈzyːbɐbɛʁk]
1305:Hof International Film Festival
860:), in: M. Milin et al. (eds.):
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110:for Bavarian Radio and others.
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817:, Shaker Verlag, Aachen 2018,
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856:(On Syberberg's installation
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519:. Kronenbitter, Munich 1995,
461:. Hanser Verlag Munich 1981,
447:. Fischer Taschenbuch, 1979,
61:
1311:New German Cinema: A History
1004:Sex-Business: Made in Pasing
7:
1052:Hitler: A Film from Germany
505:. Karolinger, Vienna 1994,
329:man on the railway ramp of
237:Hitler: A Film from Germany
229:Hitler: A Film from Germany
155:In 1975 Syberberg released
86:takes of rehearsals by the
55:Hitler: A Film from Germany
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853:After the End of the World
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475:. Hentrich, Berlin 1988,
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1224:Beate Mainka-Jellinghaus
1194:Rainer Werner Fassbinder
923:Philippe Lacoue-Labarthe
731:New York Review of Books
570:Deleuze, Gilles (1986).
403:, Best Production Design
262:New York Review of Books
150:Philippe Lacoue-Labarthe
988:Romy: Anatomy of a Face
806:Klaus Phillips, et al.
165:), a documentary about
1300:Filmverlag der Autoren
834:Nach dem Ende der Welt
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90:. In 1953 he moved to
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1363:German film directors
1338:Hans-Jürgen Syberberg
1279:Margarethe von Trotta
1274:Hans-Jürgen Syberberg
960:Hans-Jürgen Syberberg
887:Hans-Jürgen Syberberg
808:New German Filmmakers
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41:German pronunciation:
37:Hans-Jürgen Syberberg
24:
1317:Oberhausen Manifesto
1239:Helma Sanders-Brahms
882:Syberberg's Homepage
711:, Vol 62, pp. 65–83.
16:German film director
1264:Franz-Josef Spieker
1076:A Dream, What Else?
909:5 June 2012 at the
813:Petrus H. Nouwens,
473:Kleist, Penthesilea
401:Bavarian Film Award
1249:Volker Schlöndorff
658:"Demminer Gesänge"
531:Film nach dem Film
362:. You can help by
34:
1325:
1324:
1229:Wolfgang Petersen
1199:Peter Fleischmann
1166:New German Cinema
1132:
1131:
898:(via UC Berkeley)
870:978-86-80639-60-4
848:Dalibor Davidović
843:978-3-00-067826-4
829:Dalibor Davidović
823:978-3-8440-5867-3
511:978-3-85418-068-5
439:978-3-921375-14-3
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183:Bayreuth Festival
88:Berliner Ensemble
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756:on 25 March 2009
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142:Susan Sontag
130:epic theatre
128:doctrine of
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92:West Germany
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26:
18:
1343:1935 births
1284:Wim Wenders
1234:Edgar Reitz
1219:Ulli Lommel
1184:Percy Adlon
1012:San Domingo
971:Filmography
693:16 February
642:16 February
616:16 February
408:Filmography
317:Der Spiegel
289:Der Spiegel
233:nationalism
1332:Categories
1259:Haro Senft
1176:filmmakers
1174:Associated
546:References
384:Nossendorf
371:March 2009
338:humanely."
333:, who, in
257:Ian Buruma
138:aesthetics
100:Dürrenmatt
68:Nossendorf
62:Early life
1122:The Ister
1068:Die Nacht
903:The Ister
858:Café Zilm
335:Himmler's
331:Auschwitz
259:, in the
202:in 1982.
175:Siegfried
136:operatic
72:Pomerania
28:The Ister
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