320:: “One should read Böll's book because it has changed through Straub's film. It seems more naked and more serious because now with the last camera movement of the film it always points away from itself to Germany." If the choice of subjects - German post-war themes such as the continuity of fascist-nationalist thought patterns, broken biographies, rearmament - and a certain brittleness in the acting made the first two films typical productions of the time at first glance, the alienating, low-modulation language of the actors, alongside the non-chronological editing technique in
382:, for example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting. You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues. Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions. But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as
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348:. With this film, which had little in common with other West German films of its time, Huillet and Straub entered new stylistic and dramaturgical territory. The sensual center of the film, lacking in conventional film plot, is the music of Johann Sebastian Bach, which is presented here live in front of the camera and partly in original locations - an uncompromising and elaborate appreciation of music in films that Huillet and Straub in the later films
445:, which are determined by live recorded music auf Morgen (1996), each of which broke new ground in integrating music into a film. An equally formative connection existed with the Tuscan town of Buti, which was used primarily as a location for the films based on Cesare Pavese's dialogues with Leuko, as well as with the Teatro Francesco di Bartolo located there, whose ensemble has participated in a total of ten films.
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After Danièle
Huillet's death in 2006, their work became less controversial. Their work received new international recognition in New York, Paris, Madrid, Berlin, London, Lisbon and Tokyo. The retrospectives were preceded by the successful efforts of BELVA-Film (Jean-Marie Straub, Barbara Ulrich) to
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conventions of classical cinema as a set of values finds numerous breaks in the Straub-Huillet cinema. Another point of criticism is the alleged lack of emotion in their films. Lecture as well as gestures and facial expressions of the actors are expressionless, anti-dramatic and deliberately boring.
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What is special about the work of
Huillet and Straub is the often decades-long continuity that they have with many of their employees. They realized most of their work with two cameramen: William Lubtchansky (9 films) and Renato Berta (20 films). The sound engineer Louis Hochet was responsible for
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Despite some positive criticism, their films were and are often met with incomprehension. Especially in the first decades of Straub-Huillet's filmmaking, the accusation of amateurism was often raised against them from this side. A criticism based on the concept of continuity and the narrative
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read a statement written by Straub. It said that as long as there was
American imperialist capitalism, there could never be enough terrorists in the world. The statement caused protests at the festival and in the Italian press. The jury discussed withdrawing the award. Defenders of the
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nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that
Huillet's role in their filmmaking process was secondary. In reality, the two split their work equally, with Straub responsible for
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for a long time and played the title role in Straub and
Huillet's film Othon (1969). The couple's films also found a fan base in the US early on, thanks in large part to the support of arthouse cinema operator
234:. In the mid 1970s, they began producing films in Italy. Increasingly, they began splitting their time between West Germany and Italy, as well as frequently collaborating with French and British producers.
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in 2006. At the festival, Straub and
Huillet were awarded a special prize "for the invention of cinematic language in their entirety." They received late recognition of the film industry by Jury President
117:; 1 May 1936 – 9 October 2006) were a duo of French filmmakers who made two dozen films between 1963 and 2006. Their films are noted for their rigorous, intellectually stimulating style and radical,
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Straub and
Huillet lived together for most of their lives. They had no children. Huillet died of cancer in Cholet on 9 October 2006, aged 70. Straub died on 20 November 2022, at the age of 89.
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All of the films of Straub and
Huillet are based on other works: novels, operas, plays, and less conventional source materials, such as political writings. Their sources include writings by
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The style of all Straub and
Huillet's films is that they always play with political commitment in different ways ("toute révolution est un coup de dés" - based on
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Their film has received positive responses from leading film critics: in
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and the unconventional handling of the literary templates by Heinrich Böll, also instilled among colleagues an incomprehension and rejection. At the
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held the first digital Straub-Huillet retrospective, showcasing new restorations of fifteen of their films, including Straub's final feature film
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Straub-Huillet's cinema point out that Straub's private, polemical statements should not influence the appreciation of the cinematic work.
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The Art of Seeing, the Art of Listening: The Politics of Representation in the Work of Jean-Marie Straub and Daniele Huillet
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was very tedious. The struggle for funding lasted for ten years, until 1967. In 1968, they also made a short film starring
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Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag)
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in 1965, the first two films were rejected by the selection juries and only shown in special events. The third film,
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Les Yeux ne veulent pas en tout temps se fermer, ou Peut-être qu'un jour Rome se permettra de choisir à son tour
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1214:'The Invention of Place: Danièle Huillet and Jean-Marie Straub's Moses and Aaron.' (2006) by
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Huillet and Straub often paid tribute to friends and colleagues, such as the filmmakers
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472:(Jean-Marie Straub and Danièle Huillet working on a film based on Franz Kafka's novel
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the sound recordings for 15 of her films between 1967 and 1998, including the films
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Landscapes of Resistance: The German Films of Daniele Huillet and Jean-Marie Straub
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politics. While both were French, they worked mostly in Germany and Italy.
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Danièle Huillet et Jean-Marie Straub « objectivistes » en cinéma
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In: M.Lefebvre (Ed.): Landscape and Film, London & New York: Routledge
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1099:"Sick of Popcorn Movies? Straub-Huillet Retrospective Offers an Antidote"
1072:"Once It Was Fire: Introduction to a Straub-Huillet Retrospective (1982)"
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story and their first collaboration. Their next film, the 55-minute
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From January 2019 through September 2020, the streaming service
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Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht
1234:, FilmmuseumSynemaPublikationen Vol. 26, Vienna 2016,
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They did not make a full-length feature until 1968's
1224:(2009), by Benoît Tuquety, Lausanne, L’Âge d’homme.
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2002:
850:. They Shoot Pictures, Don't They. February 2016
133:(1999) are among the duo's best regarded works.
657:Der Bräutigam, die Komödiantin und der Zuhälter
193:. Straub spent his first few years researching
189:so that Straub could avoid military service in
906:. University of California Press. p. 79.
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169:. He also worked in Paris as an assistant to
967:: CS1 maint: multiple names: authors list (
873:. London: Cassell Illustrated. p. 367.
758:Paul Cézanne im Gespräch mit Joachim Gasquet
344:, Enno Patalas and the influential magazine
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590:The last joint-film by Straub and Huillet,
149:community at the time. He was friends with
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304:, which was loudly announced in the 1962
104:; 8 January 1933 — 20 November 2022) and
80:Learn how and when to remove this message
27:Duo of French filmmakers active 1963–2006
1175:"A Straub-Huillet Companion: "Sicilia!""
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1020:"Le cinéaste Jean-Marie Straub est mort"
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798:Il Ritorno del figlio prodigo - Umiliati
612:restore and digitize their entire work.
232:The Bridegroom, the Actress and the Pimp
43:This article includes a list of general
1232:Jean-Marie Straub & Danièle Huillet
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2003:
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1325:Jean-Marie Straub and Danièle Huillet
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679:Begleitmusik zu einer Lichtspielscene
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1344:The Chronicle of Anna Magdalena Bach
1276:Too Early, Too Late - by Serge Daney
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869:Schneider, Steven Jay, ed. (2007).
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153:and contributed to his publication
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935:M., Wiles, Mary (1 January 2012).
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848:"1,000 Greatest Films (Full List)"
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330:Berlin International Film Festival
49:it lacks sufficient corresponding
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1365:From the Clouds to the Resistance
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677:Einleitung zu Arnold Schoenbergs
485:Where Does Your Hidden Smile Lie?
421:Where Does Your Hidden Smile Lie?
124:From the Clouds to the Resistance
1149:"A Straub-Huillet Retrospective"
939:. University of Illinois Press.
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356:(1996), both based on operas by
223:Chronicle of Anna Magdalena Bach
217:Chronicle of Anna Magdalena Bach
201:, an 18-minute short based on a
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2036:French people of German descent
1978:Hof International Film Festival
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650:Chronik der Anna Magdalena Bach
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334:Chronik der Anna Magdalena Bach
283:. Many of their films, such as
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1281:Portrait de groupe avec Straub
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185:. The pair later emigrated to
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464:or their long-time cameraman
415:. This method can be seen in
1984:New German Cinema: A History
1097:Hoberman, Jim (3 May 2016).
1022:. Le Monde. 20 November 2022
987:"Danièle Huillet - Obituary"
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1867:Rainer Werner Fassbinder
902:Toubiana, Serge (2000).
818:(2006) (TV) (uncredited)
816:Europa 2005 - 27 octobre
550:, who also directed the
292:Since their first films
228:Rainer Werner Fassbinder
141:Straub, who was born in
1646:Jacques Doniol-Valcroze
1393:The Death of Empedocles
64:more precise citations.
1973:Filmverlag der Autoren
1777:Cinémathèque Française
1718:Last Year at Marienbad
1624:Theoretical influences
1211:(2004) by Ursula Boser
743:Der Tod des Empedokles
354:From Today to Tomorrow
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2066:French film producers
2056:French film directors
1952:Margarethe von Trotta
1947:Hans-Jürgen Syberberg
1070:Rosenbaum, Jonathan.
265:; letters written by
1990:Oberhausen Manifesto
1912:Helma Sanders-Brahms
1656:Joseph-Marie Lo Duca
1595:Jean-Pierre Melville
1205:(1995) by Barton Byg
1078:. Jonathan Rosenbaum
804:Une visite au Louvre
777:Von heute auf morgen
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596:Venice Film Festival
552:Pesaro film festival
306:Oberhausen Manifesto
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1937:Franz-Josef Spieker
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1537:Alain Robbe-Grillet
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871:501 Movie Directors
731:Klassenverhältnisse
532:Bernard Eisenschitz
286:Klassenverhältnisse
1922:Volker Schlöndorff
1791:(2010 documentary)
1379:Too Early/Too Late
1323:Films directed by
1049:sensesofcinema.com
991:The New York Times
810:Quei loro incontri
734:(also released as
723:Trop tot/trop tard
592:Quei loro incontri
561:Jonathan Rosenbaum
454:Frans van de Staak
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1872:Peter Fleischmann
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1678:Le Coup du Berger
1560:Philippe de Broca
1494:François Truffaut
1465:Cahiers du Cinéma
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1414:Dialogue d'ombres
1261:Jean-Marie Straub
1252:Jean-Marie Straub
1240:978-3-901644-64-1
1076:JonathanRosenbaum
823:Dialogue d'ombres
792:Operai, contadini
601:Catherine Deneuve
520:Cahiers du Cinéma
358:Arnold Schoenberg
271:Wassily Kandinsky
263:Arnold Schoenberg
241:Style and content
165:on the 1956 film
157:Cahiers du Cinéma
151:Francois Truffaut
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499:
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439:Moses and Aron
409:pre-production
395:
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380:Bertolt Brecht
369:Moses and Aron
350:Moses and Aron
322:Not Reconciled
298:Not Reconciled
259:Bertolt Brecht
255:Elio Vittorini
242:
239:
208:Not Reconciled
179:Robert Bresson
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114:[ɥijɛ]
88:
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504:Helmut Färber
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450:Peter Nestler
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405:mise en scène
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394:Collaboration
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342:Heinrich Böll
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294:Machorka-Muff
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203:Heinrich Böll
200:
199:Machorka-Muff
196:
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184:
180:
176:
172:
168:
167:A Fool's Mate
164:
159:
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1565:Jacques Demy
1527:Chris Marker
1522:Armand Gatti
1464:
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694:Fortini/Cani
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676:
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662:
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640:
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620:
614:
610:
591:
589:
585:
569:Richard Roud
567:and curator
548:Adriano Aprá
501:
489:
483:
473:
466:Renato Berta
458:Holger Meins
447:
442:
438:
434:
431:
424:
420:
411:, texts and
404:
397:
377:
373:Holger Meins
368:
362:
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349:
333:
321:
317:
316:wrote about
314:Enno Patalas
310:Frieda Grafe
297:
293:
291:
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278:
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231:
221:
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213:
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187:West Germany
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70:January 2016
67:
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2026:2022 deaths
2021:2006 deaths
2016:1936 births
2011:1933 births
1957:Wim Wenders
1907:Edgar Reitz
1892:Ulli Lommel
1857:Percy Adlon
1636:André Bazin
1615:Roger Vadim
1600:Luc Moullet
1590:Louis Malle
1585:Pierre Kast
1542:Agnès Varda
1512:Henri Colpi
1484:Éric Rohmer
1288:(in French)
1026:20 November
770:Lothringen!
629:Filmography
622:Kommunisten
573:Pedro Costa
565:J. Hoberman
544:Filmcritica
528:Serge Daney
510:, later by
480:Pedro Costa
441:(1974) and
417:Pedro Costa
400:extroverted
352:(1974) and
296:(1962) and
251:Franz Kafka
175:Jean Renoir
127:(1979) and
62:introducing
2005:Categories
1932:Haro Senft
1849:filmmakers
1847:Associated
1710:Breathless
1661:Jean Rouch
913:0520225244
889:1347156402
831:References
557:Dan Talbot
413:rehearsals
346:Filmkritik
280:Europa '51
171:Abel Gance
110:pronounced
45:references
1765:Auteurism
1670:Key films
1504:Left Bank
1467:Directors
1400:Black Sin
1228:Ted Fendt
1128:KINOSLANG
999:0362-4331
963:cite book
955:929407638
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498:Reception
494:, 2007).
478:, 1983),
443:Von heute
437:(1967),
388:John Ford
275:J.S. Bach
147:cinephile
137:Biography
119:communist
1782:Jump cut
1742:La Jetée
1407:Sicilia!
854:20 March
785:Sicilia!
738:) (1984)
426:Sicilia!
365:Mallarmé
130:Sicilia!
1966:Related
1753:Related
1230:(Ed.),
1055:9 March
1004:9 March
475:Amerika
191:Algeria
97:French:
58:improve
1745:(1962)
1737:(1962)
1729:(1962)
1721:(1961)
1713:(1960)
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1697:(1959)
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1681:(1956)
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690:(1975)
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653:(1968)
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273:, and
47:, but
1285:Vidéo
1256:IMDb
1236:ISBN
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1179:MUBI
1160:2021
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1057:2017
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995:ISSN
969:link
951:OCLC
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885:OCLC
875:ISBN
856:2016
617:MUBI
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