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Margarethe von Trotta

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Margarethe von Trotta

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Margarthe von Trotta (born 1942) is largely regarded as Germany's foremost female filmmaker. Associated with the movement known as the New German Cinema, which also includes directors Werner Herzog, Rainer Werner Fassbinder, Wim Wendersand von Trotta's former husband Volker Schlöndorff, von Trotta's films typically center on complex female characters and explore feminist themes. She tends to favor emotional impact over straight narrative and often employs dream - and fantasy - like elements in her work.

Von Trotta was born on February 21, 1942, in Berlin, Germany, which was then part of the Federal Republic of West Germany. Her father, an artist, died when she was quite young, leaving von Trotta and her mother, a Russian aristocrat, with little money. Von Trotta attended trade school and worked briefly as a secretary in Germany before relocating to Paris, where she worked as an au pair and regularly visited the city's Cinématèque, where she met several directors, attended film - related discussions, and participated in a number of film collectives. Soon, she began collaborating on scripts and co - directing short films. In the early 1960s, von Trotta returned to West Germany and commenced university studies. She then enrolled in acting school in Munich. "I wanted to direct films - and then again not," she is quoted as saying in an essay by Christian - Albrecht Gollub in The New German Filmmakers. "I didn't have a role model. At that time, in the early 1960s, there weren't any female directors in the Federal Republic. So I became an actress." She married in 1964 and had a son.

Turned to Filmmaking

Von Trotta acted in the theater and on television and also landed roles in Fassbinder's Gods of the Plague and The American Soldier as well as films by Franz - Josef Spieker, Klaus Lemke, Claude Chabrol, Herbert Achternbusch, and Schlöndorff, among others. She often worked with minimal direction, developing her characters according to her own intuition. In 1969, she and Schlöndorff began collaborating on the script for his film The Sudden Wealth of the Poor People of Kombach, based on the true story of the capture, trial, and execution of a group of peasants who robbed a tax collector in the 1820s. During this time, von Trotta divorced her husband and married Schlöndorff. A custody battle for her son ensued and became the basis for her next collaboration with Schlöndorff, A Free Woman. Von Trotta co - wrote the script and played the lead role, earning a number of acting awards for her performance. The film adopted a decidedly feminist slant, depicting the difficulties of a single mother in her thirties trying to start a career and gain custody of her son in a male - dominated society.

Von Trotta made her directorial debut in 1975 with The Lost Honor of Katharina Blum, also a collaboration with Schlöndorff. The film is based on the semi - autobiographical work of German author Heinrich Böll. In 1971, Böll spoke out against a sensationalized tabloid account of a bank robbery in Germany committed by the infamous Baader - Meinhoff terrorist group. Böll was quickly labeled by the authorities as an accomplice to the group and the police searched his house. Following this episode, Böll wrote a novel centering on a young housekeeper wrongly labeled as a terrorist by a tabloid newspaper. He sent the proofs of his novel to von Trotta and Schlöndorff, who were, at the time, working on an adaptation of his Group Portrait with Lady. The couple decided to switch their attention to Böll's newer work. While many critics thought the film overly slick and stereotypical, The Lost Honor of Katarina Blum became the most successful German film of the mid - 1970s and earned von Trotta and Schlöndorff international recognition.

Von Trotta's final collaboration with Schlöndorff was an adaptation of Marguerite Yourcenar's 1939 novel Coup de Grâce. She served as co - scriptwriter and lead actress in the production, which centers on an aristocrat who becomes involved in both a convoluted love affair and revolutionary politics. Following this project, von Trotta and Schlöndorff worked independently. The couple later divorced.

Pursued Independent Career

Von Trotta continued to focus on complex female characters and the barriers posed by a male - dominated society. "I prefer the so - called private topics, problems of living together," she remarked, as quoted in The New German Filmmakers. "How do women try to get out of restricting situations." The Second Awakening of Christa Klages, directed by von Trotta and written in collaboration with Luisa Francia, centers on the true story of a Munich kindergarten teacher who robbed a bank to fund an alternative day - care center. The film was released in 1977. It was noted in The New German Filmmakers that von Trotta's preference for an emotionally driven plot focusing on the evolution of characters emerged in this film. "Unlike Schlöndorff, who begins with a story on which actors are imposed, von Trotta begins with fully conceived characters and asks herself, 'What could happen to them? In what relationship do they stand to one another, to their environment? What conflicts do they live?' "

Von Trotta's next film, Sisters or the Balance of Happiness, released in 1979, explores the relationship of two sisters: Maria, a hardworking secretary with controlling tendencies who supports her younger sibling, and Anna, a biology student given to episodes of depression. When Maria begins an affair with her boss's son, Anna flies into a rage and then commits suicide. After her sister's death, Maria befriends Miriam, a typist, who becomes her roommate and a surrogate for Anna. "In The Second Awakening of Christa Klages, I showed the possibilities for clarity and friendship between women," von Trotta told the New York Times, after the American release of Sisters. "But for my second film, I had to go a step further. We are contradictory and we are living in a society which is not Utopia." Again, von Trotta favored emotional impact over a straight - ahead narrative. "The main emphasis is less in the story than in the emotional flow running through the story, and this may well be a particularly female mode of expression," she told the New York Times. Soon after the release of the film in Germany, and following the death of her mother, von Trotta discovered she had a sister of her own. After the airing of a documentary about her on German television in which she mentioned her mother, von Trotta was contacted by a woman who turned out to be her sister, born 15 years before von Trotta and given up for adoption. Von Trotta's middle name is Anna and, she discovered, her sister's is Maria.

Von Trotta revisited the theme of sisters, and again drew on the troubling legacy of the Baader - Meinhoff group, in her 1981 film, Marianne and Juliane. The title characters, who are sisters, are both concerned with political reform, but Juliane pursues change through journalism and activism, Marianne through terrorism. When Marianne is arrested and dies in prison. Juliane abandons her career to raise Juliane's son and uncover the true circumstances surrounding her death, which is suspected to have been a suicide. The character of Marianne is based on Gudrun Ensslin, a member of the Baader - Meinhoff gang, and Juliane is based on Ensslin's sister Christiane, to whom the film is dedicated. The film earned the Golden Lion prize at the Venice Film Festival in 1981.

Focused on Women, Historical Themes

Von Trotta's next film, Sheer Madness, released in 1983, centers on the friendship between Olga, a feminist professor, and Ruth, a depressed female artist, as well as on Ruth's husband and his inconsolable jealousy over the women's relationship. Sheer Madness was followed in 1986 by Rosa Luxemburg, a relatively straightforward biography of the radical socialist and her activities during and leading up to World War I. The Long Silence, released in 1993, tells the story of a gynecologist's wife who continues her husband's work exposing government corruption following his murder. The Promise, released in 1995, centers on two lovers separated for almost three decades on either side of the Berlin Wall until the fall of the wall and the reunification of Germany in 1989.

Following The Promise, von Trotta spent almost a decade writing and directing films for German television. In 2004, she released Rosenstrasse, a World War II - era drama co - written with Pamela Katz. The film, based on actual events, centers on a non - Jewish woman who participated in a nine - day silent protest outside an office building on Berlin's Rossenstrasse in order to prevent Nazi officers from deporting her Jewish husband and several others, who remained inside. The film marked a turning point in German cinema, which had long shied away from themes related to noble actions of Germans during the Holocaust. "Along with its dramatization of a little - known moment of protest against the Nazi regime, Rosenstrasse also joins other recent German films - most prominently, Aimee and Jaguar - in rediscovering the Jewish role in German culture and the intertwined private lives of Gentiles and Jews before and during the Holocaust," wrote Robert Sklar in Cineaste in 2004. "For a long time, you couldn't even think of making a film about Germans who saved Jews," von Trotta told the Financial Times in 2004. "It would have been unseemly after so many cruelties. But now the time has come when we can also speak about these other people, to show that this was possible, and that much more could have been done." The film debuted in the United States in November 2003 as part of a Kino film festival retrospective of von Trotta's work.

While a small controversy arose in Germany over the historical accuracy of the film, von Trotta stated that her aim was to remain true to the numerous accounts she collected in her interviews with witnesses to the protests. "[I]t's important for me not to take the position of a historian saying, this was the way it happened," she told Cineaste in 2004. "There are historians who say, never trust an eyewitness. But for me people are more important than documents. People make me cry and touch me when they tell their stories. There's a jump from being interested to being involved. As a filmmaker you have to be moved." Von Trotta and Katz collaborated again on The Other Woman, a television film which later received limited theater distribution. The film centers on women recruited as spies for East Germany. "Her fascination with how political structures affect relationships, especially between women, is given an ideal frame in this fact - based tale of an East German Romeo sent to the West to recruit women as spies," wrote Jay Weissberg in Variety.

Von Trotta told the Financial Times in 2004 that her personal situation inspired the social criticism in her work as well as her interest in national historical events. "I was stateless as a child," she said. "My mother, who was not married when I was born, was an aristocrat, born in Moscow. Her family had to flee after the Russian Revolution and, because their roots were German, they came to Germany. But my mother, until her death, never accepted the German nationality. So on the one hand, being born in Berlin, I feel like a German. But on the other hand I've always been able to stand back and look detachedly at German society - because of having felt isolated and not totally accepted."

Books

Phillips, Klaus, New German Filmmakers: from Oberhausen through the 1970s, Frederick Ungar Publishing, 1984.

Women Filmmakers and Their Films, St. James Press, 1998.

Periodicals

Cineaste, Spring, 2004.

Detroit News, May 13, 2003.

The Financial Times, August 14, 2004.

New York Times, January 31, 1982.

Variety, June 28, 2004.

Online

Margarethe von Trotta, Contemporary Authors Online,http://galenet.galegroup.com (December 5, 2004).

AMG AllMovie Guide:

Margarethe von Trotta

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Biography

Margarethe von Trotta is a prominent director in the New German Cinema movement; she is also one of Germany's best known and most successful female directors. She began her cinematic career while working in Paris where she participated in several film collectives. After returning to Germany, she studied acting and went on to become a successful, acclaimed screen and television actress in the late '60s and '70s. She made her directorial debut in collaboration with Volker Schloendorff, her husband, with Die Verloren Ehre der Katherina Blum (1975). She then directed her own films, including Das zweite Erwachen der Christa Klages (1978) a film based on the true story of a Munich teacher who robbed a bank to help support her alternative daycare center; it was one of the first films to address the issue of terrorism in West Germany. ~ Sandra Brennan, Rovi
Wikipedia on Answers.com:

Margarethe von Trotta

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Margarethe von Trotta

Trotta in 2007
Born (1942-02-21) 21 February 1942 (age 70)
Berlin, Germany
Occupation Film director, screenwriter, actress
Years active 1968 - present
Spouse (First Husband) 1964-1968 (one son)
Volker Schlöndorff 1971-1991

Margarethe von Trotta (born 21 February 1942, Berlin) is a German female film director and a "leading force" [1] of the New German Cinema movement.[2]She is regarded as “the world’s leading feminist filmmaker.”[3] Her films are more concerned with “feminine aesthetics” than with an upfront exploration of “political action” like that of her fellow German female filmmakers. [4] The connections between females within her work all have a serious tone that seems to be a bit “tortured.” [5] But, she rejects the term “women’s films” to label her work. [6] Many of von Trotta’s full-length films have been matched up to Ingmar Bergman’s features from the 1960s and 70s, which is no small feat. [7] She claims that, thanks to seeing Bergman’s work, she “ ‘fell in love’ with the medium and its possibilities for representing inner psychic worlds.” [7] On top of that, she boasts an impressive body of work that has won her awards all over the world in the last forty years. [1]

She was married to and collaborated with director Volker Schlöndorff. Although they made a great team in the filmic realm, von Trotta felt she was seen as secondary to Schlöndorff. [8] These feelings led to von Trotta making a solo career for herself and becoming “Germany’s foremost female film director, who has offered the most sustained and successful female variant of Autorenkino in postwar German film history.” [4] The predominant theme of von Trotta’s films is to create a new representation for females. [9]

Contents

Early Life

The child of Elisabeth von Trotta and painter Alfred Roloff, she relocated to Paris in the 1960s, where she worked for film collectives, collaborating on scripts and co-directing short films.

In her early career, von Trotta was an actress, appearing in notable films of directors Rainer Werner Fassbinder and Volker Schlöndorff. In one of many interviews, von Trotta said: "I came from Germany before the New Wave, so we had all these silly movies. Cinema for me was entertainment, but it was not art. When I came to Paris, I saw several films of Ingmar Bergman, and all of the sudden I understood what cinema could be. I saw the films of Alfred Hitchcock and the French Nouvelle Vague. I stood there and said, ‘that is what I’d like to do with my life.’ But that was 1962, and you couldn’t think that a woman could be a director. In a way, as an unconscious act, I started acting and when the New German films started, I tried to get in through acting." [3] Through her acting career, von Trotta was able to create an initial name for herself before becoming a director. [3]

Career

Her first input on a film, before making a solo-career out of it, was on Volker Schlöndorff’s The Sudden Wealth of the Poor People of Kombach (1971), which she also acted in. In 1975, they proceeded to co-write and co-direct The Lost Honor of Katharina Blum, which was based off of an adaptation of Heinrich Bölls novel that dealt with “political repression in the Federal Republic.” [10] Within this first film of von Trotta’s, one can see the conflict “between the personal and the public” that resonates throughout her early film career. [4] The female characters within the story must occupy suffocating spaces that von Trotta uses to represent the confinement that women are subjected to in a world run by men. [4] Von Trotta was in charge of supervising the performance aspect while Schlöndorff dealt with the film’s mechanics. As a director, he was not considered to be very audacious, while von Trotta’s strong suit was in how she directed the film’s actors “through whom she creates her story.” Therefore, the two were able to complement each other. Their film was considered to be “the most successful German film of the mid-1970s.” The couple collaborated on one more film, Coup de Grâce (1976), where von Trotta helped to write but not direct the work, before von Trotta branched off into her own career. [6]

Trotta’s first solo film was Das zweite Erwachen der Christa Klages, or The Second Awakening of Christa Klages (1977), which focused on “a young woman’s political radicalization.” [10] This film presented multiple subjects that Trotta’s films would be known for in the future: “female bonding, sisterhood, and the uses and effects of violence.” [11] The film’s script used real-life information about the seizure of school teacher Margit Czenki from Munich. [6]

THE SISTER FILMS

Margarethe von Trotta’s second feature film was Sisters, or The Balance of Happiness (Schwestern oder die Balance des Glücks, 1979). Unintentionally, she created a “trilogy of sister films” with her proceeding works: Marianne and Juliane (Die Bleierne Zeit, 1981) and Three Sisters (Paura e amore, 1988). [7] Barbara Quart, author of the book Women Directors, commented on the three works: “It is the quest for wholeness that is the preoccupation of von Trotta’s entire sister series.”[7] The females within these films are born into a traditional time (late 1940s and 50s), but they reject the positions that society has established for women. [7] As well, the topic of suicide plays an important role in the first two films and how the live sister connects to the dead one. [12] These three films investigate sisterhood and their bonds within a world that is falling apart all around them; this matter places von Trotta’s work into New German Cinema. [7]

Sisters, or The Balance of Happiness (1979) delves into bonds, both physically and mentally, between sisters Maria and Anna, along with a third party. [7] The siblings are close before Anna commits suicide, but hidden behind her facial expressions is a desire to escape this feeling of frustration between following what she wants and what Maria asks of her. [12] Maria faces post suicide trauma, coping with her devastation by transplanting the memory of her sister onto her co-worker, Miriam. This ultimately leads Maria to deal with her inner issues so she can try to move on with her life in a peaceful manner. [7] This film garnered the Grand Prix Award at Créteil International Women's Film Festival in 1981. [13]

Marianne and Juliane (1981) also deals with losing a sister and learning how to handle the grief. [7] Marianne and Juliane grow much closer after Marianne is put behind bars for her radical, terrorist activities. After unexpected news of Marianne’s death, Juliane becomes obsessed with finding out the truth behind the supposed suicide, which she doesn’t believe to be true.[12] The characters are based off the real-life Christiane and Gudrun Ensslin, which made “feminist critics” give extra notice to this work in comparison to all other films that von Trotta has done. Critics question the way von Trotta structured the plot and why she positioned it from that of Christiane’s character, Juliane, instead of from Gudrun (Marianne). The film is characterized by the use of multiple flashback sequences, jumping between present day to childhood and everywhere in between, breaking any chance of a linear structure. [8]

A theme within Marianne and Juliane that von Trotta uses throughout her works is that of “the personal is political.” [5] In Marianne’s jail cell, the sisters come to terms with “their personal and political differences.” [5] One take on this theme is that Marianne’s personal past has fostered her political, terrorist present. In the story’s present day, her political actions effect her personal life: she is sentenced to prison and passes away in her cell, her husband takes his own life, and her son is put in danger. [5] Not surprisingly, this film was the subject of much debate from conservatives who believed that Marianne’s character as a terrorist was given too much understanding. [14] This film won the AGIS Award, FIPRESCI Prize, Golden Lion Award, New Cinema Award, and OCIC Award at the Venice Film Festival in 1981, along with a few more listed in the awards section.[13] Von Trotta winning the Golden Lion was a true achievement for women in film, for an honor of this stature had not been awarded to a female director since Leni Reifenstahl received “the Mussonlini Cup” in 1938 for Olympia. [15]

Paura e amore (1988), von Trotta’s sixth feature-length film, focuses on a set of three sisters—Olga, Masha, and Irina. It is through these females that von Trotta is able to present her opinions concerning the stature of females in society and the traditional politics of the time that play a role in shaping their lives. Once again, this film deals with sisters who yearn for significance in all aspects of their lives (Rueschmann, 168). Their constant quest for love is the way they cope with the unfavorable aspects of life. Compared to the other two preceding films in the “sister series,” Paura e amore contains key melodramatic elements that focus on one’s feelings and anguish. It does not address politics as heavily as the other films, but more on von Trotta’s take of the distinction between men and women in society.[7] This film was nominated for the Palme d’Or Award at the Cannes Film Festival in 1988. [13]

SHEER MADNESS

Sheer Madness (Heller Wahn, 1983), one of von Trotta’s popular feature films, also uses suicide as an important part of the storyline. An analysis on the film given by authors Susan Linville and Kent Casper reads: “suicidal states of mind may stem not from negative distortions of external reality, but from an accurate assessment of the way things are.”[12] Within this story, once again, women’s feelings are investigated through the friendship between two females, Lina and Olga.[4] This film gave the impression that, supposedly, von Trotta was a “man-hater.”[12] Von Trotta won the OCIC Award-Honorable Mention at the Berlin International Film Festival in the Forum of New Cinema for Sheer Madness in 1983. This film was also nominated for the Golden Berlin Bear at the Berlin International Film Festival in the same year.[13]

ROSA LUXEMBURG

Von Trotta’s film Rosa Luxemburg (1986) presents a biographical piece about an important individual who affected “the history of European socialism.” [16] Barbara Sukowa, who stars in several of von Trotta’s films, put on a great performance, capturing the Best Actress honors at Cannes in 1986 for her delivery of the main role. Through her cinematic vision, von Trotta returns to the theme of “the political and the personal,” giving fair attention to both Rosa Luxemburg’s personal life as a female in society and her political life as a “public revolutionary.”[16] Rosa Luxemburg was nominated for the Palme d’Or at Cannes Film Festival in 1986. This film won the Guild Film Award-Gold at the Guild of German Art House Cinemas in German Film in 1987. [13]

TELEVISION

The common problem that filmmakers run into is budget issues and where they get their funds; during the mid-eighties, many films went under due to money cuts by the “German subvention system.” Several of von Trotta’s fellow German female filmmakers took the safe route and went into the education field in media. But not Margarethe von Trotta—to stay in the game, she accepted proposals for TV pieces, even if it meant losing a bit of her artistic allowances. [9] Her first piece for television was Winterkind (1997), which was the first time she did not compose the screenplay for a work she was directing. She followed this with three more TV films: Mit fünfzig küssen Männer anders (1997), Dunke Tage (1997), and Jahrestage (2000). Through her experience of working in television, von Trotta learned how to try to hold on to her stamp as an “independent filmmaker” in terms of keeping her artistic approach. [9]

ROSENSTRASSE

Looking forward to some of von Trotta’s more contemporary films, this same idea of female bonds and their emotions is still center stage, such as in her piece from 2003, Rosenstrasse. The film uses melodramatic elements, like in Paura e amore (1988), to express the emotions of the characters. The difference here is that Rosenstrasse is a “maternal melodrama.” [4] There are three overlapping familial connections involving “mother-daughter relationships” within the story: “the bond between Hannah, a first-generation Jewish American, and her mother Ruth”; “the…mother-daughter bond between Ruth and her Jewish mother Miriam”; “and…the central relationship between surrogate mother Lena von Eschenbach/Fisher and Ruth.”[4] In this, the definition of a mother is stretched from the “biological” standpoint to the “symbolic.” [4]

VISION

The film Vision (2009) chronicles the true tale of Hildegard von Bingen, a nun who stands for another one of von Trotta’s strong female protagonists who fights the patriarchal society of the church by foregoing the established rules of conduct and, upon learning one of her fellow sisters is with child, asking for a different area for the nuns to call their own. In an interview between von Trotta and Damon Smith from Filmmaker Magazine, von Trotta explains her choice for the subject of her film: “When I’m searching for a woman in the very distant past, I look for a woman who is in a way near to my own vision…I am always attracted by a woman who has to fight for her own life and her own reality, who has to get out of a certain situation of imprisonment, to free [herself]. That is perhaps the main theme in all my films.”[15]


Again, a deep female bond is witnessed in this story, just like the rest of von Trotta’s films, between Hildegard and a young nun, Richardis. Continuing with the interview, von Trotta says, “It’s not a lesbian love! At one point she [Hildegard] says, ‘She is my mother and I’m her mother, I’m her daughter and she’s my daughter.’ Hildegard couldn’t have children, so in a way Richardis is her daughter and friend and mother [all at once]; it’s a very deep love.”[15]

Von Trotta wanted to make a film with a female protagonist that viewers could relate to instead of looking at her from below, as she clarifies in an interview with Zeitgeist Films: "The figures that appeal to me are always strong women who also have moments of weakness; therefore, I never try to make heroines out of them. Instead I show how they fought to find their own way, how they put themselves out there, and how much they had to swallow in order to find themselves. I am fascinated by how they overcome obstacles in order to achieve their goals. Hildegard von Bingen had a dream of founding her own abbey, and she suffered a lot of setbacks in the process. The moments of her greatest weakness are when the nun Richardis is to be taken away from her. In this situation, she behaves either like a small, abandoned child, or with fury. This conduct is all recorded in her letters. And it is precisely these moments of extreme self-abandonment that I find so beautiful, surprising, and contradictory. Hildegard von Bingen demands for herself what she usually gives to others. I absolutely did not want to portray her as a saint." [11]

HANNAH ARENDT

Hannah Arendt (2012) portrays an important segment in the true life of the German-Jewish academic, Hannah Arendt.[17] In an interview with Thilo Wydra, von Trotta is asked if Arendt is similar to the women she has portrayed in past films. Von Trotta replies with an explanation about how real-life characters from her past films, Rosa Luxemburg and Die bleierne Zeit (Marianne and Juliane), fought and died for causes they found to be right: Rosa wanted more equality in her community, and Gudrun Ensslin (Marianne) wanted to revolutionize humanity. Von Trotta says, “Hannah Arendt is a woman who fits into my personal mold of historically important women that I have portrayed in my films. ‘I want to understand,’ was one of her guiding principles. I feel that applies to myself and my films as well. [17] Hannah Arendt is set for theatrical release in October 2012. [18]


Von Trotta, often featuring prominent female characters, has become the foremost female director working in Germany. Throughout her years of filmmaking, she has been able to address many points that are significant to women: “abortion, contraception, the situation of women at work, spousal abuse, and [the] traditional female role.”[9] She continues today with her work, unafraid to let her thoughts be heard and her artistic vision seen by the world. She is a Professor of Film at the European Graduate School in Saas-Fee and remains an important personality of German cinema.

Filmography (Directing)

  • Die Verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie führen kann (The Lost Honor of Katharina Blum) 1975
  • Das Zweite Erwachen der Christa Klages (The Second Awakening of Christa Klages) 1978
  • Schwestern oder die Balance des Glücks (Sisters, or The Balance of Happiness) 1979
  • Die Bleierne Zeit (Marianne and Juliane; also known by the English title of Two German Sisters) 1981
  • Heller Wahn (Sheer Madness) 1983
  • Rosa Luxemburg 1986
  • Felix (Segment "Eva") 1988
  • Fürchten und Lieben (Paura e amore) 1988
  • Die Rückkehr (L'Africana) 1990
  • Zeit des Zorns (Il Lungo silenzio) 1993
  • Das Versprechen (The Promise) 1995
  • Winterkind 1997 (TV movie)
  • Mit fünfzig küssen Männer anders 1998 (TV movie)
  • Dunkle Tage 1999 (TV movie)
  • Jahrestage (Aus dem Leben von Gesine Cressphal) 2000 (TV mini-series)
  • Rosenstrasse 2003
  • Die Andere Frau (The Other Woman) 2004 (TV movie)
  • Ich bin die Andere (I Am the Other Woman) 2006
  • Tatort 2007 (TV series)
  • Vision (Original title: Vision - Aus dem Leben der Hildegard von Bingen) 2009
  • Die Schwester 2010 (TV movie)
  • Mai per amore 2012 (TV mini-series)
  • Hannah Arendt 2012 (post-production)

[19]


Awards and Nominations

1972:

  • Won Critics Award at German Critics Association Awards in Film.

1981:

  • Won Grand Prix Award at Créteil International Women's Film Festival for Sisters, or The Balance of Happiness (1979).
  • Won Critics Award at the German Critics Association Awards in Film.
  • Won Honorable Mention at Valladolid International Film Festival for Marianne and Juliane (1981).
  • Won AGIS Award, FIPRESCI Prize, Golden Lion Award, New Cinema Award, and OCIC Award at Venice Film Festival for Marianne and Juliane (1981).

1982:

  • Won David Award at David di Donatello Awards in Best Foreign Director for Marianne and Juliane (1981).
  • Nominated for David Award at David di Donatello Awards in Best Foreign Film for Marianne and Juliane (1981).

1983:

  • Won OCIC Award-Honorable Mention at Berlin International Film Festival in Forum of New Cinema for Sheer Madness (1983).
  • Nominated for Golden Berlin Bear at Berlin International Film Festival for Sheer Madness (1983).

1986:

  • Nominated for Palme d’Or at Cannes Film Festival for Rosa Luxemburg (1986).

1987:

  • Won Guild Film Award-Gold at Guild of German Art House Cinemas in German Film for Rosa Luxemburg (1986).

1988:

  • Nominated for Palme d’Or at Cannes Film Festival for Paura e amore (1988).

1989:

  • Won Special Film Award '40th Anniversary of the Federal Republic of Germany' at German Film Awards for Marianne and Juliane (1981).

1993:

  • Won Most Popular Film and Prize of the Ecumenical Jury at Montreal World Film Festival for Il Lungo Silenzio (1993).

1994:

  • Won Career Award at Flaiano International Prizes in Cinema.

1995:

  • Won Bavarian Film Award at Bavarian Film Awards in Best Direction for Das Versprechen (1995).
  • Won Guild Film Award-Gold at Guild of German Art House Cinemas in German Film for Das Versprechen (1995).

2000:

  • Won Audience Camera Award at Golden Camera, Germany for Dunkle Tage (1999) (TV).

2001:

  • Won Special Mention at Biarritz International Festival of Audiovisual Programming in TV Series and Serials for Jahrestage (2000).

2003:

  • Won SIGNIS Award-Honorable Mention and Unicef Award at Venice Film Festival for Rosenstrasse (2003).
  • Nominated for Golden Lion Award at Venice Film Festival for Rosentrasse (2003).

2004:

  • Won David Award at David di Donatello Awards in Best European Film for Rosenstrasse (2003). (Tied with Dogville (2003)).
  • Won Golden Globe Award at Golden Globes, Italy in Best European Film for Rosentrasse (2003).
  • Won Honorary Award at Hessian Film Awards.
  • Won Taormina Arte Award at Taormina International Film Festival.

[13]

Bibliography

  1. Andac, Ben. "Margarethe Von Trotta." Senses of Cinema. Web. 04 May 2012. <http://sensesofcinema.com/2002/great-directors/von_trotta/>.
  2. "Awards for Margarethe Von Trotta." IMDb. IMDb.com. Web. 02 May 2012. <http://www.imdb.com/name/nm0903137/awards>.
  3. "Birds Eye View: Filmmaker Focus: Margarethe Von Trotta." 2011 Film Festival: Celebrating Women Filmmakers. Birds Eye View. Web. 02 May 2012. <http://www.birds-eye-view.co.uk/3878/filmmaker-focus-margarethe-von-trotta/margarethe-von-trotta.html>.
  4. Eifler, Margret. "Margarethe Von Trotta as Filmmaker: Biographical Retrospectives." The German Quarterly 76.4 (2003): 443-48. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/3252242.pdf>.
  5. Gollub, Christian-Albrecht. "Volker Schlöndorff and Margarethe Von Trotta: Transcending the Genres." New German Filmmakers: From Oberhausen through the 1970s. Ed. Klaus Phillips. New York: Ungar Pub., 1984. 266-302. Print.
  6. "An Interview with Margarethe Von Trotta: Director of ‘Vision’" Interview by Zeitgeist Films. Spirituality Practice. Zeitgeist Films. Web. 3 May 2012. <http://www.spiritualityandpractice.com/films/features.php?id=20271>.
  7. Kuttenberg, Eva. "The Hidden Face of Narcissus: Suicide as Poetic Speech in Margarethe Von Trotta's Early Films." Women in German Yearbook: Feminist Studies in German Literature & Culture 20 (2004): 122-44. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/20688975.pdf>.
  8. Linville, Susan E. "Retrieving History: Margarethe Von Trotta's Marianne and Juliane." PMLA 106.3 (1991): 446-58. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/462778.pdf?acceptTC=true>.
  9. "Margarethe Von Trotta." German Flicks. HyperEd. Web. 02 May 2012. <http://www.germanflicks.com/trotta.html>.
  10. "Margarethe Von Trotta." IMDb. IMDb.com. Web. 06 May 2012. <http://www.imdb.com/name/nm0903137/>.
  11. Parkinson, Anna M. "Neo-Feminist Mütterfilm? The Emotional Politics of Margarethe Von Trotta's 'Rosenstrasse'" The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century. Ed. Jaimey Fisher and Brad Prager. Detroit: Wayne State UP, 2010. Print.
  12. Prot, Bénédicte. "Von Trotta to Start Shooting Hannah Arendt Biopic." Cineuropa. German Films. Web. 04 May 2012. <http://cineuropa.org/2011/nw.aspx?t=newsdetail>.
  13. Rueschmann, Eva. "The Politics of Intersubjectivity: The Sister Films of Margarethe Von Trotta." Sisters On Screen: Siblings in Contemporary Cinema. Philadelphia: Temple UP, 2000. 147-75. Print.
  14. Seiter, Ellen. "The Political Is Personal: Margarethe Von Trotta's 'Marianne and Juliane'" Films For Women. Ed. Charlotte Brunsdon. London: British Film Institute, 1986. Print.
  15. Skidmore, James M. "Intellectualism and Emotionalism in Margarethe Von Trotta's "Die Bleierne Zeit"" German Studies Review 25.3 (2002): 551-67. JSTOR. German Studies Association. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/1432601.pdf>.
  16. Sklar, Robert. "Invaded by Memories of Germany's Past: An Interview with Margarethe Von Trotta." Cineaste 29.2 (2004): 10-12. Web. 3 May 2012. <http://people.ucsc.edu/~stamp/162female/162_Female_Fmkrs/Readings_files/Cineaste%20Interview%20Sklar.pdf>.
  17. Smith, Damon. "MARGARETHE VON TROTTA, "VISION" | Filmmaker Magazine." Filmmaker: The Magazine of Independent Film. Filmmaker Magazine, 13 Oct. 2010. Web. 05 May 2012. <http://www.filmmakermagazine.com/news/2010/10/margarethe-von-trotta-vision/>.
  18. Wydra, Thilo. "Margarethe Von Trotta on Hannah Arendt: 'Turning Thoughts into Images'" German Filmmakers and Movies. Goethe Institute. Web. 04 May 2012. <http://www.goethe.de/kue/flm/far/en8898031.htm>.

References

  1. ^ a b [1] "Birds Eye View: Filmmaker Focus: Margarethe Von Trotta." 2011 Film Festival: Celebrating Women Filmmakers. Birds Eye View. Web. 02 May 2012.
  2. ^ Margarethe von Trotta at European Graduate School. Retrieved May 14, 2010.
  3. ^ a b c [2] "Margarethe Von Trotta." German Flicks. HyperEd. Web. 02 May 2012.
  4. ^ a b c d e f g h Parkinson, Anna M. "Neo-Feminist Mütterfilm? The Emotional Politics of Margarethe Von Trotta's 'Rosenstrasse'" The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century. Ed. Jaimey Fisher and Brad Prager. Detroit: Wayne State UP, 2010. Print.
  5. ^ a b c d Seiter, Ellen. "The Political Is Personal: Margarethe Von Trotta's 'Marianne and Juliane'" Films For Women. Ed. Charlotte Brunsdon. London: British Film Institute, 1986. Print.
  6. ^ a b c Gollub, Christian-Albrecht. "Volker Schlöndorff and Margarethe Von Trotta: Transcending the Genres." New German Filmmakers: From Oberhausen through the 1970s. Ed. Klaus Phillips. New York: Ungar Pub., 1984. 266-302. Print.
  7. ^ a b c d e f g h i j Rueschmann, Eva. "The Politics of Intersubjectivity: The Sister Films of Margarethe Von Trotta." Sisters On Screen: Siblings in Contemporary Cinema. Philadelphia: Temple UP, 2000. 147-75. Print.
  8. ^ a b [3] Linville, Susan E. "Retrieving History: Margarethe Von Trotta's Marianne and Juliane." PMLA 106.3 (1991): 446-58. JSTOR. Web. 4 May 2012.
  9. ^ a b c d [4]Eifler, Margret. "Margarethe Von Trotta as Filmmaker: Biographical Retrospectives." The German Quarterly 76.4 (2003): 443-48. JSTOR. Web. 4 May 2012.
  10. ^ a b [5]Sklar, Robert. "Invaded by Memories of Germany's Past: An Interview with Margarethe Von Trotta." Cineaste 29.2 (2004): 10-12. Web. 3 May 2012.
  11. ^ a b [6] "An Interview with Margarethe Von Trotta: Director of ‘Vision’" Interview by Zeitgeist Films. Spirituality Practice. Zeitgeist Films. Web. 3 May 2012.
  12. ^ a b c d e [7] Kuttenberg, Eva. "The Hidden Face of Narcissus: Suicide as Poetic Speech in Margarethe Von Trotta's Early Films." Women in German Yearbook: Feminist Studies in German Literature & Culture 20 (2004): 122-44. JSTOR. Web. 4 May 2012.
  13. ^ a b c d e f >. Awards for Margarethe von Trotta.
  14. ^ [8] Skidmore, James M. "Intellectualism and Emotionalism in Margarethe Von Trotta's "Die Bleierne Zeit"" German Studies Review 25.3 (2002): 551-67. JSTOR. German Studies Association. Web. 4 May 2012.
  15. ^ a b c [9]Smith, Damon. "MARGARETHE VON TROTTA, "VISION" | Filmmaker Magazine." Filmmaker: The Magazine of Independent Film. Filmmaker Magazine, 13 Oct. 2010. Web. 05 May 2012.
  16. ^ a b [10]Andac, Ben. "Margarethe Von Trotta." Senses of Cinema. Web. 04 May 2012.
  17. ^ a b [11]Wydra, Thilo. "Margarethe Von Trotta on Hannah Arendt: 'Turning Thoughts into Images'" German Filmmakers and Movies. Goethe Institute. Web. 04 May 2012.
  18. ^ [12]Prot, Bénédicte. "Von Trotta to Start Shooting Hannah Arendt Biopic." Cineuropa. German Films. Web. 04 May 2012.
  19. ^ [13], IMDB Filmography.

External links

Films directed by Margarethe von Trotta

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