Directing
Claudia von Alemann is a German film director and professor.
Five people in one city, different ways of loving and living, different views on how to experience or suppress the past.
A documentary with fictious elements. Ms. Elisabeth (Lieschen) MĂĽller from Austria comes to Bonn, Germany to find herself a man. During the search she investigates the connections between neckties, political power and prostitution, and tries to look for the influence the german feminist movement had on the men in Germany's capital.
In an experimentally compiled film review, Danielle Jaeggi, Paule Baillargeon and Claudia von Alemann reflect on their work as filmmakers and life as mothers. Just as the title is based on Michel Leiris' book of poems Bright Nights and Many a Dark Day, the film has its own poetry, which is also evident in shots of everyday activities, such as hands washing dishes. “Just the hair or the relationship of the hands to each other or gestures, and then words come in between and film clips that we talk about, and we were amazed to find that the women we portray in the films always have a lot of trouble with theirs Identity, their search for something, for lost people or lost things. “They are usually looking for something that has been lost, forgotten or gone,” said Claudia von Alemann in the 1992 interview conducted by Renate Fischetti, A Pioneer of Female Film Language. An essay about desire, doubt, contradictions. (fib)
Doors open and close in the hallway of an apartment, used plates in the kitchen, a pencil is sharpened, a beer bottle and a can of sardines are opened, an egg rolls across the table: everything is in its place, or maybe not.
No description available.
Women at work in the kitchen serve as the starting point for a film that does not seek to depict events in a conventional manner, but rather assembles the scenes in an associative way and attempts to reveal connections by twisting and distorting the everyday gestures—which almost resemble rituals—to such an extent that the boundary between reality and dream becomes blurred.
Fragments of fairy tales alternate with observations of children. Documentary and staged sequences are combined. There is no break and no contrast between reality, the children's behavior and the imagination; they merge into one another.
Reel 28 of Gérard Courant’s on-going Cinematon series.
The weaker sex must become stronger - but how can this be achieved? The central keyword of the six filmmakers Claudia von Alemann, Susanne Beyeler, Erika Runge, Helke Sander, Ula Stöckl and Hanna Laura Klar is: emancipation. Together, they will discuss the importance of films for feminist consciousness-raising and the role of female filmmakers in this process. A statement will be followed by an exemplary feature film scene. Claudia von Alemann talks about the unequal division of housework and advocates the remuneration of this work. How can the relationship between work and family be improved for working women? What about bringing up children? What steps are necessary to overcome the unequal gender order? One thing is clear: Film work is political practice.
A group of indispensable works in the Ruhr area on the development of a solar power plant. At first she only finds attention through a former KGB agent who believes that the struggle of the political systems is further fought in the hidden. His views are initially smiled at, but when a young spy causes confusion, there is a feeling of happiness: the apparent paranoia of the Russian friend has tangible causes, and the work of the group is more than just evident.
A portrait of photographer Abisag Tüllmann (1935-1996). Abisag Tüllmann’s photographs have become deeply engraved into our cultural memory. Using more than 500 black-and-white photos, all of which taken by Abisag Tüllmann, this cinematic tribute places her life and work in the context of the 1960s to the 1990s. Claudia von Alemann tries to get close to her friend via pictures and archival documents, excerpts from films by Carola Benninghoven, Helke Sander, Alexander Kluge, Günther Hörmann, and Ulrich Schamoni, via the music of composer José Luis de Delás, and via letters and memories, such as those of photographer Barbara Klemm, who still vividly remembers her former Frankfurt colleague.
This film painstakingly documents the ways in which women are devalued as workers in a patriarchal society.
Claudia Alemann's film documents the general strike and student mass protests in Paris in 1968. As a participant in various film collectives, she also examines the role of the medium of film in times of political and social upheaval and the impact of changing cultural-political paradigms on artistic activity. Alemann allows workers, students, teachers and filmmakers to have their say.
The young historian Elisabeth is traveling to Lyon on her own in order to explore the city tracing the life of Flora Tristan. Tristan, whose diary Elisabeth is carrying, was a 19th century socialist and feminist who influenced many contemporary activists and intellectuals yet fell into oblivion herself. Elisabeth tries to put together the clues she can find in Lyon wanting to reconstruct Tristan's life in the most sensual way.
Claudia von Alemann filmed the co-founders of the Black Panther Party, Kathleen and Eldridge Cleaver, in exile in Algiers, on her own. Their filmed statements were intended for a solidarity campaign in West Germany for the release of Ericka Huggins and Bobby Seale, their Black Panther friends.
The film provides an analysis of the essential role played by women during the Vietnamese war of liberation. Without a visa to film the war in Vietnam, Claudia von Alemann sets out to make an archive film about Vietnamese women. She manages to interview the Foreign Minister in exile, Mrs Nguyễn Thị Bình, filmed in Paris under difficult conditions.
A short documentary by Claudia von Alemann.
Turn of the year 1967/68: at the fourth EXPRMNTL festival in the Belgian seaside resort of Knokke, the film documents spontaneous performances, happenings and protest actions, capturing – only a few months before May ’68 – the harbingers of cultural upheaval.
Story concerns two friends, Freya and Irmtraut and their relationships with the same man, Traugott, who finds it impossible to choose between the two women.
