Oliver Hirschbiegel
From The Art and Popular Culture Encyclopedia
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Bernd Eichinger @60
Bernd Eichinger (born April 11, 1949 in Neuburg an der Donau) is a German film producer and director. He attended film school in the 1970s, and bought a stake in the fledgling studio company Constantin Film but continues to produce some films independently (for example The Downfall). He has only directed two movies himself. Eichinger's latest film was about the left-wing terrorist group Red Army Faction (RAF) based on the book Der Baader Meinhof Komplex ("The Baader-Meinhof Complex") by Stefan Aust. He debuted as producer with Falsche Bewegung by Wim Wenders.
Notable Films
The most well-known movies produced by Eichinger include:
- Christiane F. (1982, directed by Uli Edel)
- The Neverending Story (1983, directed by Wolfgang Petersen)
- The Name of the Rose (1986, directed by Jean-Jacques Annaud)
- The House of the Spirits (1993, directed by Bille August)
- Body of Evidence (1993, directed by Uli Edel)
- Smilla's Sense of Snow (1997, directed by Bille August)
- Resident Evil (2002, directed by Paul Anderson)
- Der Untergang (2004, directed by Oliver Hirschbiegel)
- Fantastic Four (2005, directed by Tim Story)
- The Elementary Particles (2006), directed by Oskar Roehler)
- Perfume: The Story of a Murderer (2006, directed by Tom Tykwer)
- Der Baader Meinhof Komplex (2008, directed by Uli Edel)
- "Then [the anus] developed sort of teeth-like little raspy incurving hooks and started eating. He thought this was cute at first and built an act around it, but the asshole would eat its way through his pants and start talking on the street, shouting out it wanted equal rights. It would get drunk, too, and have crying jags nobody loved it and it wanted to be kissed same as any other mouth. Finally it talked all the time day and night, you could hear him for blocks screaming at it to shut up, and beating it with his fist, and sticking candles up it, but nothing did any good and the asshole said to him: ‘It's you who will shut up in the end. Not me. Because we don’t need you around here any more. I can talk and eat and shit’". --Naked Lunch (1959) - William S. Burroughs
Introducing Lisa Yuskavage
I've mentioned the work of Yuskavage several times[1] [2][3][4][5] before but never dedicated a post to her.
However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen) with The Kiss (Le Baiser) from 1927 by Ernst. The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly. In the second the influence of Miró and the drawing style of Picasso is visible with the use of fluid curving and intersecting lines and colour, where as the first takes a directness that would later be influential in movements such as Pop art.
