Professors

Studied at the USP Universidades de São Paulo. Freelance film editor and sound designer in Munich since 1988. 2004 President of the Palermo Film Festival del Mediterraneo. Founding member of the German Film Academy DFA. Member of the Bundesverband Filmschnitt Editor e.V. Member of the European Film Academy EFA.

FILMOGRAPHY (Selection)

2018 Der Hauptmann (Deutscher Filmpreis 2018 in der Kategorie »Beste Tongestaltung«, Europäischer Filmpreis als »European Sound Designer 2018«) 2017 Der Puppenspieler 2017 Offene Wunde deutscher Film 2017 Revolution of Sound: Tangerine Dream 2016 Nesseltal 2016 Aufbruch 2015 Hirngespinster 2013 Bergmannskind 2012 Die Brücke am Ibar (Bernhard Wicki Filmpreis – Die Brücke – Der Friedenspreis des Deutschen Films, Nachwuchspreis & Darstellerpreis) 2011 Der Sommer der Gaukler 2011 Mama Africa 2010 Bergblut 2010 Picco (Bernhard Wicki Filmpreis – Die Brücke – Der Friedenspreis des Deutschen Films, Nachwuchspreis) 2010 In der Welt habt ihr Angst 2009 Alias (Starter-Filmpreis 2010 des Kulturreferats der Landeshauptstadt München) 2009 Die Stimme des Adlers 2007 Selbstgespräche 2007 Steel Trap 2007 Ein fliehendes Pferd 2006 Wer früher stirbt ist länger tot 2006 NimmerMeer 2006 Vier Töchter 2005 Fratricide (Silberner Leopard Filmpreis Locarno) 2004 Schneeland (Nominierung Deutscher Filmpreis in der Kategorie »Beste Tongestaltung«) 2004 Musica Cubana 2003 Verschwende Deine Jugend 2003 The Poet 2002 Tattoo 2001 Das Sams 2000 Fandango 1997 Smillas Sense of Snow 1995 Der Totmacher 1994 Lisbon Story 1992 Knight Moves

PERSONAL STATEMENT:

»The ifs is like a magnet, a place of intensive creativity where fi lm is lived. And this is the only way to make good films. My position as a professor at the ifs makes it possible for me to share my experience as well as continue to expand it. And the best thing about this process is to experience how the ifs grows and develops. Film is life, film is passion and film should be fun! All this is possible here!«

CONTACT:

T +49 (0) 221.920188-0
a.bendocchi(at)filmschule.de

SCIENTIFIC CAREER:

• Studies at Freie Universität Berlin in General and Comparative Literature (AVL), German Studies, American Studies, and History
• Magister Artium (with distinction)
• Research Assistant at the Institute for AVL of the FU Berlin
• Doctorate to Dr. phil. (summa cum laude)
• Since 2004 Professor at the ifs internationale filmschule köln, initially for Aesthetics and Communication, since 2006 for Applied Media Studies
• since 2010 – together with Prof. Björn Bartholdy – Director of the Cologne Game Lab
• since 2012 – together with Prof. Dr. Lisa Gotto – editor of the series “Bild und Bit. Studies on Digital Media Culture” (transcript, Bielefeld)
• since 2014 Professor of Media and Game Studies at the Cologne Game Lab of the TH Köln and Associate Professor of Comparative Media Studies at the ifs

TEACHING AND RESEARCH PRIORITIES:

• Theory and History of Digital Media, Art and Communication
• Audiovisuality in modern times
• Game Studies
• Theory and history of cultural
  interconnectedness
• Theory and Pragmatics of Media Transfer: Adaptation and Transmedia
• The Relationship between Fact and Fiction in Modernity
• Media-technical foundations of narration, transmission, authorship

SCIENTIFIC PUBLICATIONS (Selection):

• Der Televisionär. Wolfgang Menges transmediales Werk. Hg. von Gundolf S. Freyermuth und Lisa Gotto. Bielefeld: transcript Verlag, 2016
• Games | Game | Design Game Studies. An Introduction. With Contributions by André Czauderna, Nathalie Pozzi und Eric Zimmermann. Bielefeld: transcript Verlag 2015
• Games | Game | Design Game Studies. Eine Einführung. Bielefeld: transcript Verlag 2015.
• New Game Plus. Perspektiven der Game Studies: Genres – Künste – Diskurse. Hg. mit Benjamin Beil und Lisa Gotto. Bielefeld: transcript Verlag 2015.
• Serious Games, Exergames, Exerlearning. Zur Transmedialisierung und Gamification des Wissenstransfers. Hg. mit Lisa Gotto und Fabian Wallenfels. Bielefeld: transcript Verlag, 2013.
• Bildwerte. Visualität in der digitalen Medienkultur. Hg. von Gundolf S. Freyermuth und Lisa Gotto, Bd. 1 der Schriftenreihe Bild und Bit, 338 Seiten, Bielefeld: transcript Verlag, 2013

  ARTISTIC AND JOURNALISTIC ACTIVITIES (Selection):

• Erzähler: Romane (»Der Ausweg«, »Bogarts Bruder«, »Perlen für die Säue«), Kurzgeschichten, Rundfunkarbeiten, Drehbücher, Dokumentarfilme
• Kulturjournalist: Redakteur TransAtlantik, Kulturressortleiter und Reporter stern, Chefreporter Tempo
• Fachautor für Literatur, Film und digitale Medien: zahlreiche Sachbücher (»Reise in die Verlorengegangenheit«, »Der Übernehmer«, »Cyberland«) sowie ca. 400 Aufsätze, Reportagen und Essays

More detailed information on vita, publications, lectures, etc. can be found at www.freyermuth.com

PERSONAL STATEMENT:

»The digitalization of images, sound, and text has radically changed all artistic work. For the art of filmmaking, this phase is as exciting as the transition from silent fi lm to sound once was. Being able to work with young film talents at this important turning point is a special privilege.«

CONTACT:

T +49 (0) 221.920188-0
g.freyermuth(at)filmschule.de

Joachim Friedmann is a German screenwriter, comic writer, developer of online formats, and media scholar. He worked for popular TV series like »In aller Freundschaft«, »Die Camper«, »Der letzte Bulle (The Last Cop)«, and »Die Lindenstraße«. As a comic writer, he is the only German to write »Donald Duck« stories in English. He created the comics series »Lais and Ben« (Carlsen Publishing House) and wrote the comic adaptation of the TV movie »Mörderische Entscheidung« with Oliver Hirschbiegel. Another focus of his work is interactive, online-based formats and games. In this field, he was responsible for concept and storytelling of the transmedia project centering on the DFB mascot »Paule« and designed the award-winning interactive learning game »Die Schlaumäuse«. Since 2001, he has been teaching dramaturgy, series development, and series writing at the University of Hildesheim and at various film schools. In 2017 he became professor of Serial Storytelling at ifs internationale filmschule köln. Friedmann’s dissertation on “Transmedia Narrative: Narrative Design in Literature, Film, Graphic Novel and Game” was published in 2016, his textbook “Storytelling” (UTB) in 2019.

FILMOGRAPHY (Selection)

seit 2014 In aller Freundschaft – Die jungen Ärzte 2009-2014 Gute Zeiten, schlechte Zeiten seit 2009 In aller Freundschaft (Bambi Publikumspreis 2014) 2011 Der letzte Bulle 2008 Klinik am Alex 2007 Sekretärinnen (Nominierung Grimme-Preis 2014) 2006 Hinter Gittern 1999-2005 Die Camper (Nominierung Deutscher Comedypreis 2002, Nominierung Goldene Rose von Montreux 2002) 2004 Nicht von dieser Welt 2001-2004 Für alle Fälle Stefanie 2003 Die wahren Abenteuer des Baron Münchhausen 2001 Lupin III (Synchronbücher) 1997-2001 Lindenstraße (Goldene Kamera 1998, Adolf-Grimme-Preis 2001)

GAMES & ONLINE (Selection)

2014 Paule (Autor und Konzepter für transmediales Portal des DFB-Maskottchens) 2013 Schlaumäuse (u. a. ausgezeichnet mit »Digita 2013«; Microsoft Deutschand)  2012-2013 Rakuns (Stiftung Kindergesundheit, rakuns.de) 2012 Galileo Genial (Pro7)

COMIC (Selection)

1995-2003 Donald Duck 1991 Mörderische Entscheidung (Adaption gem. mit O. Hirschbiegel) 1990-1995 Lais und Ben 1994-1997 Lindenstraße

PERSONAL STATEMENT:

»Serial storytelling does not begin with the ›Sopranos‹ and ›Six Feet Under‹, but with the ›Odyssey‹ and the ›Mahabharata‹. Serial and epic storytelling is a trans-historic and transcultural phenomenon. On this basis, I will work together with the students to create contemporary and future-oriented serial formats, explore the possibilities of interactive and transmedia narrative, and show that artistic thinking and marketability are not mutually exclusive.«

WDR 3 Mosaik-Interview vom 16.11.2017 mit Joachim Friedmann zum Thema transmediales Erzählen.

CONTACT:

T +49 (0) 221.920188-0
info(at)filmschule.de

Director, composer, actor and scriptwriter. Studied at the Academy for Film and Television in Munich. Already during his studies he worked as an actor and author for the Bavaria Atelier Gesellschaft. His graduation film “Der kostbare Gast” is awarded the Bavarian Film Prize in Gold for the best young director.

FILMOGRAPHY (Selection)

2018 Buback (in Vorproduktion) 2017 Golem: The Return (in Vorproduktion) 2017 Tatort – Der rote Schatten 2017 Philip Rosenthal – Der Unternehmer, der nicht an den Kapitalismus glaubte  2017 Am Abend aller Tage 2016/17 Offene Wunde Deutscher Film 2016/17 Tausend Arten den Regen zu beschreiben 2016 Am Abend aller Tage 2016 Zielfahnder: Flucht in die Karpaten 2016 Verfluchte Liebe deutscher Film 2015 Was heißt hier Ende? 2014 Polizeiruf 110 – Smoke on the Water 2014 Die reichen Leichen. Ein Starnbergkrimi 2014 Die geliebten Schwestern 2013 Tatort – Aus der Tiefe der Zeit 2013 Es werde Stadt! 2012 Lawinen der Erinnerung 2011 Das unsichtbare Mädchen 2011 Dreileben – Komm` mir nicht nach (Adolf-Grimme-Preis Spezial) 2011 Polizeiruf 110 – Cassandras Warnung 2010 Im Angesicht des Verbrechens (Bayerischer Fernsehpreis, Adolf-Grimme-Preis) 2009 Deutschland 09 – Der Weg, den wir zusammen gehen 2008 Kommissar Süden und der Luftgitarrist (Adolf-Grimme-Preis) 2007 Das Gelübde 2011 Polizeiruf 110 – Er sollte tot… (Adolf-Grimme-Preis) 2006 Eine Stadt wird erpresst (Adolf-Grimme-Preis, Fernsehfilmpreis der Deutschen Akademie der Darstellenden Künste – Sonderpreis für Regie) 2006 Der rote Kakadu 2005 Polizeiruf 110 – Der scharlachrote Engel (Adolf-Grimme-Preis mit Gold, Deutscher Fernsehpreis) 2004 Kalter Frühling (Deutscher Fernsehpreis) 2003 Hotte im Paradies 2002 Der Felsen 2002 Die Freunde der Freunde (Adolf-Grimme-Preis) 2000 München – Geheimnisse einer Stadt 1999 Bittere Unschuld 1999 Deine besten Jahre 1998 Sperling und der brennende Arm (Adolf-Grimme-Preis, Fernsehfilmpreis der Deutschen Akademie der Darstellenden Künste) 1997 Denk ich an Deutschland… – Das Wispern im Berg der Dinge (Adolf-Grimme-Preis)  1997 Das Wispern im Berg der Dinge 1997 Der Skorpion (Bayerischer Filmpreis in der Kategorie Nachwuchsregie, Bayerischer Fernsehpreis, Fernsehfilmpreis der Deutschen Akademie der Darstellenden) 1996 Doktor Knock (Bayerischer Fernsehpreis, Adolf-Grimme-Preis)  1996 Reise nach Weimar 1996 Sperling und das Loch in der Wand 1995 Tatort – Frau Bu lacht 1994 Die Sieger 1989 Tiger, Löwe, Panther (Fernsehfilmpreis der Deutschen Akademie der Darstellenden Künste) 1988 Die Katze (Deutscher Filmpreis Filmband in Gold) 1986 Tatort – Schwarzes Wochenende 1980 Der kostbare Gast (Bayerischer Filmpreis in der Kategorie Nachwuchsregie)

PERSONAL STATEMENT:

»The students give me the feeling that the fronts and the strict boundary lines in German film – between ›film as art‹ and ›commercial film‹, between pure craftsmanship and applied art – are gradually beginning to open up. Maybe we will be able to push this development even further.«

CONTACT:

Telefon +49 (0) 221.920188-0
info(at)filmschule.de

Director, producer and author. Studied film and television at the HFF in Munich. Founded his own production company during his studies. Jury activities at festivals in Venice and St. Petersburg and currently member of the European Film Academy, the German Film Academy and the Bavarian Academy of Fine Arts. Lectureships at the Filmakademie Baden-Württemberg and at the CalArts School of Film and Video. 2016/17 Scholar of the German Academy – Villa Massimo in Rome. Gröning has received many awards for his films.

FILMOGRAPHY (Selection)

Spielfilme: 2018 Mein Bruder heißt Robert und ist ein Idiot 2013 Die Frau des Polizisten (Spezialpreis der Jury Internationale Filmfestspiele Venedig, Preis der deutschen Filmkritik in der Kategorie Beste Kamera, Preis in der Kategorie Beste Darstellerin Sevilla Filmfest, Nominierung Preis der deutschen Filmkritik in den Kategorien Beste Kamera, Bester Film, Beste Hauptdarstellerin, Bestes Drehbuch, Beste Regie) 2000 L’amour, l’argent, l’amour (u. a. Bronzener Leopard in der Kategorie Beste Hauptdarstellerin Locarno Festival, Schweizer Filmpreis in der Kategorie Beste Darstellerin, Max Ophüls Preis in der Kategorie Bester Nachwuchsdarsteller, Hessischer Filmpreis, Silberne Kamera Filmkamerafestival Bitola, Media Wave Best Director Award) 1992 Terroristen! (Bronzener Leopard Locarno Festival) 1986 Sommer (Münchener Filmpreis, Kodak Award Amsterdam, 1. Preis Bergamo Filmmeeting)

Documentary works: 2005 Die große Stille (Europäischer Filmpreis, Bayerischer Filmpreis, Spezialpreis der Jury beim Sundance Film Festival, Preis der deutschen Filmkritik, Deutscher Kamerapreis in der Kategorie Bester Dokumentarfilm/Spielfilm, Nominierung Deutscher Filmpreis) 1993 Opfer.Zeugen 1983 Das letzte Bild

Short Films: 1988 Stachoviak! (Silver Hugo Chicago) 1983 Der Trockenschwimmer

PERSONAL STATEMENT:

»How can a film achieve validation and maintain it? I think there is no way around a deeply formconscious documentary work or a highly fi ctional work with deep documentary roots. This path I would like to explore with the students: to open windows with them, to see the world and thus to create films, images, concepts, musicals, installations and contributions. Any kind of form should be allowed. Basically, it’s always about the radically appropriate narrative form. I would like to help developing this ability in the course of my lectures, because the aim is to educate people for the future of what we call media.«

CONTACT:

T +49 (0) 221.920188-0
p.groening(at)filmschule.de

Uli Hanisch, born in Nuremberg, grew up in the Ruhr area and initially worked as a graphic artist. In 1990 he began to design the films of Christoph Schlingensief. Shortly afterwards he worked with Helge Schneider. Hanisch supervises the films of many renowned directors such as Adolf Winkelmann, Sönke Wortmann, Max Färberböck, Andreas Dresen, Oliver Hirschbiegel and Leander Haußmann. Since 2009 Hanisch has also been working on American productions abroad. He has worked closely with Tom Tykwer for many years, including “Das Parfum” in 2005, for which he received several film awards, and the American production “The International” in 2007. He received his third German Film Award in 2012 for the production “Cloud Atlas”. In 2015, work begins on the historical series project “Babylon Berlin”, for which Hanisch also designs the new permanent outdoor backdrop “Neue Berliner Straße” in Babelsberg. Uli Hanisch has been a guest lecturer at all relevant film schools in Germany since 2001.

FILMOGRAPHY (Selection)

2017 Babylon Berlin (Deutscher Fernsehpreis 2018 in der Kategorie »Beste Ausstattung«) 2015 Timm Thaler 2014 A Hologram for the King 2012 In Secret 2011 Cloud Atlas (Deutscher Filmpreis 2013) 2010 Hotel Lux 2009 Drei 2008 Season of the Witch 2007 The International 2006 Das Parfum: Die Geschichte eines Mörders (Deutscher Filmpreis 2007, Bayerischer Filmpreis 2007, Europäischer Filmpreis 2007) 2003 Stauffenberg (TV) 2002 Das Wunder von Bern 2001 Heaven 2000 Das Experiment (Deutscher Filmpreis 2001) 1999 Der Krieger und die Kaiserin 1997 Winterschläfer 1996 Praxis Dr. Hasenbein 1990 Das Deutsche Kettensägenmassaker

PERSONAL STATEMENT:

»The world becomes a stage for the stories we tell. Space and place are defined by their narrative demands, provide the basis for the characters, and must remain true to the message. Everything that appears characteristic to us is possible. Production design is a partner to a central motivation and translates stance and purpose into a conscious design.«

CONTACT:

T +49 (0) 221.920188-0
u.hanisch(at)filmschule.de

RESEARCH FOCUS:

• History and Theory of Film
• Film Aesthetics and Film Philosophy
• Media Theory and Methods of Media Historiography
• Avantgarde Cinema and Experimental Film
• History and Theory of Video Art
• Digital Cinematography
• Performance and Live Art
• Feminist Film and Video Practices, Feminist Concepts of Education, Queer Theory

Ulrike Hanstein was born in Erfurt. She graduated in theatre studies at the Justus-Liebig-Universität, Gießen. She developed collaborative performance pieces, both as site-specific works and for theatre spaces. She worked as assistant director and production manager for theatre and performance projects. She gained her PhD in film studies at the Freie Universität Berlin, with a thesis on the melodramatic film aesthetics of Lars von Trier and Aki Kaurismäki. She was postdoctoral fellow in the research team “Transmissions: Media and Religion” (Weimar, Jena, Erfurt), and held academic positions at the Bauhaus-Universität Weimar and at the Friedrich-Schiller-Universität, Jena. She was a fellow at the Getty Research Institute, Los Angeles. She worked as lecturer at the Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy”, Leipzig and at the University of Vienna. She served as an interim professor of Film Studies at the Friedrich-Schiller-Universität, Jena, and was a postdoctoral fellow at the Graduate Academy in Jena.

PUBLICATIONS (selection)

Books:

• Unknown Woman, geprügelter Held: Die melodramatische Filmästhetik bei Lars von Trier und Aki Kaurismäki. Berlin/Köln: Alexander Verlag 2011 • Mit Anika Höppner, Jana Mangold (Hg.): Re-Animationen: Szenen des Auf- und Ablebens in Kunst, Literatur und Geschichtsschreibung. Köln/Weimar/Wien: Böhlau 2012.

Current publications of essays:

• Feminist Studio Workshop Videoletter: Performances der Zuneigung, Zueignung und Verbundenheit. In: Nach dem Film, 17/2019. Themenheft: Film und Feminismus. • Videoed Memories and Movements, Rediscovered and Regained: It’s Aching like Birds (2001). In: Susanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz (Hg.): Transfer in the Performing Arts: Moving Between Media. London/New York: Routledge 2018, S. 113–125. • Nachklänge des Tanzens und Bildbewegungen der Improvisation: The Nine Muses (2010) In: Nach dem Film, 16/2018. Themenheft: Film | Tanz | Diskurs. • Retracing Movements: Gestures of Film. In: Asbjørn Grønstad, Henrik Gustafsson, Øyvind Vågnes (Hg.): Gestures of Seeing in Film, Video and Drawing. London/New York: Routledge 2017, S. 13–30.

PERSONAL STATEMENT:

»While watching a film, the outside world recedes. All you have to do is look and listen. Films set perception in motion and transport it to ever new, familiar or never-before-seen places. Films form a particular, perceivable world that discloses knowledge about itself and about the reality beyond the images. For me, Film Studies means to learn together with students from films and through films something we do not know yet.«

CONTACT:

T +49 0221.920188-0
info(at)filmschule.de

Since October 2016 Professor “Digital Narratives – Theory”. In the summer semester 2016 she represented the Chair of Media Cultural Studies at the University of Hildesheim. 2011-2016 research assistant at the Institute for Media Research at the Hochschule für Bildende Künste in Braunschweig. 2010 Graduation of the doctorate “Ansichtssachen. Die V/Erkennungsdienste des deutschen ‘Ausländer-diskurses’ und die Perspektive der Migration” in cultural studies, Humboldt University Berlin. Teaching activities among others at the ZHDK Zurich, University of Vienna, for Lexia International (Study Abroad Programme Berlin), since 2009 co-curator of the programme Forum Expanded at the Berlinale (together with Stefanie Schulte Strathaus (director), Anselm Franke, Bettina Steinbrügge and Ulrich Ziemons). Since November 2015 she has been curating and advising the Haus der Kulturen der Welt on the topics of migration, flight and immigration. Projects include the series Tonspuren, the artistic research project with students from the Berlin European Schools, Neue Expert*innen! and together with Katrin Klingan and Rana Dasgupta “Now is the time of monsters. What comes after nations?”.

In addition, independent curatorial projects with film and video, especially at the crossroads of politics & cinema / art, translations from English and until 2009 performance productions with the anti-racist network Kanak Attak. She is part of the network for critical migration and border regime research and has been involved in the preparation of the tribunal “NSU-Komplex auflösen” since 2016. Main areas of work: Migration, Other Cinema, Politics & Art, Image Controversy, Visual Culture, Antiracism, Postcolonial Theory.
Since 2018 member of the Academy of Arts of the World.

PUBLICATIONS (Selection 2013 – 2016)

Books/Editorships:

• Mit Sabine Hess, Simona Pagano, Johanna Neuhauser, Helen Schwenken: Gender und die Politiken der Migration, feministische Studien, Heft 02/2016.
• Hg. Migration, Frauen und Film, Heft Nr. 67, Frankfurt/M.: Stroemfeld. Mit Beiträgen von: Barbara Wolbert, Maya Schweizer, Brigitta Kuster & Angela Melitopoulos, Eva Hohenberger, Steffen Köhn, Marie-Hélène Gutberlet, Jana König & Elisabeth Steffen, Maja Figge, Toby Ashraf & Sema Poyraz, Aykan Safoğlu, Cana Bilir-Meier.
• Hg. mit Florian Krautkrämer, Heike Klippel und Birgit Hein: Film als Idee – Birgit Heins Texte zu Film/Kunst, zweisprachig (englisch-deutsch), Berlin: Vorwerk 8 2016.
• Hg. mit Ulrike Bergermann: total. Universalismus und Partikularismus in postkolonialer Medienwissenschaft, Bielefeld: transcript 2015.
• V/erkennungsdienste, das Kino und die Perspektive der Migration. Erschienen in der Reihe: Post_koloniale Medienwissenschaft (hg. von Ulrike Bergermann), Bielefeld: transcript  2015.

Scientific papers (Selection):
• The point of language will no longer only be about communication, but also about pleasure and politics. Practices of politicizing listening (to migration), in: Sibylle Peters, Kerstin Evert, Mirjam Schaub, Kathrin Wildner, Gesa Ziemer (Hg.): PERFORMING CITIZENSHIP_02 (erscheint 2017).
• We are the ones you don’t see. We drive your cabs, we clean your rooms, we suck your cocks. Das Recht auf Opazität, Illegalisierung und andere Sichtbarkeiten, in Elisabeth Büttner (†), Vrääth Öner, Lena Stölzl (Hg.): Dokumentarfilm, erscheint bei Vorwerk 8 im Rahmen der Reihe „Texte zum Dokumentar­film“, im Herbst 2017.
• AND OR NOT. Und NEAR. Migration und Kino ins Verhältnis setzen. Mediawiki der HFBK Hamburg in Zusammenarbeit mit der Hamburg Open Online University (HOOU), ein Digitalprojekt zum Thema „Inno­vatives Filme Machen“, März 2017.
• The activity of re-viewing. On the archive of decolonisation in Guinea-Bissau, in: Sibylle Peters, Martin Jörg Schäfer, Vassilis S. Tsianos (Hg.): The Art of Being Many, Bielefeld: transcript 2016, S.279-287.
• Third Projection: Collective Film Activation. The archive of the National Film Institute of Guinea-Bissau and its Reactualization in Mobile Cinema, in: geheimagentur, Martin Jörg Schäfer, Vassilis S. Tsianos (Hg.): The Art of Being Many, Bielefeld: transcript 2016, S. 279-287.
• Mapping / Assuming / Exhibiting / Activating the Perspective of Migration, in: Sten Moslund, Anne Ring Petersen & Moritz Schramm (Hg.): Migration and Culture. Politics, Aesthetics and History” London: IB Tauris 2015, S. 105-126.
• Die Perspektive der Migration aufzeichnen / einnehmen / ausstellen / aktivieren, in: Doris Guth, Alexander Fleischmann (Hg.): Kunst, Theorie, Aktivismus. Emanzipatorische Perspektiven auf Ungleichheit und Diskriminierung, Bielefeld: transcript 2015, S.113-146.
• Die Kunst der Migrationen, in: Annika McPherson et al (Hg.): Wanderungen. Migrationen und Transformationen aus geschlechterwissenschaftlicher Perspektiven. Bielefeld: Bielefeld: transcript 2013, S. 217-230.
• Sich nicht entscheiden können und dennoch eine Haltung haben, in: Michael Andreas/Natascha Frankenberg (Hg.): Im Netz der Eindeutigkeiten. Unbestimmte Figuren und die Irritation von Identität, Bielefeld: transcript 2013, S. 67-88.
• Die Kunst des Aktivismus. Kanak Attak revisited, in: Burcu Dogramaci (Hg.): Migration und künstlerische Produktion. Aktuelle Perspektiven, Bielefeld: transcript 2013, S. 347-360.

Essays and other publications (Selection):
• Tejal Shah: Between the Waves, in: Christiane Erharter, Dietmar Schwärzler, Ruby Sircar, Hans Scheirl (Hg.): Pink Labor on Golden Streets. Queer Art Practices. (engl/dt.), New York/Berlin: Sternberg Press 2015, S. 56-67.
• Identität eins, Identität zwei, Identität x, in: Dagmar Brunow (Hg.): Stuart Hall. Aktivismus, Pop und Politik, Mainz: testcard 2015, S. 25-35.
• Anerkennung ohne Erkennung. Von Sagbarkeit, Sichtbarkeit und Prozessen der Rassisierung, in: Bildpunkt, Zeitschrift der IG BILDENDE KUNST, Wien, Frühling 2013, Nr. 19, S. 8-9.
• Food. A Vignette. Zusammen mit Daniel Hendrickson, mit einem Beitrag von Gili Ben-Zvi, Berlin/Mumbai 2013. Teil des Projekts „KEYwording“ von Madhusree Dutta und Ines Schaber im Rahmen von „Living Archive – Archivarbeit als künstlerische und kuratorische Praxis der Gegenwart“, Berlin.
• It’s a Gift – Norman Z. McLeod, in: Max Annas, Annett Busch, Frieda Grafe (Hg.): 30 Filme, Heft 2, Berlin: Brinkmann & Bose 2013, S. 90-95.

Catalogue Contributions (Selection):
• „Kann ich mir mal Deine Flüchtlinge ausleihen?“ Kunst, Aktivismus, Migration, Beitrag zu Anna Jehle / Künstlerhaus Artists Unlimited (Hg.): Solidarity Report, erscheint 2016.
• Katalogtext für Misses und Mysterien. Ein choreographisches Hörspiel(Choregraphie: Antonia Baehr und Valérie Castan, mit William Wheeler und Andrea Neumann sowie verschiedenen Stimmen, eine Koproduktion u.a. von Kampnagel, PACT Zollverein, NPN, Buda Kunstencentrum), http://www.make-up-productions.net/pages/productions/des-miss-et-des-mysteres/materials-and-publications.php, 2015
• Geschichte(n) von Gewicht / Stories that Matter: Migration Told, Re-told and Listened to – thinking with Margareta Kern’s project GUESTures, in: Margareta Kern, Katja Kobold (Hg.): GUESTures, Margarate Kern, London/München 2014, deutsch und englisch, S. 51-61.

DVDs / Editions (Selection):
• Philip Scheffner: The Halfmoonfiles & Der Tag des Spatzen. Doppel-DVD mit zahlreichen Untertitelsprachen und deutsch/englischem Booklet, Berlin: Filmgalerie 451, Juni 2013 (Edition Arsenal). Ein Projekt im Rahmen von „Living Archive – Archivarbeit als künstlerische und kuratorische Praxis der Gegenwart“, Berlin.
• Riki Kalbe – 15 Filme. Doppel-DVD (OmEnglUT) mit zweisprachigem (deutsch/englisch) Booklet, Berlin: Filmgalerie 451, Juni 2013 (Edition Arsenal). Ein Projekt im Rahmen von „Living Archive – Archivarbeit als künstlerische und kuratorische Praxis der Gegenwart“, Berlin. Nominiert für den Willi Haas-Preis 2013.

Congresses / Conferences:
Think Film 1-4 (Berlin, 2012-1016), Gendering Migration Studies – Beyond the Feminization Paradigm (Georg-August-Universität Göttingen / Netzwerk Gender und Migration @Niedersachsen), Visuelles Dekolonisieren (November 2014, HBK Braunschweig), total. Universalismus und Partikuarismus in post_kolonialer Medientheorie (Mai 2013, HBK Braunschweig).

Further information (e.g. complete list of congresses, publications / lectures / projects, information on performance productions and curatorial projects): nannaheidenreich.net

PERSONAL STATEMENT:

»Film and video can be perceived as distinctive forms of thinking. So how do we deepen this form of thinking with respect to the digital? How do we think digitality, and how do we think about digital culture? We, the teachers and students of the Master’s program Digital Narratives, will explore the thinking of the material, its aesthetics and its politics.«

CONTACT:

T +49 (0) 221.920188-0
info(at)filmschule.de

Barbara Hennings was trained as an editor by the AG Nachwuchsförderung in Hamburg from 1962-1964. Her training brought her together with renowned editors such as Alice Ludwig-Rasch. Later she worked among others with the film directors Michael Verhoeven, Max Färberböck and Peter Timm. Barbara Hennings is a founding member of the Bundesverband Filmschnitt Editor and was a managing director for twelve years. In addition to her work as an editor, she has also worked as a sound engineer and assistant director, as well as directing documentary films. Barbara Hennings is honorary chairman of the Bundesverband Filmschnitt-Editor e. V. (Federal Association of Film Editors).

In 2009 she received the Geißendörfer Ehrenpreis Schnitt.

FILMOGRAPHY (Selection)

2017 Atempause 2016 Solo für Weiss – Das verschwundene Mädchen 2014 Bach in Brazil 2013 Der Kommissar und das Meer – Der böse Mann 2013 Nord Nord Mord – Clüver und die fremde Frau 2011 Vater Mutter Mörder 2011 Löwenzahn – Das Kinoabenteuer 2010 Liebe deinen Feind 2010 Eiserne Hochzeit 2009 Liebe Mauer 2009 Bis nichts mehr bleibt 2008 Mein Song für Dich 2008 Dornröschen 2007 Rennschwein Rudi Rüssel 2 – Rudi rennt wieder! 2005 Der Feigling 2004 Mein Bruder ist ein Hund 2003 Das schönste Geschenk meines Lebens 2001 Der Zimmerspringbrunnen 2001 Albtraum einer Ehe (Nominierung Deutscher Fernsehpreis 2001 für Bester Schnitt) 2000 Und morgen geht die Sonne wieder auf (Deutscher Kamerapreis 2000 für Szenische Schnittleistung) 2000 Marlene 1997 Aimée & Jaguar (Nominierung für Golden Globe) 1989 Das schreckliche Mädchen (Nominierung für Oscar und Golden Globe) 1981 Die weiße Rose

PERSONAL STATEMENT:

»Right from the start, I have been part of the ifs and its commitment to the education of editors. Through the changes triggered by the arrival of the new technologies, the film editing education concept has had to be revised to tread new and different paths. The Specialization in Editing Picture & Sound is dedicated to both the picture and sound montage and design of a film, giving students the opportunity to orient themselves according to their particular aptitude. As an honorary professor, I am delighted at this opportunity to pass on the love I have for this profession and the ifs, thanks to its fl exibility, has proven to be the best partner.«

CONTACT:

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b.hennings(at)filmschule.de

Studied ethnology in Munich, followed by documentary film director and producer. The first feature film as executive producer is DER TOTMACHER (Director: Romuald Karmakar), which was awarded the German Film Prize for Best Director and Best Film. Numerous productions followed, including Roland Suso Richter’s EINE HANDVOLL GRAS, which won the children’s film section in Cannes in 2001, Jan Schütte’s FETTE WELT and the award-winning TV two-parter DIE BUBI SCHOLZ STORY. With Caroline Link and her joint film NIRGENDWO IN AFRIKA, he won the German Film Award in several categories and numerous awards at international festivals in 2003 as well as the Oscar ® for Best Foreign Language Film. Many of his films are set in different parts of Africa, including WÜSTENBLUME (directed by Sherry Hormann) and EXIT MARRAKECH (directed by Caroline Link). WÜSTENBLUME was not only a great success at German box offices, but also sold very well internationally and won several prizes. Peter Herrmann is Chairman of the Supervisory Board of German Films, the official export and promotion organization of the German film industry, and a member of the Awards Committee of the Filmförderanstalt Berlin.

FILMOGRAPHY – (Selection)

2013 Exit Marrakech 2012 Anleitung zum Unglücklichsein 2009 Wüstenblume (Bayerischer Filmpreis – Produzent) 2003 Hip Hop: A Tale from the Hood 2002 Der Felsen 2002 Olgas Sommer 2001 Nirgendwo in Afrika (Bayerischer Filmpreis – Produzent, Deutscher Filmpreis – Bester Spielfilm, Oscar® – Bester fremdsprachiger Film) 2000 Eine Handvoll Gras 1998 Die Bubi Scholz Story 1998 Fette Welt 1995 Der Totmacher 1994 Tatort – Klassen-Kampf 1994 Tatort – Perfect Mind: Im Labyrinth 1994 Polizeiruf 110 – Gespenster 1989 Gin für die Götter

PERSONAL STATEMENT:

»In recent years, German film has enjoyed an excellent reputation abroad. More than 100 million people worldwide view our films in cinemas, on TV and in the web every year. Surprising as that may seem, one thing is certain, the impact and significance of international audiences will continue to grow in the future. Producing today is much more than developing materials, inspiring people for them, and bringing them to life. Above all, it means extending our vision to the horizon and beyond.«

CONTACT:

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Mika Kallwass studied directing at the National Film & Television School in Beaconsfield near London. She started her filmmaking career in London with music videos and documentaries for Channel 4. After her return to Germany she made a feature film for cinema and TV for ZDF. In 1995 she was participant of the first cohort of the Schreibschule Köln e.V., a forerunner of ifs’ “Screenwriters’ Program”. In 2001 she received a scholarship for screenwriting and directing at Columbia University in New York, where she studied with Nora Ephron, James Schamus, and Mike Hausmann. Mika Kallwass works as a freelance screenwriter and script consultant in Germany. Since 2017 she holds the professorship for Screenwriting and Dramaturgy at ifs internationale filmschule köln.

FILMOGRAPHY – Selection (Author / Dramaturge)

2017 Sterben für Fortgeschrittene (Kinofilm in Entwicklung) 2017 Fluch der bösen Tat (TV-Film in Entwicklung) 2017 Der Tod der Anderen (TV-Film in Entwicklung) 2017 Lobbyistin 2016 Glückskinder (Kinofilm in Entwicklung) 2016 Tatort Dresden: König der Gosse 2015 Tatort Dresden: Auf einen Schlag 2014 Stromberg – Der Film (Bayrischer Filmpreis) 2013 Mordshunger – Wilder Westen 2012 Mordshunger – Beste Freunde 2011 Mordshunger – Der Heiler 2003-2011 Stromberg, Staffel 1-5 (Adolf-Grimmer Preis, Deutscher Fernsehpreis, Deutscher Comedypreis) 2006-2008 Dr. Psycho, Staffel 1-2 (u.a. Adolf-Grimme-Preis, Deutscher Fernsehpreis) 2008 Der kleine Mann 2001 Frosch & Skorpion (Deutscher Drehbuchpreis KunstSalon)

FILMOGRAPHY – Selection (Director)

1999 Schreckliche Mädchen (Doku) 1998 Freundinnen und andere Monster (Kinofilm) 1998 Bond & Azura (Musikvideos) 1996 Moving Edna (Doku) 1996 George and Ramona (Time Out Audience Award, British Short Film Festival) 1995 Private View

PERSONAL STATEMENT:

»Your curiosity about the story of the world you are telling is the basis for everything. Encountering this reality with a discerning eye, approaching it again and again from both inside and out, forgetting yourself in the process – that is the true work and the adventure of writing. The dramaturgy is your accomplice, creating the bond between your story and those you want to reach.«

CONTACT:

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Graduate psychologist and psychotherapist, since 1985 television producer, author and director of documentary series and dramas, especially in the fields of history and science for German and international television. 1970-1982 Worked for WDR and in the Tagesschau editorial office. In 1985 he founded the “Uwe Kersken-Filmproduktion”. In 1989 he co-founded Gruppe 5 Filmproduktion and was its managing partner until April 2014. With primetime documentary formats for ARD, ZDF, Arte and international partners (including Discovery Channel and National Geographic), Uwe Kersken has also made an international name for himself with Gruppe 5. Among others, the following were particularly successful “Die Juden, Geschichte eines Volkes” for ARD & arte, 20 parts “Die Deutschen” for ZDF, “2057 – Die Welt in 50 Jahren” for ZDF, Discovery, Science Channel, arte, SBS, Sogecable & NHK “Armageddon – Der Einschlag” for ZDF, Discovery & France 2, “Dawn of the Oceans” for National Geographic & ZDF, “America Before Columbus” for National Geographic US and ZDF as well as the big series “Fabeltiere” for Canal +, ARD and Nat Geo and “Delphingeschichten” for ARD & Discovery. In 2014 he launched G5 fiction with ZDF Enterprises. With G5 fiction, Uwe Kersken is responsible for the development, financing, production and exploitation of high-quality, original drama programs with national and international market potential. Uwe Kersken is a member of the International Academy of Television Arts & Sciences.
In 2009, he initiated and co-designed the Masterclass Non-Fiction continuing education programme at ifs and, as a programme sponsor, is significantly involved in the further development of the programme and the supervision of the participants.

FILMOGRAPHY (Selection)

2016 Duell der Brüder – Die Geschichte von Adidas und Puma (in Koproduktion mit Zeitsprung Pictures für RTL Deutschland) 2015 Der Vietnamkrieg, Gesichter einer Tragödie 2010-2014 Terra X (div. Programme) 2013 Frauen, die Geschichte machten 2012 Konrad Adenauer – Stunden der Entscheidung 2010 Dawn of the Oceans (Blue Ocean Festival – China Dragon) 2010 America Before Columbus 2008-2012 Die Deutschen 2007 Die Juden – Geschichte eines Volkes 2007 Armageddon – Der Einschlag 2007 2057 – Die Welt in 50 Jahren 1999 Fabeltiere (Dokuserie) 1996 The Forgotten Island (Tristan da Cunha) 1993 Delphingeschichten (Int. Wildlife Festival Missoula, Goldener Spatz) 1992 Die Havanna

Uwe Kersken / G5 fiction was able to conclude cooperation agreements with German and international partners, among others for:

Nationale Projects
KaDeWe (Script: Markus Hoffmann and Uwe Kossmann, co-production with Ziegler-Film)
Der Vampir (Script: Heiko Schier, co-production with Ziegler-Film)
Die weiße Rose (Script: Léonie Breinersdorfer, Christian Feyerabend, co-production with Bavaria Fernsehproduktion)
Die Fugger (Script: Rupert Henning, co-production with Bavaria Fernsehproduktion)
Morbus Dei (Script: Zach & Bauer, co-production with Bavaria Fernsehproduktion)
Radio Free Europe (Script: Gavin Scott, co-production with Bavaria Fernsehproduktion)
Memelland (co-production with studio.tv.film)
Die Nibelungen (co-production with UFA Fiction)
Romeo und Julia (Script: Heiko Schier, co-production with among others with Studio Hamburg Produktion Gruppe)
Die Goldjungs (Script: Uwe Kersken, Christian Feyerabend, co-production with with Zeitsprung Pictures)

Internationale Projects
Berlin Gothic (Script: Dorian Hess after an e-book by Jonas Winner, co-production with Network Movie)
Dona Gracia – The Woman Who Defied the Inquisition (Script: William J Macdonald, Uwe Kersken, Gavin Scott, funded by Film und Medienstiftung)
Cold War Cabaret (Script: Gavin Scott, co-production with Studio Hamburg Produktion Gruppe)
Brent Spar (Script: Johannes Betz, co-production with Studio Hamburg Produktion Gruppe)
Alexander der Große (Script: Michael Hirst)
Ellis Island (Script: Konrad Jay, Dario Poloni, Michael Hirst, co-production with Green Pavilion)
Treasure Hunters (Co-Production with MGM)

PERSONAL STATEMENT:

»In my role as a professor at the ifs, I look forward to passing on my years of experience as a filmmaker and producer, both in the Masterclass and beyond it. I want to encourage participants and students to work innovatively, think outside the box, and dare to tread beyond their national boundaries.««

CONTACT:

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Study of Visual Communication in Münster, Master of Computer Arts at the Academy of Arts University in San Francisco, scholarship of the Fulbright Commission. Since 2000 working in the field of Animation and Visual Effects as Visual Artist, Technical Director, Animation Director and CG/VFX Supervisor.

FILMOGRAPHY (Selection)

2018 Deutschland ’68 2018 Mackie Messer – Brechts Dreigroschenoper 2017 Vorwärts immer! 2017 Lacrimosa 2017 Die Häschenschule: Jagd nach dem goldenen Ei 2016 Radio Heimat 2016 Pettersson und Findus 2 – Das schönste Weihnachten überhaupt 2016 Mullewapp – Eine schöne Schweinerei 2016 Duell der Brüder – Die Geschichte von Adidas und Puma 2016 Das Tagebuch der Anne Frank 2016 Mullewapp 2015 Der Fall Barschel 2014 Landauer 2013 Pinocchio 2012 The Hobbit: An unexpected Journey 2012 Cloud Atlas 2011 Legends of Valhalla: Thor 2011 A Dangerous Method 2011 Vorstadtkrokodile 3 2009 Contact High 2009 Hilde 2008 Adam Resurrected 2008 La possibilité d’une île 2008 Palermo Shooting 2008 The Children of Huang Chi 2006 The Flying Scotsman 2006 The Thief Lord 2005 Valiant 2004 George and the Dragon 2001 The Musketeer

Commercials (Selection): Ahoj Brause, ARD, Bluna, BMW, Braun, Bärenmarke, Bayer, Coca Cola, Ferrero, IKEA, L’Oreal, Mars, Media Markt, Nestle, Nikon, Procter & Gamble, Schweppes, Sony, Vodafone, Volkswagen, Unicef, ZDF

PERSONAL STATEMENT:

»The art of film making is constantly changing. The creation of moving images with the help of digital technology offers us almost infinite possibilities. It is important to always set these possibilities in relationship to the idea and the basic concept. This is the only way to adopt the combination of art and technology as one’s own. These are exciting times and I really enjoy going that way with the students at ifs.«

CONTACT:

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r.muetze(at)filmschule.de

Ruth Olshan was born in Russia and grew up in Israel and Berlin. She studied directing and film production in Leeds (UK) and Cologne. Today she lives in Germany and works as a freelance director and screenwriter for feature films and documentaries. Ruth Olshan has received numerous awards and scholarships such as the “Sir Richard Attenborough Prize”, the “Prize for Women Artists in North Rhine-Westphalia”, the “Friedrich Wilhelm Murnau Prize” and the “Deutscher Fernsehpreis”. Her films have been shown at international festivals such as Venice, Locarno, Munich, Tbilisi, Berlin, and Oberhausen. Since 2018 she also holds the professorship for Documentary Narratives in Audiovisual Media at ifs internationale filmschule köln.

FILMOGRAPHY / catalogue bibliography (Selection)

2019 Immergrün (Roman) 2018 Bo – Life Is Sheep (Animationsfilm in Entwicklung) 2018 Himbeeren mit Senf (Kino-Kinderfilm in Finanzierung) 2017 Shugar Shock (Kino-Dokumentarfilm in Entwicklung, Co-Regie) 2017 Swimmingpool am Golan (Kino-Dokumentafilm, Co-Regie) 2017 Was vom Himmel fällt (Kinderfilm in Entwicklung) 2017 Ich gehöre ihm (TV Film, Co-Autorin) 2017 Aufbruch in die Freiheit (TV Film, Co-Autorin) (Hamburger Produzentenpreis 2019, Nomienert für den Grimme-Preis 2019, nominiert für die Goldene Kamera 2019)2016 All die schönen Dinge (Roman, Verlag Friedrich Oetinger) 2015 Die Sache mit der Liebe und den Flügeln (Roman, Boje Verlag) 2014 Hilft nur küssen (Spielfilm) 2009 Nicht ganz koscher (Kino-Dokumentarfilm) 2008 Was ist koscher für Dich? (interaktive Filminstallation, Jüdisches Museum Berlin) 2007 Mädchenwelten (Kunst- und Medienprojekt, Senat Berlin) 2005 Wie Luft zum Atmen (Kino-Dokumentarfilm) 2003 Savannah (Kino-Spielfilm) 2002 Tanz der Saris (Dokumentarfilm) 2000 Der Handstand (Kurzfilm)

PERSONAL STATEMENT:

»We filmmakers are storytellers. We shape our stories and our stories shape us. Working in documentary necessitates very good preparation in order to be able to make narrative decisions in the moment. Knowledge of the film-narrative crafts is essential. Another important aspect of the program is working together with the students to explore, understand and develop working methods. Bringing these two aspects of film work together – filmmaking skill and mastery on the one hand, and personal development on the other – has always been at the core of my teaching work. From the initial idea to the final product, making a film requires stamina, reflection, and a good sense of humour«

CONTACT:

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r.olshan(at)filmschule.de

Diploma studies camera at the University of Applied Sciences Dortmund. Guest semester at the Film & Television Institute of India, Pune. Practical semester at the Anthology Film Archive, New York. Cameraman and Director of Photography since 1999.

FILMOGRAPHY (Selection)

2018 Vatersland 2018 Close-Up: Meine Reise mit Mario 2017 Mr Gay Syria 2017 Das große Loch 2015 Kokolampy (R/B/K) 2015 Der Hannover-Komplex 2015 Der Kuaför aus der Keupstrasse 2014 Grenzbock 2013 10.000.000.000 2013 Raumfahrer 2012 Blick in den Abgrund 2012 Mein Weg nach Olympia 2011 PEAK 2011 Schönheit 2011 Geschlossene Gesellschaft (Grimme Preis) 2010 Im Hause meines Vaters sind viele Wohnungen (R) (Preis der dt. Filmkritik – Bester Dokumentarfilm) 2010 The Real American – Joe McCarthy 2007/2008 Soko Köln div. Folgen 2008 Freundschaft! – Die freie deutsche Jugend 2007 Ich, Reich Ranicki 2006 Lost in Liberia 2006 Benidorm (Nominierung für den dt. Kamerapreis, Deutscher Kurzfilmpreis) 2004 Die große Depression 2004/2005 Mein eigener Herr 2004 Magic Eye (Mejor Fotografia –Best Photography des XXVII. Mostra de Valencia, Silver Pyramid »Best Film« Kairo Film Festival, Fipresci Award »Best Film« Kairo Film Festival) 2004 Das Goebbels-Experiment 2004 Geschwister Vogelbach 2003 Ich und das Universum (Director) (Preis der dt. Filmkritik – Bester Kurzfilm, Prix UIP Sarajevo, »Short Tiger« der FFA, Special Prize of the Jury Uppsala, Jameson Award) 2003 Paralelluniversen 2002 Narren 2002 Golden Lemons 2002 groundspeed 2003 Schleyer – eine deutsche Biographie (Grimme-Preis in Gold) 2001 SAINKHO 2000 Silverstar (Nominierung für den dt. Kamerapreis)

PERSONAL STATEMENT:

»What do we want to see? What should it look like? About what would we like to talk? Which topics are relevant to us? What kind of position do I take up in my work? And, how do I develop an aesthetic persuasiveness, a self-assured imagery? Throughout the DoP studies, we are dedicated to meet these questions with a formal and aesthetic perspective, trying to fi nd answers especially with regard to content.«

CONTACT:

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h.schomerus(at)filmschule.de

Camera studies in the Czechoslovak film and television studios in Prague, studies at the German Film and Television Academy (dffb) in Berlin with Michael Ballhaus and Peter Stein. Teaching activities at the German Film and Television Academy (dffb), University of Hamburg, Dortmund University of Applied Sciences and Hanover University of Applied Sciences.

FILMOGRAPHY (Selection)

2018 Mackie Messer – Brechts Dreigroschenfilm 2017 Spuren des Bösen – Begierde (Filmpreis ROLAND) 2015 Junges Licht 2014 Spuren des Bösen – Schande 2014 Die Pilgerin 2011 Unsere Mütter, unsere Väter (International Emmy Award, Deutscher Fernsehpreis) 2010 Vermißt 2010 Spuren des Bösen (Goldene Romy) 2009 Hindenburg (Deutscher Fernsehpreis) 2008 Geheimnis der Wale 2006 Contergan 2005 In drei Tagen bist du Tot 2004 Herr der Diebe 2003 Engelchen flieg 2002 Der Puppengräber 2000 Pinky und der Millionenmops 1996 Du bist nicht allein – Die Roy Black Story- 1995 Der letzte Kurier (Deutscher Kamerapreis »lobende Erwähnung«, Adolf Grimme Preis in Gold) 1991 Nordkurve 1990 Mit den Clowns kamen die Tränen 1989 Der Leibwächter 1987 Kiebich und Dutz 1986 Das Treibhaus 1982 Schwarzfahrer 1980 Jede Menge Kohle (Deutscher Filmpreis in Gold) 1979 Talentprobe 1978 Die Abfahrer

PERSONAL STATEMENT:

»I see the students as spies peering into the future. I want to explore with them the ways in which visual perception changes. We will closely examine all the new developments to see how we can use them in our profession.«

CONTCAT:

T +49 (0) 221.920188-0
d.slama(at)filmschule.de

Lena Thiele, author and creative director of the Berlin-based media company Miiqo Studios UG, has been designing and producing award-winning digital media formats such as web series, interactive storytelling formats and games since 2003.

Her main focus is on the creative combination of state-of-the-art technology and high-quality journalistic content to create innovative formats that intensively involve the recipient and create an experience.

The production, the web series netwars/out of CTRL, has received numerous awards including the SXSW Innovation Award for Best Visual Media Experience, the Grimme Online Award and the Prix Italia 2015.

Since 2012, as Head of Studies and Trainer, she has developed the Audience Design Training Program at TorinoFilmLab. In addition, she worked as a trainer for international programs and universities such as the Dok Leipzig NetLab, Berlinale Residency, the HFF Munich, Filmakademie Ludwigsburg, or the ZHdK and as a consultant for the international media industry. In recent years she has been a member of the jury of the International Digital Emmy® Award in the non-fiction sector on several occasions. In 2018 she was a member of the jury of the Grimme Online Award. Lena Thiele completed her studies at the Berlin University of the Arts with a Magister Artium degree.

AWARDS (Selection)

Prix Italia, Best Transmedia Experience  für »Netwars – Out of CTRL« (2015) Grimme Online, Knowledge and Education für »Netwars – Out of CTRL« (2015)  SXSW/South by Southwest Interaction Innovation Award for Best Visual Media Experience für »Netwars – Out of CTRL« (2015) Preis für crossmediale Programminnivationen für »Netwars – Out of CTRL« (2015)  Deutscher Digital Award, Bronze, Category Website, Mobile and Stationary für »Netwars – Out of CTRL« (2015) Japan Award for Best Work Creative Frontier für »Netwars – Out of CTRL« (2014) The FWA – Site of the Day (2014)REMI Winner Worldfest Houston für »Farewell Comrades! Interactive« (2013) Focal International Award 2012 für »Farewell Comrades! Interactive« (2012) Best Webdocumentary France24/RFI 2012 für »Farewell Comrades! Interactive« (2012) Nominated for Deutsch-Französischer Journalistenpreis 2012 für »Farewell Comrades! Interactive« (2012) In Competition: FIPA 2012 mit »Farewell Comrades! Interactive« (2012) Nominated for WEBTV Festival 2012 für »Farewell Comrades! Interactive« (2012) Nominated for France 24-RFI Web Documentary Award für »Farewell Comrades! Interactive« (2012) Nominated for Prix Europa für »Farewell Comrades! Interactive« (2012) Nominated for DocLab Award für »Farewell Comrades! Interactive« (2011) Deutscher Entwicklerpreis / Best Mobile Actiongame: Project: »Werner: Haat am Ball« (2006) Deutscher Entwicklerpreis / Best Mobile Strategy Game für »Armored Forces« (2006)

PERSONAL STATEMENT:

»My work has been shaped by the transformation of digitalization. It is an exciting time to be in as we have the rare opportunity to reshape and co-create the way stories are being told and how we can connect people through story by using the innovation of digital technology to create a real human emotional experience.«

CONTACT:

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