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G-Punkt-Vibrator - Fun Factory. Nehm ich auch mit. Dieses kecke Würmchen hat ganz schön was auf dem Kasten. Der gerippte Schaft stimuliert dabei abwechslungsreich und bringt Dich ganz schön auf Touren. Hier bestimmst Du, wie wild oder gefühlvoll es zur Sache gehen wird.
Durch seine weiche Beschaffenheit nimmt er sich Deinem G-Punkt auch in den unterschiedlichsten Stellungen treffsicher an. Of his various features, only Strongman Ferdinand and maybe, at the outside, Occasional Work of a Female Slave manages to resolve its narrative in anything like a conventionally satisfying way.
But I found it quite gripping. This film, like The Patriot , seems a little like a reaction to the unruliness of Germany in Autumn. This transfer comes from a solid but well-used projection print. War and Peace An interesting variant on that early 80s staple, the anti-nuclear documentary. The starting point here is specific concern for how divided Germany has become the logical battleground for World War III, and Kluge and his cohort riff on the implications of this.
His initial idea for a bolthole in Spitzbergen turns out to be misguided, his second choice the sub-Antarctic too expensive, and he has to settle for a common or garden bunker. Most of the bits I remembered came from the later film, it turns out. The Power of Emotion is nevertheless rather wonderful. Murder is a stronger bond than marriage, after all.
The final coup de grace of this story, a smart and lovely touch, was the sequence I remembered from the film. Perplexed relieved of the obligation of a consistent protagonist. This might also be why the peculiar double denial of death in the concluding story is so affecting, despite its sordid backdrop. I've started in on the television stuff, but haven't really figured out how to write about it yet!
The Blind Director is an evocative title, but it only accounts for one episode of this film. The film presents various examples of the past or future being under threat from the present: The episode, like the film itself, is intriguing and thought-provoking.
The key here is decision-making: This belief in an extended present is an illusion that creates a distorted perception of past and future. The same idea was expressed earlier when Dr. Having documented the immense changes in Germany between and , and and , and and , and so on, he asks his interlocutor what he thinks the year will be like.
The tyranny of the present in a nutshell. I have no idea what Kluge was trying to do here. The collage aesthetic remains important, and may be even more foregrounded in this mass-media context. Some of the operas are imaginary. The Guillotine is quite different, focussed on the enthusiastic ravings of dishevelled obsessive Karl-Heinz Bohrer. Artifacts of Advertising , which is for the most part a cavalcade of old advertisements for now defunct German brands including, slyly, a Nazi calisthenics display , also includes an interview with Alfred Edel, posing as Advertising Researcher Gert Muckert, by Alexander Kluge, posing as a television journalist wait a minute.
Rethinking Film No productions made it into the Filmmuseum set, and only two from , one from and two from are present. You can imagine the urges that drove Kluge into television. It must have been frustrating for him to have to stockpile his wildly proliferating ideas and fillet them down to one feature film every couple of years.
The rapid turnover of television production allows the ideas to come thick and fast, without having to worry about larger-scale unities. The cost, however, is the finesse and formal beauty of his feature work. Soviet Patriots of is another artful collage construction, inspired by the story of Kiev firefighters who went back through the advancing German lines to save their city. He ended up buying an overpriced llama-wool blanket and marvels at how this mild capitalist scam worked.
Maybe the GDR could use this as a model for their brave new world. At times too highly engaged, it might be accused, and occasionally his subjects have difficulty either keeping up with his enthusiastic leaps or dealing with his finishing of their sentences.
The Kluge interview film also becomes a source of self-parody, in the form of the many faux-interviews with historic or invented subjects, of which more anon. The ones he conducts with Peter Berling as general, astronaut, scientist etc.
The introductions and framework are standardised, even down to the scrolling text and title and intertitle fonts, and the majority of the interviews continue through the end credits, demonstrating that the television programme has been artificially constructed to meet standard television run times. You can see this in the interview with Japanese filmmaker Mika Ninagawa in Megastars of the Art of Love and in First Music, Then the Word , where the translator is Proust scholar Ulrike Sprenger, herself the subject expert of other Kluge films e.
Extended two-shots of expert and translator also figure in Spinoza and the Modes of God , with Kluge sometimes lingering on the translator Alexandra Geese or panning back and forth to capture the subtleties of the interchange between her and Stefano Bonaga. In London, zoo animals were shot at the beginning of the Blitz, but in Dresden the zoo staff were unable to bring themselves to do this. Alternatively, Kluge reads the relevant accounts while footage of rampaging animals and flames plays behind him.
This is not an interview film, but a collage one, and Kluge layers contemporary footage of elephant races, texts, African music and the Edison footage itself at times extremely distorted.
Probably more remarkable is his ability to engage just as intently and enthusiastically with experts of a much humbler order. Stepping back, however, you notice their idiosyncracies. Although the content of the films is often political, or politicizable, the films themselves are not really political or polemic.
He presents material that can become a part of wider debates in the culture rather than trying to synthesize and manipulate those debates within a commercial half hour. This approach is consistent with the collage approach of many of his features: The results can be pretty funny and even, when the two of them get launched into a spiral of outrageous vamping, awe-inspiring.
Eight of you against a shoal of herring. Hans-Erich Bugelsack even more earnest: The Bridge-Crosser features Schneider as unemployed Fred Peickert, who speaks in serious tones of the need for new occupations to replace obsolete ones. But perhaps the ultimate example of ludicrous improv is Borderline Cases of Damage Control , in which Berling plays Ralph-Igor Muller-Reitwein, an insurance agent specialising in insuring aeroplanes against the impact of space junk crashing to earth. Even though the chance of impact is infinitesimal, how many such incidents can we expect over the next 30 million years?
How much more valuable would a planeload of Londoners be than a planeload of Bangladeshis? What about a planeload of billionaires? If I was an explorer and I got food poisoning from eating raw polar bear meat, would I be covered?
The great pleasure of this film is watching Berling patiently swatting away each increasingly insane scenario. Even in True Love on the Front , the female spies are played by a female impersonator, Lilo Wanders. His narrative filmmaking has, however, undergone a radical transformation away from filmic or theatrical modes of drama and towards text as the primary delivery mechanism.
Thus his latter-day narratives tend to be short and fragmentary and this was already becoming the case with his post- Strongman Ferdinand features and delivered through on-screen text punctuated with stills or found footage. Happy Easter is a good example. The form is also applicable to documentary and non-narrative subjects. Kluge goes a little further towards dramatised narratives in a handful of instances, all of them involving sex, and all involving the same couple Mario Morleo and Annalisa Maggiani having sex.
One of the best examples can be found on the Headless Man disc. The common thread is of morbid historical stories, many of them presented in ballad form. Some are read out by Kluge to camera as nightmare-inducing bedtime stories, some are narrated through illustrative intertitles punctuated or not with period illustrations. Revenge of the Betrayed Bride also is presented as part of the same programme and it adopts a similar form: Stop, Stranger and Read is another compilation of morbidity, taking a text on epitaphs as its starting point but incorporating a nifty array of bizarre and nasty death stories an American child shot by his 3-year-old brother, a hunter shot by his dog, a mass shark attack on a lone swimmer.
Ulrike Sprenger reflects on the power of such legends, traditional and contemporary. Within the Opera disc are three compilations of various lengths that collate and fillet closely related films e. The second disc of The Power of Emotion set includes an actual theatrical programme of the television works, presented at the Serpentine Gallery in A couple of the films, Cold Death Interrupts Love , another catalogue of tales of death and disaster and He Who Hopes, Dies Singing , miscellaneous gloomy news items accompanied by cheery Banda music , would actually fit snugly into the Headless Man programme.
There are no straight interviews. It ranges widely, taking in extracts from straight interviews e. The compilations included on the opera disc are much more straightforward, and tend to keep their component parts more integral, even down to the retention of original titles. There remain, however, a handful of films which take those formats specifically the found-footage collage and create, with rather basic digital tools, something aesthetically singular out of them.
A Swedish Mozart , with a young pianist playing the piano with thunder and lightning in the background, a shot that would be repeated in A Woman Like a Volcano , superimpositions and on-screen texts. A third batch of minute films were made in , under the title The Gentle Cosmetics of Light. First off is Reading News with Music , which sets the pattern.
Hannelore Hoger sits in a chair in the studio as the lighting is arranged around her and the camera eases its way in. Each film has bold musical accompaniment. Next up is The Gentle Cosmetics of Light: These shorts are studies in colour and texture as much as in light, and Berling wears a brilliant scarlet shirt and panama hat and is smoking. Debut presents a third model, Sophie Kluge, while The Star with a Cold brings back a histrionically ailing Hoger, ending up with a close-up on her blocked head.
Don't worry, I'm running out of films. Filming Film Unsurprisingly, Kluge seems to have made a number of films about film, though only a handful are represented in the Filmmuseum set. Godard does offer a little insight on his earlier films, discussing his least favoured films as the ones that could stand to be cut down to shorts, and we get quite a nice appraisal of one of his favourite films, Germany Year 90 Nine Zero. There are a few other one-on-one interviews with the directors or actors of current films.
Apparently Vertov was quite vocal with Eisenstein about how the task should be tackled. Kluge would go much, much deeper into this terrain in with his mammoth News from Ideological Antiquity: Here, Kluge and Negt share the frame, appearing in full body shots seated at a table in a library.
No close-ups or talking heads, and in the window behind them Eisensteinian fragments of intensive montage some from High on Work flicker compusively. Because the rest of the image is simply two guys talking, your eye is continually drawn to the small frame of visual hyperactivity in the background centre.
Alfred Edel appears as one of the slapstick scientists charged with curing the cough and footage from The Power of Emotion the fireman in the opera house is also used. Berling takes the role of a gloomy Soviet ex-astronaut in Spaceflight as an Internal Experience The electronica is still there, but the science fiction darkens into science fact for An Experiment in Love It conveys, largely through onscreen text and manipulated archival footage the grim tale of sexual experimentation in a Nazi concentration camp in order to confirm whether or not their sterilisation programme has worked, they need to encourage copulation.
Also included is First the Music, Then the Words , a fascinating consideration of the evolution of language. In , he explored similar ideas at a more cosmic level in Evolution in the Universe , an interview with astrophysicist Gunther Gustav Hasinger. War and Terror In and , there were several films haunted by the destruction of the Twin Towers.
The most direct expression could be found in the fairly straightforward reportage of N. Ground Zero , but there were also barely veiled allusions: Berling as firefighter Alfons Pfortl, being quizzed about the difficulties of fighting fires in skyscrapers Every Man for Himself ; the compilation footage of American firefighters at work, juxtaposed with a surreal account of survival in a firestorm the spectre of Dresden again?
War rears its ugly head in multiple guises throughout the set of discs, and the first disc of Volume 31 presents an entire programme on the subject. The films selected represent a range of approaches.
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Der gerippte Schaft stimuliert dabei abwechslungsreich und bringt Dich ganz schön auf Touren. Hier bestimmst Du, wie wild oder gefühlvoll es zur Sache gehen wird. Durch seine weiche Beschaffenheit nimmt er sich Deinem G-Punkt auch in den unterschiedlichsten Stellungen treffsicher an.
Du willst den kleinen Gefährten unter der Dusche benutzen? Denn Patchy Paul ist wasserdicht verarbeitet und wird so ganz schnell zum lustvollen Regenwurm, der Dich in Feuchtgebieten verwöhnt. Material Patchy Paul besteht aus Silikon.
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Gleitmittel ohne Weichmacher sinnliche Rillenstruktur praktisch für unterwegs. Der Liebling meiner Frau. Helge Schneider zum Mozartjahr Musik ist meine Republik: Jahrhunderts Das entfesselte Kino: Der einzigartige Filmemacher, Autor und Anwalt Dr.
Die Reinschrift des Lebens: Now I know why! Still, I've tried to note all the television work I could find reliable references for, from the Edition Filmmuseum on down. The forthcoming catalogue will presumably provide a lot more detail. I concede that the web refs and bibliography are somewhat perfunctory, but as with the TV stuff, there's the where-do-you-stop issue with Kluge.
Any additions and corrections gratefully accepted. Brutality in Stone is somewhat legendary, and I can see why. The film is a brilliant collage of abstracted fascist architecture and historic stills accompanied by a confrontational soundtrack: Visually, the film evokes the cool modernism of Resnais and Varda e. The forlorn Nuremberg rally grounds at times eerily enlivened by the sound of past Nazi events are reconfigured as oppressive geometric patterns. Framing is often static, but at times the camera moves rapidly while preserving the abstraction: Kluge piles additional texts onto the racing footage, including very early motorcar footage, apparently incongruous African music to accompany the race and a sly, almost straight commentary read by Mario Adorf.
These disparate elements add up to a veiled Marxist critique of the winner-takes-all ethos that underpins both the race, capitalist society and international politics Kluge is careful to set up the road race as a nationalist display through a pompous parade of flags. Transcript of a Revolution A found documentary on the then-recent successful revolution in the island republic of Las Villas, which managed in to overthrow the dictatorship established by Stromberg in It makes you realise just what a formative influence Kluge was on Werner Herzog.
Teacher Another pointed collage that, like Racing , looks a little like it emerged, kicking and screaming, from an anodyne commission. Kluge then opens up the frame to reflect also sarcastically? But then, what was that brief glimpse of Hitler doing amongst the parade of venerable old school teachers that opened the film? Oh, and here he is again. Kluge kicks it up another gear and arrives at the meat of the film: Kluge would follow up on several of the ideas explored in this film in The Patriot.
Once again, the subtext is history, and we can trace the indirect impact of Nazism on both German society and the individual psyche though the protagonist is nothing so simplistic as an unreconstructed National Socialist. Last edited by zedz on Tue Jun 12, 9: Kluge is a unusually deft, sensitive filmmaker, and as always, I look forward to reading your well thought-out ruminations. Last edited by zedz on Tue Jun 12, Yesterday Girl is quite clearly a whole new thing from frame one, and you can trace so much of what followed from this film.
I think where Kluge succeeds where Godard sometimes fails is to engage his audience in a quasi-dialogue, as opposed to berating them with his "politics," to use a somewhat crude word. Yesterday Girl is certainly the finest Kluge film I've seen I've only seen four, but I admire them all immensely , and it manages to be his most unhinged and his most disciplined. Everything feels deliberate, but never heavy even in its most obvious moments, which grow very nicely from Kluge's framework , like so much of Godard's output.
I'm a relative novice with non-mainstream German New Wave cinema, but Kluge's films have a lack of self-importance that is refreshing. Yesterday , Domestic Slave and The Indomitable Leni Peickert all have an anthropological edge, and Kluge is searching for some kind of profundity within these hermetically sealed little worlds. What that truth is remains to be seen, but Kluge recognizes this. I can't wait to see more of his work. Last edited by accatone on Fri Mar 13, 7: Nice addition to the Filmmakers board!
I do not want to disrupt zedz s? Last edited by zedz on Tue May 27, Sometime in , Kluge must have realised that his radical collage aesthetic had the potential of rendering no subject matter 'unfilmable' and, furthermore, made a lot of conventional resource constraints irrelevant. And so he undertook the making of an enormous science-fiction epic on small change. The spirit of Ed Wood is alive and well in this enterprise - Kluge's ambition-to-resources ratio dwarfs that of Plan 9 from Outer Space - but Kluge is, of course, much smarter and more ingenious.
So he uses lots of models, very basic opticals, Gilliamesque animation, maps and diagrams, pictures from pulp magazines, and intertitles complete with pseudo-scholarly references to the 'Galactic Encycopedia' to fill in the space-operatic sweep between the dialogue scenes. It's sort of like Alphaville cubed, though the aesthetic also owes something to Flaming Creatures or certain Warhol films like Vinyl. A construction site is a construction site is a construction site, Kluge reasons, so let's just tell the audience that this particular one is the construction site for a The loose story follows various groups of spacefarers in and around the Kruger 60 star system, in and around the year Here's the engine room!
We'll take all of that! There's even a guest appearance by Amon Duul II, for all you krautrock fans, and they look completely at home in Kluge's ramshackle universe. The ridiculous cut-price ambition of this film points directly to Syberberg's Hitler: A Film from Germany , and Craig Baldwin's and Guy Maddin's careers both seem to be in large part derived from this particular film.
In narrative terms, this is much more focussed, closing in on a single protagonist, Tobler, played by Kluge axiom Alfred Edel, and jazzing up the homemade aesthetic this is a gorgeous transfer, with magnificent, vivid colour.
Some shots recur from The Big Mess , as do several characters. But the tightening up is also accompanied by some wilder collage elements, particularly sequences of stills that stray far from the science-fiction basis of the film's central imagery antique scenes of ice-skating?
Ultimately, this makes for a more coherent whole than The Big Mess , but one that expresses Kluge's bizarrely visionary concept even more effectively. Kluge has more than once identified these insane films as among his favourites, and he claims to have reworked them up to nine times. I know that one of those re-versions was released as Zu baser Schlacht schleich ich heut Nacht so bang in , but none of those later versions are documented in this set.
Perhaps the long-awaited book will clarify the matter. Last edited by zedz on Thu Aug 24, 7: Until recently I only knew Kluge from his appearances on German television, but last year I started watching his feature film output and by now, he's defintely one of my favorite filmmakers.
It seems more poignant than ever, and very funny as well. Last edited by zedz on Thu Aug 24, 8: Kluge's an interesting example of a figure whose profile is no doubt very different in his homeland than it is elsewhere, where he effectively vanished from public consciousness not that he was ever strongly there in the first place twenty years ago. He's also probably one of the very few major filmmakers who would probably have been an important cultural figure even if he'd never made a single film.
In this case it seems to me more of a collation of disparate elements than most of his other collage films. Rita is an East German spy who exasperates her superiors by reporting way too thoroughly on life in the West. Biermann-Film A very short extract of documentary footage riot police dispersing crowds from its parent feature, In Danger and in Deep Distress.
Not much to say about it: Strongman Ferdinand Quite possibly my favourite Kluge feature, and quite possibly his most straightforward one. The political subtext is simple and serious and has an ongoing relevance, namely the ways in which the establishment can and will use the threat of terrorism to consolidate their own power. But Kluge chooses to illustrate this issue through dry humour and character-based satire rather than presenting an illustrated political lecture and Kluge, unlike most directors, could make that latter approach work.
Much more impressively, Kluge couches his ideas in an expertly calibrated character study. Ultimately, that understanding may be down to Ferdinand being a perpetual underdog, despite his illusions of mastery and his self-identification with the establishment.
Just the sight of tichy Ferdinand definitely a case of Short Man Syndrome here alongside his colossal friend Kneipling suggests a comedy duo.
Winterstein ; Artists under the Big Top: News of the Staufers Although also co-directed with Maximiliane Mainka, this was much more Klugische, an idiosyncratic and fragmentary exploration of its subject through old images, clipped narration, on-screen texts, Verdi, and stylised explorations of medieval architecture harking back, deliberately no doubt, to Brutality in Stone. Germany in Autumn This is the film in the Kluge box set I was most eager to see, though to tell the truth it was the celebrated Fassbinder section that interested me the most.
Getting that out of the way first: Lilo Pempeit also gets to give a great performance as herself. The sequence in which Franziska Busch rescues a woman in the street is slick, commercial and completely unconvincing, and the television staff getting antsy about a production of Antigone is overcooked.
The second-best dramatic sequence is perhaps the most vestigial, the minimalist suspense sequence of the couple stopped momentarily at a border crossing. In an era of cynicism and disillusionment hot on the heels of Germany in Autumn , Kluge makes the bold move of taking the idea of German patriotism seriously, rather than satirically, and sets about trying to discover, via his proxy, what fragments of pride and honour might be salvaged from the ashes of shame.
Of his various features, only Strongman Ferdinand and maybe, at the outside, Occasional Work of a Female Slave manages to resolve its narrative in anything like a conventionally satisfying way. But I found it quite gripping. This film, like The Patriot , seems a little like a reaction to the unruliness of Germany in Autumn. This transfer comes from a solid but well-used projection print. War and Peace An interesting variant on that early 80s staple, the anti-nuclear documentary.
The starting point here is specific concern for how divided Germany has become the logical battleground for World War III, and Kluge and his cohort riff on the implications of this. His initial idea for a bolthole in Spitzbergen turns out to be misguided, his second choice the sub-Antarctic too expensive, and he has to settle for a common or garden bunker.
Most of the bits I remembered came from the later film, it turns out. The Power of Emotion is nevertheless rather wonderful. Murder is a stronger bond than marriage, after all. The final coup de grace of this story, a smart and lovely touch, was the sequence I remembered from the film.
Perplexed relieved of the obligation of a consistent protagonist. This might also be why the peculiar double denial of death in the concluding story is so affecting, despite its sordid backdrop.
I've started in on the television stuff, but haven't really figured out how to write about it yet! The Blind Director is an evocative title, but it only accounts for one episode of this film. The film presents various examples of the past or future being under threat from the present: The episode, like the film itself, is intriguing and thought-provoking. The key here is decision-making: This belief in an extended present is an illusion that creates a distorted perception of past and future.
The same idea was expressed earlier when Dr. Having documented the immense changes in Germany between and , and and , and and , and so on, he asks his interlocutor what he thinks the year will be like. The tyranny of the present in a nutshell. I have no idea what Kluge was trying to do here.
The collage aesthetic remains important, and may be even more foregrounded in this mass-media context.