fbpx
Wikipedia

Ula Stöckl

March 03, 2023

Ula Stöckl is a German feminist film maker and director, screenwriter and occasional actress.[1][2][3]

Ula Stöckl
Born
Ulm
Alma materUlm School of Design
Occupations

She believes passionately that there should be more women exerting their influence in the film business.[4]

Life

Provenance and early years

Ula Stöckl was born in Ulm a few weeks before the (largely uncontested) incorporation of Austria into an enlarged Germany. Alfons Stöckl, her father, was a professional orchestral clarinettist.[5] He was sent away to fight in the war, but survived.[4] After the war the wages of the players in her father's orchestra were halved, and in order to support the family budget Ula's mother, born Katharina Kreis, took factory work in the textiles sector.[6] Katharina Stöckl-Kreis had grown up in an orphanage, looked after by nuns who had solicitously educated her in a formidable range of house-wifely skills, and brought a steely practicality to the challenges of raising a family on her own during the war years.[4] But as her daughter later recalled, during the first four decades of her life she had not been well prepared for factory work: her fingers were almost always bandaged.[6] Many of Ula's most vivid childhood memories relate to her family's experiences of the wartime bombing of Ulm, clutching one of her mother's hands while her younger sister clutched the other and night after night they watched the city burn.[6] Their home and the surrounding area were destroyed on 17 December 1944: collateral damage included three dead siblings, but both her parents had survived.[6] She never thought to ask whether they were paying any rent for the succession of little rooms in which they were accommodated over the next few months.[6] Subsequent memories included the flu epidemic and starvation winter in 1946. The birth of another sister in 1948 meant that she was no longer her parents' only surviving child and represented some kind of a new beginning for the family.[6] Stöckl quit school in 1954 and trained for secretarial work,[7] which would remain her principal source of paid employment till 1963.[2] In February 1958 she embarked on languages courses in Paris and London.[8] Between 1961 and 1963 she worked as a trilingual executive secretary.[6] Between May and August 1963 she worked as an editorial assistant with the publishers DM-Verlag at Sandweier (at that time still just outside Baden-Baden, into which the little town has subsequently been subsumed).[9]

Student

In 1963 Stöckl enrolled as a student at the "Institut für Filmgestaltung" (loosely, "Institute for Making Films"), a department of the School of Design ("Hochschule für Gestaltung") which had been set up ten years earlier in Ulm, and which had built a reputation for its innovative approach to teaching. She was the first female student to be admitted to the course,[6] which she completed in 1968.[10]

She produced her first film, "Antigone", in 1964 as part of her course, using a silent 35-mm Arri camera.[6][11] Just seven minutes long, it is of necessity episodic, relating just a few of the key moments in the Greek myth on which it is based.[12] Her graduation feature film, "Neun Leben hat die Katze" (1968: "The cat has nine lives"), subsequently acquired a cult status among supporters, seen by some as "West Germany’s first feminist film".[11][13] These two productions identified the themes and set the direction for much of Stöckl's later work. It failed to go on general release when first produced due to the insolvency of the selected distributor, but subsequent critics and film scholars have nevertheless born witness to its enduring significance.[14]

Film career

In 1968 Ula Stöckl set up her own production company, "‚Ula Stöckl Filmproduktion".[7] The next year she teamed up with Edgar Reitz to produce "die Geschichten vom Kübelkind" (loosely, "Tales of the Dumpster Kid"), a film of 22 episodes from the life of a girl who does not conform to the norms of civil society.[8] The shortest episode lasts just 66 seconds: the longest 25 minutes. Reitz described it as the story of a "perverse polymorph, an infantile monstrous person",[a] but it also gave an insight into how such a combination of characteristics might be instilled by a deeply challenging succession of childhood experiences.[15] Originally intended for showing in experimental cinemas and, according to at least one source, in pubs, starting in 1971 sections of it began to find their way onto television, thereby garnering a larger more mainstream audience and establishing more broadly the public reputations of its two co-producers.[15] "Kübelkind" was part of a new wave of films from a younger generation of producers, often categorised as the New German Cinema genre.[8]

Through the 1970s Ula Stöckl worked almost exclusively on television films, and much of her professional focus continued to focus on the "small screen" through the 1980s and 1990s. Her theme was frequently that of human conflict, viewed from the - in her hands very distinctive - perspective of women or children. She took care to avoid one-sidedness and confronted her characters with almost unbearable problems, often based on dreams.[16]

In 1984 she returned to the cinema with one of her most acclaimed productions, "Der Schlaf der Vernunft" ("Sleep of Reason"). The themes were familiar, but by now she was working with a level of assurance and self-confidence which meant that critics were a little less inclined to challenge the various quirkinesses in the approach taken.[16][17][18] Another important milestone in Stöckl's film career was "Das alte Lied" ("The old song"), one of the first so-called "Spielfilme" (loosely, "narrative films"), and appeared in 1992. While again revisiting her theme of conflict in human relationships, it also dealt with some of the themes arising out of reunification, and thereby touched on matters which at the time were preoccupying very many Germans. "Das alte Lied" was, and seems likely to remain, the last of Ula Stöckl's films for cinema.[4]

Stage

Ula Stöckl has only briefly involved herself with theatre. In 1974 she co-produced with Werner Fassbinder Strindberg's stage drama "Fräulein Julie" at the Theater am Turm in Frankfurt. For one reason and another, the experience was not an entirely happy one.[19]

Teaching

Stöckl has undertaken teaching contracts for the German Film and Television Academy in Berlin and, in North America, at the venerable Hollins University in Roanoke VA.[6] Since 2004 she has also held a professorship at the University of Central Florida on the edge of Orlando FL where she focuses on film direction and production and, inevitably, on the place of women in film.[6][11]

Film festivals

She has shown particular dedication to film festivals, through which she is also able to progress her feminist ambitions for society. For fifteen years following its foundation in 1978 she was closely engaged with the International Women's Film Festival in Créteil (Paris). Since 1982 she has worked for the "Berlinale" film festival in connection with "competition and panorama", also finding a niche as a moderator and presenter of the festival's press conferences and public discussions. For a couple of years between 2002 and 2004 she was also employed as a programme adviser in the selection committee for the Venice International Film Festival.[11]

Filmography

  • 1964: Antigone (Short film: Screenplay, Direction, Editing)
  • 1965: Miniaturen (Short film: Direction)
  • 1965: Do You Have a Dregree? (Short film: Screenplay, Direction, Co-production, Editing)
  • 1966: Saturday at 5 P.M. (Short film: Screenplay, Direction)
  • 1967: Lust for Love (Screenplay, Co-direction)
  • 1968: The Cat Has Nine Lives (Screenplay, Direction, Co-Production)
  • 1969: Das schwache Geschlecht muß stärker werden / Weibergeschichten (TV-documentary film: Co-directoion)
  • 1970: Stories of the Dumpster Kid (with Edgar Reitz - Screenplay, Direction)
  • 1971: The Golden Thing (with Edgar Reitz, Alf Brustellin and Nikos Perakis - TV film: Screenplay, Direction)
  • 1971: Brainworks (TV film: Screenplay, Direction, Production)
  • 1973: The Little Lion and the Big Ones (TV film: Screenplay, Direction, Production)
  • 1973: A Very Perfect Couple (TV film: Screenplay, Direction, Production)
  • 1974: Die Schildkröte (TV film: Screenplay)
  • 1974: Rabbit and Porcupine (TV film: Screenplay, Direction, Production)
  • 1975: Popp and Mingel (TV film: Screenplay, Direction)
  • 1976: Erika's Passions (TV film: Screenplay, Direction, Production)
  • 1978: A Woman With Responsibility (TV film: Co-author screenplay, Direction)
  • 1980: Palermo or Wolfsburg (Production)
  • 1981: Freak Orlando (Production)
  • 1981: Day of the Idiots (Production)
  • 1982: The Heiresses; Episode 4: Den Vätern vertrauen, gegen alle Erfahrung (TV film: Screenplay, Direction, Production)
  • 1984: Sleep of Reason (Screenplay, Direction, Production)
  • 1984: Jakob's Pigeons or Quarrel in Tomorrow Already (TV film: Screenplay, Direction, Production)
  • 1985: Oranisches Tor (TV film: Production)
  • 1987: Equal Opportunity in Principle (TV documentary film: Screenplay, Direction, Production), Part of the television series Unerhört – Die Geschichte der deutschen Frauenbewegung von 1830 bis heute
  • 1987: Is Nobody Listening? (TV documentary film: Screenplay, Direction), Part of the television series Unerhört – Die Geschichte der deutschen Frauenbewegung von 1830 bis heute
  • 1991: Don't Talk About Fate (Direction)
  • 1991: The Old Song (Screenplay, Direction)
  • 1993: Turn Of The Heart (TV-documentary series Lebenslinien: Screenplay, Direction)
  • 1993: The Wild Stage (TV: Screenplay, Direction)

Awards and honours (selection)

Notes

  1. ^ "...polymorph-perversen, infantilen, monströsen Person..."[15]

References

  1. ^ Christian Berndt (6 February 2015). "Pionierin des feministischen Films". Regisseurin Ula Stöckl. Deutschlandradio, Köln. Retrieved 17 June 2020.
  2. ^ a b Marc Silberman. "Do away with taboos". Interview with Ula Stöckl: from Jump Cut: A Review of Contemporary Media. Jump Cut (journal). Retrieved 17 June 2020.
  3. ^ Robert Stephens (26 March 2018). "The Life and Films of Ula Stoeckl". UCF Professor Ula Stoeckl has been making films for more than 40 years, and recently had them screened at the Berlin Film Festival. University of Central Florida, Orlando FL. Retrieved 17 June 2020.
  4. ^ a b c d Marie Rövekamp (10 February 2015). "Und Mutter trug die Bombe weg". Portrait von Ula Stöckl .... "Neun Leben hat die Katze" war einer der frühen feministischen Filme. Nun läuft er in den "Classics". Eine Begegnung mit der Regisseurin Ula Stöckl. Verlag Der Tagesspiegel GmbH, Berlin. Retrieved 18 June 2020.
  5. ^ "A Berlin tribute to filmmaker Ula Stöckl on her 75th birthday". The Sleep of Reason ("Der Schlaf der Vernunft") in Berlin’s Moviemento on February 5. Rainer Werner Fassbinder Foundation, Gemeinnützige Nachlaßstiftung GmbH, Berlin. 2 April 2013. Retrieved 17 June 2020.
  6. ^ a b c d e f g h i j k l m Claudia Lenssen; Bettina Schoeller-Bouju (12 September 2014). Ula Stöckl: Regisseurin Autorin Professorin. Wie haben Sie das gemacht?: Aufzeichnungen zu Frauen und Filmen. Schüren Verlag. pp. 191–205. ISBN 978-3-89472-805-2.
  7. ^ a b Rosemarie Kuheim (compilation) (5 October 2018). "Ula Stöckl :Regisseurin Drehbuchautorin Produzentin". Ihre Filme. Deutsche Filmhaus. Retrieved 17 June 2020.
  8. ^ a b c "Edgar Reitz & Ula Stöckl ... Ula Stöckl was born in Ulm, Germany in 1938 ..." Tales of the Dumpster Kid. Berwick Film & Media Arts Festival. 2018. Retrieved 17 June 2020.
  9. ^ "Biografie". Ula Stöckl: Darstellerin, Regie, Regie-Assistenz, Drehbuch, Schnitt, Sonstiges, Produzent, Produktionsleitung05.02.1938 Ulm. DFF - Deutsches Filminstitut & Filmmuseum e.V. ("Filmportal"), Frankfurt am Main. Retrieved 17 June 2020.
  10. ^ Jeanne Richter (2003). "Unerhört weiblich". Ula Stöckl: Filmemacherin Professorin. University Of Central Florida. Retrieved 17 June 2020.
  11. ^ a b c d "Ula Stöckl Retrospective". Arsenal – Institut für Film und Videokunst e.V. , Berlin. February 2018. Retrieved 18 June 2020.
  12. ^ "Antigone, 1964 Directed by Ula Stöckl". Letterboxd Limited, Auckland NZ. Retrieved 18 June 2020.
  13. ^ "Neun Leben hat die Katze". Berlinale Classics. Internationale Filmfestspiele Berlin. Retrieved 18 June 2020.
  14. ^ Martin Körber. "Neun Leben hat die Katze .... Recovered & Restored". Film Notes. Biblioteca Renzo Renzi (Il Cinema Ritrovato). Retrieved 18 June 2020.
  15. ^ a b c "Unbeschnittenes Kind". Trotz Einspruchs der FSK, die am Verbum „ficken“ Anstoß nahm, werden 22 „Geschichten vom Kübelkind“ der Regisseure Edgar Reitz und Ula Stöckl unverändert in Kinos und sogar im Fernsehen gezeigt. Der Spiegel (online). 19 July 1971. p. 110. Retrieved 18 June 2020.
  16. ^ a b Bert Rebhandl (5 February 2018). "Filmemacherin Ula Stöckl: Kritische Traumarbeit". Heirat und Scheidung sind auch keine Lösungen: Ula Stöckl öffnete den Neuen deutschen Film für eine Sensibilität, die vor ihr keiner wagte. An diesem Montag wird die Filmemacherin achtzig Jahre alt. Frankfurter Allgemeine Zeitung. Retrieved 18 June 2020.
  17. ^ Enjott Schneider (26 January 2018). "Der Schlaf der Vernunft" (1984) von Ula Stöckl. Handbuch Filmmusik I. Musikdramaturgie im Neuen Deutschen Film. BoD – Books on Demand. p. 114. ISBN 978-3-7445-1335-7.
  18. ^ Caroline Fetscher (7 May 1984). "Medea träumt". "Der Schlaf der Vernunft". Spielfilm von Ula Stöckl. Deutschland, 1984; 82 Minuten; schwarzweiß. Der Spiegel (online). p. 244. Retrieved 18 June 2020.
  19. ^ David Barnett (24 November 2005). The Big Tome. Rainer Werner Fassbinder and the German Theatre. Cambridge University Press. pp. 175–228. ISBN 978-0-521-85514-3.
  20. ^ "Für Vielfalt in der deutschen Filmkultur: Förderung von Talent- und Kinderfilmen". Das Kuratorium junger deutscher Film ist die älteste und die einzige von den Ländern gemeinsam getragene Filmförderinstitution. Zu den Förderbereichen gehören Talent-/Nachwuchsfilme und Kinderfilme. Kuratorium junger deutscher Film, Wiesbaden. Retrieved 20 June 2020.

March 03, 2023
stöckl, german, feminist, film, maker, director, screenwriter, occasional, actress, bornulmalma, materulm, school, designoccupationsactressfilm, directorfilmmakerscreenwritershe, believes, passionately, that, there, should, more, women, exerting, their, influe. Ula Stockl is a German feminist film maker and director screenwriter and occasional actress 1 2 3 Ula StocklBornUlmAlma materUlm School of DesignOccupationsActressfilm directorfilmmakerscreenwriterShe believes passionately that there should be more women exerting their influence in the film business 4 Contents 1 Life 1 1 Provenance and early years 1 2 Student 1 3 Film career 1 4 Stage 1 5 Teaching 1 6 Film festivals 2 Filmography 3 Awards and honours selection 4 Notes 5 ReferencesLife EditProvenance and early years Edit Ula Stockl was born in Ulm a few weeks before the largely uncontested incorporation of Austria into an enlarged Germany Alfons Stockl her father was a professional orchestral clarinettist 5 He was sent away to fight in the war but survived 4 After the war the wages of the players in her father s orchestra were halved and in order to support the family budget Ula s mother born Katharina Kreis took factory work in the textiles sector 6 Katharina Stockl Kreis had grown up in an orphanage looked after by nuns who had solicitously educated her in a formidable range of house wifely skills and brought a steely practicality to the challenges of raising a family on her own during the war years 4 But as her daughter later recalled during the first four decades of her life she had not been well prepared for factory work her fingers were almost always bandaged 6 Many of Ula s most vivid childhood memories relate to her family s experiences of the wartime bombing of Ulm clutching one of her mother s hands while her younger sister clutched the other and night after night they watched the city burn 6 Their home and the surrounding area were destroyed on 17 December 1944 collateral damage included three dead siblings but both her parents had survived 6 She never thought to ask whether they were paying any rent for the succession of little rooms in which they were accommodated over the next few months 6 Subsequent memories included the flu epidemic and starvation winter in 1946 The birth of another sister in 1948 meant that she was no longer her parents only surviving child and represented some kind of a new beginning for the family 6 Stockl quit school in 1954 and trained for secretarial work 7 which would remain her principal source of paid employment till 1963 2 In February 1958 she embarked on languages courses in Paris and London 8 Between 1961 and 1963 she worked as a trilingual executive secretary 6 Between May and August 1963 she worked as an editorial assistant with the publishers DM Verlag at Sandweier at that time still just outside Baden Baden into which the little town has subsequently been subsumed 9 Student Edit In 1963 Stockl enrolled as a student at the Institut fur Filmgestaltung loosely Institute for Making Films a department of the School of Design Hochschule fur Gestaltung which had been set up ten years earlier in Ulm and which had built a reputation for its innovative approach to teaching She was the first female student to be admitted to the course 6 which she completed in 1968 10 She produced her first film Antigone in 1964 as part of her course using a silent 35 mm Arri camera 6 11 Just seven minutes long it is of necessity episodic relating just a few of the key moments in the Greek myth on which it is based 12 Her graduation feature film Neun Leben hat die Katze 1968 The cat has nine lives subsequently acquired a cult status among supporters seen by some as West Germany s first feminist film 11 13 These two productions identified the themes and set the direction for much of Stockl s later work It failed to go on general release when first produced due to the insolvency of the selected distributor but subsequent critics and film scholars have nevertheless born witness to its enduring significance 14 Film career Edit In 1968 Ula Stockl set up her own production company Ula Stockl Filmproduktion 7 The next year she teamed up with Edgar Reitz to produce die Geschichten vom Kubelkind loosely Tales of the Dumpster Kid a film of 22 episodes from the life of a girl who does not conform to the norms of civil society 8 The shortest episode lasts just 66 seconds the longest 25 minutes Reitz described it as the story of a perverse polymorph an infantile monstrous person a but it also gave an insight into how such a combination of characteristics might be instilled by a deeply challenging succession of childhood experiences 15 Originally intended for showing in experimental cinemas and according to at least one source in pubs starting in 1971 sections of it began to find their way onto television thereby garnering a larger more mainstream audience and establishing more broadly the public reputations of its two co producers 15 Kubelkind was part of a new wave of films from a younger generation of producers often categorised as the New German Cinema genre 8 Through the 1970s Ula Stockl worked almost exclusively on television films and much of her professional focus continued to focus on the small screen through the 1980s and 1990s Her theme was frequently that of human conflict viewed from the in her hands very distinctive perspective of women or children She took care to avoid one sidedness and confronted her characters with almost unbearable problems often based on dreams 16 In 1984 she returned to the cinema with one of her most acclaimed productions Der Schlaf der Vernunft Sleep of Reason The themes were familiar but by now she was working with a level of assurance and self confidence which meant that critics were a little less inclined to challenge the various quirkinesses in the approach taken 16 17 18 Another important milestone in Stockl s film career was Das alte Lied The old song one of the first so called Spielfilme loosely narrative films and appeared in 1992 While again revisiting her theme of conflict in human relationships it also dealt with some of the themes arising out of reunification and thereby touched on matters which at the time were preoccupying very many Germans Das alte Lied was and seems likely to remain the last of Ula Stockl s films for cinema 4 Stage Edit Ula Stockl has only briefly involved herself with theatre In 1974 she co produced with Werner Fassbinder Strindberg s stage drama Fraulein Julie at the Theater am Turm in Frankfurt For one reason and another the experience was not an entirely happy one 19 Teaching Edit Stockl has undertaken teaching contracts for the German Film and Television Academy in Berlin and in North America at the venerable Hollins University in Roanoke VA 6 Since 2004 she has also held a professorship at the University of Central Florida on the edge of Orlando FL where she focuses on film direction and production and inevitably on the place of women in film 6 11 Film festivals Edit She has shown particular dedication to film festivals through which she is also able to progress her feminist ambitions for society For fifteen years following its foundation in 1978 she was closely engaged with the International Women s Film Festival in Creteil Paris Since 1982 she has worked for the Berlinale film festival in connection with competition and panorama also finding a niche as a moderator and presenter of the festival s press conferences and public discussions For a couple of years between 2002 and 2004 she was also employed as a programme adviser in the selection committee for the Venice International Film Festival 11 Filmography Edit1964 Antigone Short film Screenplay Direction Editing 1965 Miniaturen Short film Direction 1965 Do You Have a Dregree Short film Screenplay Direction Co production Editing 1966 Saturday at 5 P M Short film Screenplay Direction 1967 Lust for Love Screenplay Co direction 1968 The Cat Has Nine Lives Screenplay Direction Co Production 1969 Das schwache Geschlecht muss starker werden Weibergeschichten TV documentary film Co directoion 1970 Stories of the Dumpster Kid with Edgar Reitz Screenplay Direction 1971 The Golden Thing with Edgar Reitz Alf Brustellin and Nikos Perakis TV film Screenplay Direction 1971 Brainworks TV film Screenplay Direction Production 1973 The Little Lion and the Big Ones TV film Screenplay Direction Production 1973 A Very Perfect Couple TV film Screenplay Direction Production 1974 Die Schildkrote TV film Screenplay 1974 Rabbit and Porcupine TV film Screenplay Direction Production 1975 Popp and Mingel TV film Screenplay Direction 1976 Erika s Passions TV film Screenplay Direction Production 1978 A Woman With Responsibility TV film Co author screenplay Direction 1980 Palermo or Wolfsburg Production 1981 Freak Orlando Production 1981 Day of the Idiots Production 1982 The Heiresses Episode 4 Den Vatern vertrauen gegen alle Erfahrung TV film Screenplay Direction Production 1984 Sleep of Reason Screenplay Direction Production 1984 Jakob s Pigeons or Quarrel in Tomorrow Already TV film Screenplay Direction Production 1985 Oranisches Tor TV film Production 1987 Equal Opportunity in Principle TV documentary film Screenplay Direction Production Part of the television series Unerhort Die Geschichte der deutschen Frauenbewegung von 1830 bis heute 1987 Is Nobody Listening TV documentary film Screenplay Direction Part of the television series Unerhort Die Geschichte der deutschen Frauenbewegung von 1830 bis heute 1991 Don t Talk About Fate Direction 1991 The Old Song Screenplay Direction 1993 Turn Of The Heart TV documentary series Lebenslinien Screenplay Direction 1993 The Wild Stage TV Screenplay Direction Awards and honours selection Edit1968 Screenplay prize from the Kuratorium junger deutscher Film 20 1985 Film critics prize for The Sleep of Reason 1985 Movie Silver Ribbon for The Sleep of Reason 6 1999 Konrad Wolf Prize for her life s work 6 Notes Edit polymorph perversen infantilen monstrosen Person 15 References Edit Christian Berndt 6 February 2015 Pionierin des feministischen Films Regisseurin Ula Stockl Deutschlandradio Koln Retrieved 17 June 2020 a b Marc Silberman Do away with taboos Interview with Ula Stockl from Jump Cut A Review of Contemporary Media Jump Cut journal Retrieved 17 June 2020 Robert Stephens 26 March 2018 The Life and Films of Ula Stoeckl UCF Professor Ula Stoeckl has been making films for more than 40 years and recently had them screened at the Berlin Film Festival University of Central Florida Orlando FL Retrieved 17 June 2020 a b c d Marie Rovekamp 10 February 2015 Und Mutter trug die Bombe weg Portrait von Ula Stockl Neun Leben hat die Katze war einer der fruhen feministischen Filme Nun lauft er in den Classics Eine Begegnung mit der Regisseurin Ula Stockl Verlag Der Tagesspiegel GmbH Berlin Retrieved 18 June 2020 A Berlin tribute to filmmaker Ula Stockl on her 75th birthday The Sleep of Reason Der Schlaf der Vernunft in Berlin s Moviemento on February 5 Rainer Werner Fassbinder Foundation Gemeinnutzige Nachlassstiftung GmbH Berlin 2 April 2013 Retrieved 17 June 2020 a b c d e f g h i j k l m Claudia Lenssen Bettina Schoeller Bouju 12 September 2014 Ula Stockl Regisseurin Autorin Professorin Wie haben Sie das gemacht Aufzeichnungen zu Frauen und Filmen Schuren Verlag pp 191 205 ISBN 978 3 89472 805 2 a b Rosemarie Kuheim compilation 5 October 2018 Ula Stockl Regisseurin Drehbuchautorin Produzentin Ihre Filme Deutsche Filmhaus Retrieved 17 June 2020 a b c Edgar Reitz amp Ula Stockl Ula Stockl was born in Ulm Germany in 1938 Tales of the Dumpster Kid Berwick Film amp Media Arts Festival 2018 Retrieved 17 June 2020 Biografie Ula Stockl Darstellerin Regie Regie Assistenz Drehbuch Schnitt Sonstiges Produzent Produktionsleitung05 02 1938 Ulm DFF Deutsches Filminstitut amp Filmmuseum e V Filmportal Frankfurt am Main Retrieved 17 June 2020 Jeanne Richter 2003 Unerhort weiblich Ula Stockl Filmemacherin Professorin University Of Central Florida Retrieved 17 June 2020 a b c d Ula Stockl Retrospective Arsenal Institut fur Film und Videokunst e V Berlin February 2018 Retrieved 18 June 2020 Antigone 1964 Directed by Ula Stockl Letterboxd Limited Auckland NZ Retrieved 18 June 2020 Neun Leben hat die Katze Berlinale Classics Internationale Filmfestspiele Berlin Retrieved 18 June 2020 Martin Korber Neun Leben hat die Katze Recovered amp Restored Film Notes Biblioteca Renzo Renzi Il Cinema Ritrovato Retrieved 18 June 2020 a b c Unbeschnittenes Kind Trotz Einspruchs der FSK die am Verbum ficken Anstoss nahm werden 22 Geschichten vom Kubelkind der Regisseure Edgar Reitz und Ula Stockl unverandert in Kinos und sogar im Fernsehen gezeigt Der Spiegel online 19 July 1971 p 110 Retrieved 18 June 2020 a b Bert Rebhandl 5 February 2018 Filmemacherin Ula Stockl Kritische Traumarbeit Heirat und Scheidung sind auch keine Losungen Ula Stockl offnete den Neuen deutschen Film fur eine Sensibilitat die vor ihr keiner wagte An diesem Montag wird die Filmemacherin achtzig Jahre alt Frankfurter Allgemeine Zeitung Retrieved 18 June 2020 Enjott Schneider 26 January 2018 Der Schlaf der Vernunft 1984 von Ula Stockl Handbuch Filmmusik I Musikdramaturgie im Neuen Deutschen Film BoD Books on Demand p 114 ISBN 978 3 7445 1335 7 Caroline Fetscher 7 May 1984 Medea traumt Der Schlaf der Vernunft Spielfilm von Ula Stockl Deutschland 1984 82 Minuten schwarzweiss Der Spiegel online p 244 Retrieved 18 June 2020 David Barnett 24 November 2005 The Big Tome Rainer Werner Fassbinder and the German Theatre Cambridge University Press pp 175 228 ISBN 978 0 521 85514 3 Fur Vielfalt in der deutschen Filmkultur Forderung von Talent und Kinderfilmen Das Kuratorium junger deutscher Film ist die alteste und die einzige von den Landern gemeinsam getragene Filmforderinstitution Zu den Forderbereichen gehoren Talent Nachwuchsfilme und Kinderfilme Kuratorium junger deutscher Film Wiesbaden Retrieved 20 June 2020 Retrieved from https en wikipedia org w index php title Ula Stockl amp oldid 1138744598, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.