Helke Sander Edition (1966-2001) DVDRip VO

[789go]

Helke Sander

Cineasta alemana nacida en 1937, autora de cortometrajes y películas militantes que tomó parte en todos los "combates" feministas berlineses, realizando especialmente películas sobre el aborto y la contracepción, y también sobre los problemas de la gran prensa. Fue co-fundadora del primer Festival de películas de mujeres (Berlín, 1973) y de la revista Frauen und Film (1974). Su primer largometraje, Personalidad reducida por todos lados (Die allseite redurziete persönlickeit, 1977) evoca mediante una serie de cuadros con frecuencia irónicos las dificultades de una berlinesa fotógrafa y feminista. Su originalidad fue confirmada por El factor subjetivo (Der subjektive faktor, 1981), que prolongaba la película anterior a través de la evocación de las luchas de los años 1967-1980.

More infos about —> Helke Sander <—


In chronological order:

01. 1966, Subjektitüde
Helke.Sander-Subjektitüde-1966.avi


02. 1967, Silvo
Helke.Sander-Silvo-1967.avi


03. 1967/68, Brecht die Macht der Manipulateure
Helke.Sander-Brecht.die.Macht.der.Manipulateure-1968.avi
not listed in the IMDb

04. 1968, Die Rote Fahne
n/a


05. 1970, Kinder sind keine Rinder
n/a


06. 1971, Eine Prämie für Irene
Helke.Sander-Eine.Prämie.für.Irene-1971.avi


07. 1977, REDUPERS - Die allseitig reduzierte Persönlichkeit
Helke.Sander-Die.allseitig.reduzierte.Persönlichkeit-Redupers-1977.avi


08. 1981, Wie geht das Kamel durchs Nadelöhr?
n/a


09. 1981, Der subjektive Faktor
Helke.Sander-Der.subjektive.Faktor-1980.avi

•

11. 1983, Der Beginn aller Schrecken ist Liebe
Helke.Sander-Der.Beginn.aller.Schrecken.ist.Liebe-1983.avi


12. 1984, Nr. 1 - Aus Berichten der Wach- und Patrouillendienste
Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.1-1984.avi

13. 1986, Völlerei? - Füttern!
Helke.Sander-Völlerei_Füttern-1986.avi

14. 1986, Nr. 8 - Aus Berichten der Wach- und Patrouillendienste
Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.8.-1986.avi


15. 1986, Nr. 5 - Aus Berichten der Wach- und Patrouillendienste
Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.5.-1986.avi

•
•
•

19. 1990/91, Befreier und Befreite, Part 1 & 2
Helke.Sander-Befreier+Befreite-Teil1-1990.avi
Helke.Sander-Befreier+Befreite-Teil2-1991.avi

20. 1997, Dazlak - Skinhead
Helke.Sander-Dazlak-1997.avi
No Subtitles, sorry

22. 2001, Dorf (Village)
Helke.Sander-Dorf-2001.avi

English Subs available:
Helke.Sander-english.Subs-1966-68.rar
Helke.Sander-english.Subs-1971-77.rar
Helke.Sander-Der.subjektive.Faktor-1980-english.srt
Helke.Sander-Der.Beginn.aller.Schrecken.ist.Liebe-1983-english.srt
Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.1984-1986-english.rar
Helke.Sander-Völlerei_Füttern-1986-english.srt
Helke.Sander-Befreier+Befreite-Teil1-1990-english.srt
Helke.Sander-Befreier+Befreite-Teil2-1991-english.srt
Helke.Sander-Dorf-2001-english.Subs.rar

to be continued …

Screenshots in (also) chronological order

01. 02. 03. 06.
07. 09. 11. 12.
13. 14. 15. 19.
20. 22.

[astrov]

Thank you!!!!!!!!!!!! Wonderful!

[kimkiduk]

[Faeton]

Downloaded, sharing and ready for more!

P.S.: Thanks!

[ciruja]

Muchas gracias por estas joyas.

[789go]

06. 1971, Eine Prämie für Irene
Helke.Sander-Eine.Prämie.für.Irene-1971.avi

Helke.Sander-english.Subs-1971-77.rar



Music: Ton Steine Scherben

The film portrays the domestic and working life of Irene, a single mother with two children, in a somewhat comic-strip fashion.
The surveillance camera the women destroy in the end did not actually exist in those days.
The film was also conceived as a sort of criticism of the "Berlin worker's film", which primarily followed conflicts in the workplace,
and was above all concerned with the male worker.

[Wagnerian]

Mmmm!!

Thanks, 789go!!

[kimkiduk]

Thanks 789go

[789go]

Sander’s film is a brilliant yet subtle meditation on representation - how to visually and aurally depict both women in their personal and professional lives, and Berlin in its dialectical process of “being” a city; the film questions the construction of identities of both women and the city in conflict with common perceptions about them.

“Her film proved a great success at the International Young Film Forum in Berlin in 1978 and is anything but a tearful lament on the situation of a woman who pays for her independence by restricting her other needs in life, her political and private interests and plans, to an absolute minimum. Helke Sander presents the everyday life of her stressed heroine with a great deal of irony and sympathy and just as much remoteness. Because Edda’s life is representative of that of most modern women, she is a figure with whom the viewer could identify if the director did not always carefully undermine any tendency towards illusionism, be it through her comments, her citations from films and literature, by inserting newspaper excerpts and radio broadcasts and above all through the pictures of Berlin, the Wall, the refuse, the piles of rubble and the graffiti. This women’s film is simultaneously about Berlin, a city that is torn asunder in the same way as the heroine’s life, a life in installments. In bits, yet complete, ‘because everything is complete and if you break it into parts, it will become complete again, each part for itself’ - a citation from the East German author Thomas Brasch who emigrated to the West in 1976.” (Annette Meyhöfer)

Described in The New York Times as a “feminist film as earnest and clear and chilly as its elegant black-and-white photography.”

Helke.Sander-Die.allseitig.reduzierte.Persönlichkeit-Redupers-1977.avi

[astrov]

Thank you so much 789go!!! Keep working on this Helke Sander's retrospective!!!

[vaughan]

Thanks a lot for these wondurfull stuff!!!!

[Padre Lizardi]

muchas gracias 789go. Voy pinchando esta joyas.

[789go]

"What was life like in a commune?", "What were discussions like?", "What were the beginning of the new women's movement like?" The film reconstructs in 1980 events that took place between 1967 and 1970.
I was also always interested in what would have happened if certain people had acted differnetly, or not at all, at given points in time: that is to say, what influence do individuals, "the subjective factor", actuallyhave on historical events? Do people's individualities encourage or inhibit each other? How do their activities affect the general public? In 1980 this was a very unpopular question.
The film features a character called Anni, a woman living with her child in a commune, and through her transmits a sense of how a movement emerges, how it supplies answers to the many new questions Anni faces, and gives her the impression of a new departure before eventually disintegrating into dogma.

Helke.Sander-Der.subjektive.Faktor-1980.avi

english Subs
Helke.Sander-Der.subjektive.Faktor-1980-english.srt

[kimkiduk]

Thanks again and again

[789go]

Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.1-1984.avi

Subs for all 3:

Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.1984-1986-english.rar




Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.5.-1986.avi




Helke.Sander-Aus.Berichten.der.Wach-.und.Patrouillendienste.Nr.8.-1986.avi

[zuma]

Algo más para descubrir.
Muchas gracias, 789go

[vaughan]

thanks, thanks & thanks again!!!!!!

[789go]

...The association between these images and the situations in Sander´s story suggest a relationship between private emotional violence and public political violence which is alluded to as well in the personal histories of the characters...
Sander´s film offers a critique of the dichotomy of private life and public image which had allowed Traugott´ s mother to love his Nazi father. In a sense „The Trouble with Love“ („Der Beginn aller Schrecken ist Liebe“) implicates women who play the role of passive victim as accomplices of male violence. It is Freya´s refusal to accept this seperation of public and private in her own life which precipitates the dramatic conflict in the film. The character insists on an active solution to her situation rather than the passive response which her role as jilted lover seems to call for. Freya wants the reasons for her suffering out in the open. She is more committed to forcing an honest conclusion to her relationship with Traugott than to preserving the relationship.
Sander is not alone in Germany in her concern with the politics of emotions. Alexander Kluge´s The Power of Emotions (1983) touches many of the same issues if through a very different style of filmmaking....
Ann Harris (1988)

Helke.Sander-Der.Beginn.aller.Schrecken.ist.Liebe-1983.avi

english Subs
Helke.Sander-Der.Beginn.aller.Schrecken.ist.Liebe-1983-english.srt

[kimkiduk]

Thanks a lot

[789go]

Germany 1990/1991. 35 mm, Farbe und s/w, Teil 1: 90 Minuten, Teil 2: 102 Minuten. Produktion: BIFF, Bremer Institut Film/Fernsehen in Koproduktion mit Helke Sander Filmproduktion, Journal Film Klaus Volkenborn und dem WDR. Regie und Buch: Helke Sander. Recherche, wissenschaftliche Mitarbeit, Regieassistenz: Barbara Johr. Kamera: Hille Sagel. Assistenz: Susanne Philipp, Pascal Mundt, Bernd Balaschus, Folkert Oehme. Ton: Mike Shepard, Volker Zeigermann. Schnitt: Olla Höf, Karin Novarra, Helke Sander. Assistenz: Monika Negt, Birgit Berndt, Friedrich Spengelin. Musik: Wolfgang Hamm. Herstellungsleitung: Ulrike Herdin, Elke Peters. Aufnahmeleitung: Hildegard Westbeld. Redaktion: Inge von Böninghausen, Werner Dütsch Mitwirkende: Leonore Ballowitz, Antonie Brugsch-Hauckold, Leonard Buchow, Inge Deutschkron, Gleb Fjodorowitsch Dubrowo, Anna Petrowna Dubrowo, Annette Eckert, Herbert Eisermann, Clarissa Henry, Marc Hillel, Elfriede Hoffmann, Ingrid Holzhüter, Konrad Jahr, Gisela Jungmann, Kammerchor Alfred Hechner, Ika Klar, Edith Kleine, Hildegard Knef, Lew Kopelew, Klawdja Grigor Krochina, Dora Löbel-Bock, Ursula Ludwig, Renate Lutz-Lebsanft, Maria Milde, Charlotte Pospiech, Gerhard Reichling, Sabine Rogge, Wiltrud Rosenzweig, Jelena Moisejewna Rshevskaja, Valentina Fjodorowna Rumjantsewa, Ingrid Schmidt-Harzbach, Edgar Schneck, Rita Schulze-Bartsch, Werner Siebenhaar, Iwan Nikotorowitsch Stasewitsch, Fjodor Pawlowitsch Swerew, Ingeborg Tafel, Valentina Pawlowna Tchudajewa, Alexej Fjedotowitsch Tschetwerowa, Marie-Louise Waga, Johanna Wegfraß, Martine von Werner und Helke Sander Uraufführung: 22.2.1992 (Internationale Filmfestspiele Berlin, Panorama). Kinostart: 8.10.1992.

Helke Sander's film is the result of many years of scientific research into rape in Berlin and several other places in Germany in 1945. The film maker pursued her goal of taking the concept of "mass rape" current at the time, and — even after so many years — attempting to quantify it into reliable figures whilst also adressing some of the many ensuing political, medical, psychological and family consequences of the phenomenom. Accompanied by historian Barbara Johr, Helke Sander spent years doing research in national and international archives, hospitals, municipal district offices, various medical institutions, and in pharmaceutical factories, as well as interviewing private individuals. She thereby gathered remnants of testimones relating to those events and rendered them more accessible.
During the first part of the film the women speak — often for the first time in their lives — about their experiences of violence, and the reaction of their families. Former Red Army soldiers, male and female, relate what they know about these events, or what they think or have heard about them.
The second part features the children born of these events. There are reports relating to the behaviour of the German Wehrmacht, and official estimations of the number of children begotten by Germans in the occupied zone. The film reports on the medical consequences and how the institutions dealt with rape. Dr. Gerhard Reichling, a statistician and expert on flight and expulsion, draw conclusions from this collected data.

Helke.Sander-Befreier+Befreite-Teil1-1990.avi

english Subs:
Helke.Sander-Befreier+Befreite-Teil1-1990-english.srt