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November 2002, Week 2


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Film and TV Studies Discussion List <[log in to unmask]>
Fri, 8 Nov 2002 20:01:45 -0500
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************ WMM CELEBRATES ULRIKE OTTINGER ************

Ulrike Ottinger, one of the pioneering women of German experimental cinema, was recently honored at New York's Museum of Modern Art with screenings of her critically acclaimed works, JOHANNA D'ARC OF MONGOLIA and TICKET OF NO RETURN.  In honor of her continued cinematic achievements, as well as the recent release of the beautifully restored print and videotape of TICKET OF NO RETURN, WMM is now offering all of Ottinger's films at the following discounted price:

                Buy any 3 Ottinger titles for $595, a savings of 50%!

A provocative voice in women's filmmaking, Ottinger's work is an essential addition to any  Cinema and German Studies film & video collection.

For more details on the films of Ulrike Ottinger and other upcoming WMM screenings, please visit our website at

************ ULRIKE OTTINGER COLLECTION ****************

1989, 165 min., Color
Dubbed a female Lawrence of Arabia, this epic adventure begins when seven western women travelers meet aboard the sumptuous, meticulously reconstructed Trans-Siberian Express, a rolling museum of European culture. Suddenly ambushed by a band of Mongol horsewomen, the company is abducted to the plains of Inner Mongolia only to embark on a fantastic camel ride across the magnificent countryside.

"Breathtaking." Judy Stone, San Francisco Chronicle

"Wickedly delightful...Sophisticated, mysterious, and deliciously beautiful."  Sheila Benson, LA Times

1979, 108 min., Color
This landmark film explores a complex social and psychological construct of female identity.  Like Ottinger's other bizarrely fabulous films, TICKET OF NO RETURN dives into a world of women in which erotic connections are emphasized.  This particular world includes a chorus of three women named Exact Statistics, Social Question and Common Sense, a bag lady named Lutze, and a cameo by Nina Hagen.

"Deliriously sumptuous and transgressive...a journey alternately dazzling, infuriating, hilarious, and rewarding."  Leslie Camhi, Village Voice

"...this [film]...has given me the most unbridled pleasure...a continuous string of delights, worth anybody's time."  Jonathan Rosenbaum, The Chicago Reader.

1991, 189 min., Color
A fascinating chronicle of divided Germany's final days, Ottinger sharply observes the historic transformations taking place and honestly chronicles the remains of the unification process. Shot over the ten-day period leading to the union of the two currencies on July 1, 1990, the film's ten episodes record the people and streets of East and West Berlin.

"Crystallizes the powerful but tenuous moments of unity belonging to people marginal to 'official' unification. Elegiac and nostalgic."  Arthur Knight, New Art Examiner

1977, 141 min., Color
In this extravagantly aestheticized, postmodern pirate film Ulrike Ottinger appropriates the male genre for feminist allegory. Madame X - the cruel, uncrowned ruler of the China seas - promises "gold, love, and adventure" to all women who'll leave their humdrum lives behind. Gathered aboard her ship "Orlando," their utopia devolves into betrayal and self-destruction-leading to eventual transformation-as the power games of the outside world are ritualized among the women.

"Ottinger reappropriates the aesthetics of narcissism for a feminist discourse, reflecting the problematics of reappropriation through a many-layered parodistic masquerade." Miriam Hansen, University of Wisconsin

1984, 150 min., Color
In the poses of the dandy and the manufactured excesses of the tabloid press, Ottinger finds connections between our 'fin de siecle' moment and the last one, as well as a way to explore her own obsession with the artifice inherent in cinema and gender presentation. An epic of queer cinema, it is a fitting tribute to Oscar Wilde and an uncanny evocation of our current preoccupation with celebrity and the transgressive possibilities of gender performativity." Patricia White, Swarthmore College

"Explores the possibilities of post-modern design in a series of boldly inventive tableaux..."
Kevin Thomas, LA Times

************ OTHER WMM CINEMA STUDIES TITLES *************

Also part of WMM Cinema Studies Collection are: THE ODDS OF RECOVERY by Su Friedrich, who turns the camera on herself to analyze the chances for a happier, healthier life; CONFESSIONS by Marina Petroskaia, a daring piece that disturbingly exposes the filmmaker's aunt's participation with the Nazis; and RECONSTRUCTION by Irene Lustzig, the bizarre story of the 1959 "Ioanid Gang" bank heist in communist Romania involving Lusztig's own grandmother.

************** WMM CONTACT & ORDERING INFO ***************

Please check out our website at for information on these and other titles.  You can also request a copy our 30th Anniversary catalogue or get information on other new releases at

Women Make Movies, 462 Broadway, Suite 502E, New York, NY  10013
P/212.925.0606 x360, F/212.925.2052
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********************** ABOUT WMM *****************************

Established in 1972 to address the under-representation and misrepresentation of women in the media, Women Make Movies is the largest distributor of women's films and videos in the world. Women Make Movies is now celebrating its 30th Anniversary. The year-long series of events will celebrate the diversity, vitality, quality and breadth of creativity in WMM's catalogue of more than 500 films and videotapes. Anniversary festivities will consist of extensive exhibitions and retrospectives, both domestic and international; premiere screenings of new releases in upcoming festivals; and participation in noteworthy academic conferences.

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