★ Ula Stockl
Ola Stokl is a German feminist film Director, screenwriter and occasional actress.
She passionately believes that there should be more women in the film business exerting their influence.
1.1. Life. Origin and early years. (Происхождение и ранние годы)
Ula Stockl was born in Ulm a few weeks before Austria was virtually uncontested incorporated into an expanded Germany. Alphonse Stokl, her father, was a professional orchestral clarinetist. He was sent to fight in the war, but he survived. After the war, the salary of players in her fathers orchestra was reduced by half, and in order to support the family budget, Ulass mother, born Katarina Kreis, took a job in a factory in the textile sector. Katharina Stokl-Kreis grew up in an orphanage, looked after by nuns who carefully taught her a huge range of domestic skills and brought steely practicality to the problems of raising a family on her own during the war. But, as her daughter later recalled, for the first four decades of her life, she was not well prepared for factory work: her fingers were almost always bandaged. Many of Ulas most vivid childhood memories come from her familys experience of bombing Ulm during the war, when she clutched one of her mothers hands and her younger sister clutched the other, and night after night they watched the city burn. Their home and neighborhood were destroyed on December 17, 1944: collateral damage included three dead siblings, but both of her parents survived. It never occurred to her to ask if they were paying rent for the succession of small rooms they lived in over the next few months. Subsequent memories included the flu epidemic and the famine-stricken winter of 1946. The birth of another sister in 1948 meant that she was no longer the only surviving child of her parents and represented a kind of new beginning for the family. Stokl dropped out of high school in 1954 and studied secretarial work, which remained her main source of paid work until 1963. In February 1958, she began language courses in Paris and London. From 1961 to 1963, she served as a trilingual Executive Secretary. From may to August 1963, she worked as an assistant editor at the DM-Verlag publishing house in Sandweier, then still not far from Baden-Baden, which later included this small town.
1.2. Life. Students. (Для студентов)
In 1963, Stockl entered as a student at the Institut fur Filmgestaltung, the film production Institute, a branch of the Hochschule fur Gestaltung, a Design School that had been established ten years earlier in Ulm and which had established a reputation for its innovative approach to teaching. She was the first female student to be admitted to the course, which she completed in 1968.
She shot her first film, Antigone, in 1964 as part of her course, using a silent 35mm Arri camera. Only seven minutes long, it is necessarily episodic, telling only a few key points of the Greek myth on which it is based. Her graduation feature film, 1968s Neun Leben hat die Katze: "a cat has nine lives", subsequently gained cult status among supporters, regarded by some as"West Germanys first feminist film". These two productions defined the themes and set the direction for much of Stokls subsequent work. It was not able to go into General distribution when it was first released due to the failure of the chosen distributor, but subsequent critics and film critics, nevertheless, witnessed its enduring significance.
1.3. Life. Film career. (Кинокарьера)
In 1968, Ula Stockl founded her own production company, Ula Stockl Filmproduktion. The following year, she teamed up with Edgar Reitz to produce "die Geschichten vom Kubelkind", "tales of the garbage child", a 22-episode film from the life of a girl who does not conform to the norms of civil society. The shortest episode lasts only 66 seconds, and the longest is 25 minutes. Reitz described it as the story of "a perverted polymorph, an infantile monster," but it also provided insight into how such a combination of characteristics can be instilled by a deeply complex sequence of childhood experiences. Originally intended to be shown in experimental cinemas and, according to at least one source, in pubs, beginning in 1971, parts of it began to make it to television, thereby attracting a larger, more mainstream audience and establishing a wider public reputation for its two co-producers. Kubelkind was part of a new wave of films from a younger generation of producers, often classified as a new genre of German cinema.
Until the 1970s, Ola Stokl worked almost exclusively on television films, and much of her professional focus continued to focus on the "small screen" in the 1980s and 1990s.her subject matter was often human conflict, viewed from the perspective - in her hands, very distinctive-of women or children. She tried to avoid one-sidedness and confronted her characters with almost unbearable problems, often based on dreams.
In 1984, she returned to the cinema with one of her most famous productions, Der Schlaf der Vernunft, the dream of reason. The topics were familiar, but now she was working with a level of confidence and self-confidence that meant that critics were a little less likely to challenge the various quirks in the accepted approach. Another important milestone in Stokles film career was the old song", one of the first so-called "Spilfilm" films, which appeared in 1992. Returning again to her theme of conflict in human relations, she also touched on some topics related to reunification, and thus touched on issues that were very much on the minds of many Germans at that time. "Das alte Lied" was and will probably remain the last of Ula Stockls films for cinema.
1.4. Life. Stage. (Этап)
Ola Stokl was only briefly involved in the theater. In 1974, together with Werner Fassbinder, she directed Strindbergs drama "Fraulein Julie" at the theater am thurm in Frankfurt. For one reason or another, the experience was not entirely happy.
1.5. Life. Training. (Обучение)
Stokl has taken on teaching contracts for the German Academy of film and television in Berlin and in North America at the venerable Hollins University in Roanoke, Virginia. Since 2004, she has also held a professorship at the University of Central Florida on the outskirts of Orlando, Florida, where she focuses on directing and producing films and, inevitably, on the place of women in film.
1.6. Life. Film festival. (Кинофестиваль)
She has shown a special devotion to film festivals, through which she can also promote her feminist ambitions for society. For fifteen years after its founding in 1978, she was closely associated with the creteuil International womens film festival in Paris. Since 1982, she has been working at the Berlinale film festival in connection with the" competition and panorama", as well as finding her niche as a moderator and presenter of festival press conferences and puiblic discussions. For several years from 2002 to 2004, she also worked as a program consultant for the selection Committee of the Venice international film festival.
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