Claudia Dillmann

Claudia Dillmann (born May 29, 1954 in Geisenheim im Rheingau) is a German film scholar . Until September 2017 she was director of the German Film Museum and the German Film Institute - DIF eV in Frankfurt am Main.

Life

After graduating from the St. Ursula School in Geisenheim, she completed a traineeship at the Offenbach Post . At the age of 23 she became editor of the “ Frankfurter Rundschau ”. She later wrote reports from Frankfurt and Hesse as a correspondent for Die Zeit .

In 1981 she began studying German, art history and theater, film and television studies at the Johann Wolfgang Goethe University in Frankfurt am Main , which she completed in 1987 with a master's degree. Topic of her master's thesis: On the fantastic in silent film and literature of the Weimar Republic. Since film history is quickly becoming the focus of her studies, Claudia Dillmann is already working on the permanent exhibition before the opening of the German Film Museum in Frankfurt in 1984, which will remain in place until the museum's fundamental renovation begins in 2009. After the opening of the film museum, she participated in various exhibitions and projects of the house. In December 1989 she brought the archive of the film producer Artur Brauner , owner of the CCC studios in Berlin-Spandau, to the German Film Museum for scientific analysis. The following year she wrote an extensive catalog about Artur Brauner for her exhibition.

In 1991 she became a permanent curator of the Filmmuseum, a year later its deputy director. She continues to curate exhibitions and, among other things, supervises the 1992 project "Sergej Eisenstein in the context of the Russian avant-garde" with originals from five Moscow and Petersburg museums. In 1993 she fought together with Hilmar Hoffmann and a number of prominent German filmmakers against the closure of the municipal cinema in Frankfurt.

From February 1, 1997 to September 2017, Claudia Dillmann headed the German Film Institute - DIF eV, which merged with the German Film Museum in 2006. Claudia Dillmann has also been director of this since 2006. As a film historian, she places particular emphasis on the IT-supported inventory of the collections that are housed in the DIF, as well as their scientific evaluation and publication.

After the turn of the millennium, Claudia Dillmann launched goEast - the festival of Central and Eastern European film, which has been held annually in Wiesbaden since 2001 and was directed by her for the first three years. Under her leadership, the Internet portal for German films, www. filmportal.de , which was activated on February 11, 2005. The portal lists more than 200,000 filmmakers and documents their involvement in and on more than 93,000 films, from the historical beginnings of the medium to the current theatrical release, supplemented by biographies, photos, table of contents, information on the availability of films and links.

In addition to her work at the German Film Institute, Claudia Dillmann regularly introduced films, taught film history at the University of Frankfurt and gave lectures in other cities to draw attention to the Frankfurt film initiatives. She had a seat and vote in juries of international committees and festivals, was involved in the awarding of the German Film Prize and was a reviewer at the Wiesbaden film evaluation office .

She also campaigned for film on a European level. From 1997 she was a member of the board of directors of the Association des Cinémathèques Européennes (ACE); from 2004 to 2012 as its president. In this function, she co-founded the Europeana Foundation in 2007 and was a member of the foundation's board of directors until 2012. From 2006 to 2009 she was a member of the high-level expert group “Digital Libraries”.

Fonts

• Perspectives on the history of cinematic perception. Ed. Walter Schobert. German Film Museum, Frankfurt am Main 1986.
• Artur Brauner and the CCC. Film business, everyday production, studio history 1946–1990. With a filmography by Rüdiger Koschnitzki and an appendix by Bernd Eichhorn. Frankfurt am Main 1990.
• Rogue pieces. Unbundling and Lex UFI. In: Hans-Michael Bock , Michael Töteberg (Ed.): The Ufa book. Art and crises, stars and directors, business and politics. The international history of Germany's largest film concert. Zweiausendeins, Frankfurt am Main 1992, pp. 482-485.
• (Red.): Sergej Eisenstein in the context of the Russian avant-garde 1920–1925. Frankfurt am Main 1992.
• The effect of the architecture is magical. Hans Poelzig and the film. In: Hans-Peter Reichmann (Ed.): Hans Poelzig. Buildings for the film. Cinematograph No. 12. Deutsches Filmmuseum, Frankfurt am Main 1997.
• with Rudolf Worschech: New German Film. In: Hans-Michael Bock Wolfgang Jacobsen (Ed.): Research. Movie. Sources and methods of film research. Text + Criticism, Munich 1997, pp. 198–207.
• (Red.): 50 years of DIF. German Film Institute, Frankfurt am Main 1999.
• Mission impossible? "Epd film" in the film journalistic context of the Federal Republic. In: Karsten Visarius (Ed.): The film of words. Frankfurt am Main 1999, pp. 61-75.
• Cinema for everyone? In: Peter Wapnewski (Ed.): Realities and Visions. In honor of Hilmar Hoffmann. Cologne 2000, pp. 58-68.
• Herbs too bitter. Witness from Hell. The production and reception of a “risky” film. In: Claudia Dillmann, Ronny Loewy (ed.): The past in the present. Confrontations with the consequences of the Holocaust in German post-war films. Frankfurt am Main 2001.
• The film producer Artur Brauner. In: Artur Brauner. Producer, producer. Goethe-Institut Inter Nationes, Munich 2002.
• (Ed.): 2 × July 20. The double film version from 1955. Frankfurt am Main 2004.
• (Red.): His house for the film. Edited by the German Film Institute. Frankfurt am Main 2005.
• The engagement in Zurich (1957). In: Christoph Fuchs Michael Töteberg (Ed.): Fredy Bockbein meets Mister Dynamit. Films at second sight. Text + criticism, Munich 2007.
• Reality in the game. Film and film architecture. In: Wolfgang Pehnt, Matthias Schirren (eds.): Hans Poelzig 1869 to 1936. Architect, teacher, artist. Munich 2007, pp. 144–159.
• Pola Negri. In: Pola Negri. Legenda kina. Muzeum Kinematografii, Lodz 2007, pp. 49-53.
• The tycoon. In: There is only one time. Artur Brauner's 90th birthday. Frankfurt am Main 2008, pp. 8-13.
• They had the cinema ... The networks in expressionist film of the early Weimar Republic. In: Ralf Beil , Claudia Dillmann (Hrsg.): Gesamtkunstwerk Expressionismus. Art, film, literature, theater, dance and architecture 1905–1925. Ostfildern 2010, pp. 276–287.
• Strategies and methods as a conceptual guideline. In: Bettina Habsburg-Lothringen (Ed.): Permanent exhibitions. Highlights on one format. Bielefeld 2012, pp. 216–223.
• Living images. Dark Romanticism in Cinema. In: Felix Krämer (Ed.): Dark romanticism. From Goya to Max Ernst. Ostfildern 2012, pp. 284–292.

literature

• Sabine Börchers: Frankfurt's film specialist. In: Frankfurter Neue Presse. April 25, 2007.
• Pascale Anja Dannenberg: A shock, a fight and a victory. In: Frankfurter Allgemeine Sonntagszeitung. November 11, 2012.
• Claus-Jürgen Göpfert: The magic of celluloid. Claudia Dillmann, director of the German Film Museum, goes to the Berlinale. In: Frankfurter Rundschau. February 6, 2008.
• Frauke Haß: 007 as an erotic development worker. From journalism to cinema art: Claudia Dillmann, head of the German Film Institute. In: Frankfurter Rundschau. August 16, 2003.
• Hilmar Hoffmann: Frankfurt's strong women. Encounters between 1945 and today. Frankfurt am Main 2006, pp. 59-74.

Web links

• Literature by and about Claudia Dillmann in the catalog of the German National Library
• Photo and interview

Individual evidence

1. ↑ Frankfurt says goodbye to Filmmuseum director Claudia Dillmann