Josef Rödl

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Josef Rödl (* 1949 in Darshofen ) is a German director and screenwriter . Since graduating from the University of Television and Film Munich, he has worked in the fields of film, television, opera and theater. With his graduation film at the Albert University - why? , which was shot with amateur actors, caused a sensation in 1978. He was featured on television several times directing the series Tatort and Lawyer Abel . From 2001 to 2016 he taught as a professor at the University of Television and Film Munich.

Professional background

From 1964 to 1968 Rödl worked as a motor vehicle mechanic . At the same time he attended evening school. In 1972 he did his Abitur in Nuremberg via the second educational path , then one year of community service . From 1973 to 1976 he studied at the University of Film and Television Munich, Department III. In his youth Rödl had chosen texts as a means of expression, it was only during his studies that he discovered his interest in telling stories with pictures.

Rödl implemented numerous of his own feature film, television, short film and opera projects. Rödl also took on the production or coproduction of a number of his own films via Rübezahl-Filmproduktion GmbH and J.-Rödl-Filmproduktion . In doing so, he secured a say in the use of financial resources and people in the German production landscape, which Rödl calls "semi-professional": "In Germany, there is too little money for the relatively high standards."

In 2000 he was appointed professor in the field of production design (dramaturgy of space in film / photography) at the Rosenheim University of Applied Sciences in order to take over responsibility for the newly created field of scenography . In 2001, this area was integrated into the Munich University of Film and Television, where Rödl held the chair of film space / production design until 2016 . For Rödl, the room is the "intersection of illusion", "the main actor."

In 2003, Josef Rödl was one of the founding members of the German Film Academy .

Catalog raisonné

Feature films (director)

  • 1976: Standing by the road and not knowing where to turn. (Also screenwriter and co-producer), practice film as part of his studies at the University of Television and Film Munich , 1977 by Bavarian television broadcast
  • 1978: Albert - why? , (also screenwriter and co-producer), graduation film at the university, 108 minutes
  • 1982: Grenzenlos (Danish fiction film, also screenwriter and producer), 107 minutes, Danish fiction film, actors (selection): Therese Affolter, Sigi Zimmigart , Antonia Rödl, Ursula Strätz
  • 1986: The Wild Clown (also screenwriter and co-producer)

TV films (director)

TV studio director

Children's films (director)

Documentary (director)

Short films

Video film (director)

Chamber operas (direction)

Theater (direction)

Camera work

  • 1994: Schartl (director, screenwriter, producer and music: Sigi Zimmigart )

Texts

  • 1986: The wild clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart , Andreas Haller Verlag, Passau , ISBN 3888490146 .
  • 1986: In Search of the Lost Home (1986). In: Hans Helmut Prinzler, Eric Rentschler (Ed.): 100 texts on West German film 1962-1987 , Verlag der Autor, Frankfurt (Main), 2001, pp. 319–322, ISBN 3886612325 . First published in: Hans Helmut Prinzler, Eric Rentschler (Hrsg.): Augenzeugen. 100 texts by new German filmmakers . Publishing house of the authors, Frankfurt 1987.
  • 1988: Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, pp. 97-101 (Italian).
  • 2013: One alone makes you alone (Janis Joplin) , in: Thomas Kraft (Ed.): The Beat goes on! , Langen Müller Verlag Munich, pp. 97-109, ISBN 9783784433172 , pp. 97-109.

Awards and nominations

Participation in festivals

  • 1976 Hof Film Festival : Standing by the road and not knowing where to turn
  • 1980: Hofer Filmtage: Franz - The quiet way.
  • 1986: Hof Film Festival: The Wild Clown.
  • 1995: Hof Film Festival: Lawyer Abel - A judge in fear.
  • 2010: Wasserburger Theatertage: days and nights

Influences

role models

Rödl's early feature films are influenced by Italian neorealism in terms of style and intention .

In Grenzlos there are references to Rainer Werner Fassbinder , whom Rödl recognizes as the central personality of the New German Cinema : His film Angst Eats Seele auf is mentioned, later the poster for this film can be seen in a scene in the background.

Delimitations

Rödl turns against the “would-be Hollywoodians”, against the imitation of American films as taught at film schools in the 1980s. Rödl admires America, but realizes that young German filmmakers are looking for an identity and that identity cannot be found abroad, but only in Germany itself.

Rödl was often associated with Heimatfilm . While the German Heimatfilm of the 1950s shows a transfigured homeland, Rödl sees the film as an opportunity to bring reality, everyday life onto the screen. His ideal idea of ​​the cinema is to allow people to tell their everyday lives and show themselves as they are. When such a film is then shown on television, the medium becomes a means of conveying a story; and the rural audience feels respected because the story concerns them directly.

Individual works

Albert - why? (1978)

The disabled protagonist Albert, who is present in every scene of the film, is mocked after his return from a mental hospital and hangs himself on the bell rope of the church. In his absence, his father transferred the farm to his nephew Hans, thereby marginalizing Albert, who should have inherited the farm as the only son. During an absence from Hans for several days, Albert proves that he can very well meet the demands of the rural working world. However, he reacts subversively to the return of the heir and the associated renewed demotion: he defaces a field with the plow, lets a pig drown in the river and tree trunks roll into the water. His desire for satisfying work and affection remains unfulfilled.

The long, static shot upon arrival in the village is the starting point. The images are stylized, you only hear music, "you can still sense the distance in which Albert lived." Only when Albert reaches the reality of the village do the realistic noises come. As his protagonist's path of suffering intensifies, Rödl carefully sets melodramatic accents with close-up shots and panoramic pans : A schnapps glass indicates the change of location to the pub, close-up shots of the face reveal the increasing despair, a panorama panning through the inn reveals the emptiness there. In this way Rödl increases the suffering of his protagonist to the fateful, unreal and religiously colored end.

Franz - The Quiet Way (1980)

Franz is an outsider in the village, disabled since an accident in his early youth. He tries to be accepted into the community through marriage to a wealthy farmer's daughter, but fails. An outsider drama with amateur actors, in which the rural milieu of the Upper Palatinate is precisely documented and home is portrayed as a gloomy, cramped prison.

Limitless (1982)

As if she could be judged by the village at any moment, the protagonist Agnes stands on a hill at the beginning of the film, a scarecrow and a cursing witch next to her, and seeks protection in a ruin. She has an erotic relationship with a boy in the village. She has been plagued by nightmares and distress since she was raped and killed a man in the process. She goes to town with a friend, but returns home to Adi, whom she previously spurned. She says: “It's easier with two than alone. That is happiness. ”, But an added“ Or? ”Calls the idyll into question.

The Wild Clown (1986)

Jakob lives in a Bavarian village that was almost completely made to disappear by a sprawling American military training area in Grafenwoehr . His opponent, known as Boss , is a building contractor and nightclub owner who cockily practices a supposed American way of life . This is after the property of Jacob's incapacitated aunt, who is locked in a mental hospital; he wants to build an amusement center there. The boss gives Jakob a job and, with the help of his lover Janis, tries to get Jakob's property through a trick. When he saw through the plan, he put on a uniform and barricaded himself in a shed at the military training area. From there he begins the fight against the boss, takes his Cadillac and his lover from him, frees his aunt - he thinks he is in the freedom of America , wants to achieve love and anarchy with the tramp Paule in the shed . But Janis has other dreams. When her husband, an American officer , suddenly turns up, she chooses him. Allusions to Casablanca and Marilyn Monroe are clearly visible.

The German critics reacted negatively to the film or at best called it "unruly". He earned recognition for passages that take up the subject of Rödl's early feature films: "Whenever Rödl speaks of home and shows pictures of deceptive idylls , the film exhales liveliness." However, it was criticized that the frequent change between different styles is confusing and tired: Rödl let his tragic story begin as a comedy, tries to achieve cheerfulness with slapstick interludes and parodies Chaplin and Nosferatu without making sense of it.

The New York Times , on the other hand, was full of praise: "As a rough black comedy that dares to venture into absurdity in order to be able to convey its message, this performance by director Josef Rödl is a real original."

Shalom, my love (1998)

The two-part television film based on the novel of the same name by Rafael Seligman thematizes the situation of German Jews in search of a home in the area of ​​tension between Germany and Israel, Judaism and non-Judaism, and has been described as "the first German-Jewish contemporary film". Because his Jewish family in Germany does not agree with his non-Jewish girlfriend Ingrid, Ron, played by Dominique Horwitz , goes to Israel. His ex-girlfriend Yael, from whom he broke up when she didn't want to go to Germany with him, and their 15-year-old son Benni await him there. Yael's father despises Ron because, in his opinion, he made Yael pregnant and then left Israel without taking care of her. When Yael dies in an attack, Ron takes his son with him to Germany. After some confusion, Ron and Ingrid become a couple who, together with Benni, can feel at home in Ron's family.

Cabaret, cabaret (2010)

In his 90-minute documentary, Josef Rödl lets renowned German cabaret artists speak about the beginnings, high points and turning points of political cabaret in West and East Germany. Peter Sodann and Ernst Röhl lead us and show us the cells in the Leipzig prison where they were held for over a year in 1961 because of a punch line. "The archive footage and pictures from the cabarets in the Westerbork and Theresienstadt concentration camps are among the most depressing moments in the film: unheard-of, courageous satire in the face of death."

Contents and forms

Motifs

room

  • Outdoor spaces

The early feature films Albert - why? , Franz - The quiet way and boundless , but also the wild clown are located in the rural area of ​​the Upper Palatinate . Rödl sees the villages as “empty”, “dead”, “traditional, mostly stubbornly conservative and, if necessary, doggedly reactionary ”. He sees in them an "unholy alliance of peasant belief in authority [...] and stupid arrogance [...] of state and clerical servants" at work, which tries to silence all those who think differently and drive them to flee into the cities. Still, the director didn't want to pillory the villagers. His relationship with the Upper Palatinate is ambivalent.

In Albert - why? the filmic event looks like a "naturalistic image of the Bavarian village reality". Shortly after his arrival in the village, Albert refused to live in the house and moved into a decaying building on the courtyard area: he carried out the expulsion from the traditional role of the court heir and the demotion by his father against his will. The location in Grenzlos is designed as a “dark and deserted ghost village”.

The opening and closing scenes in particular have a high level of spatial symbolism. At the beginning of Grenzlos , Agnes hides in her fear of the villagers in a ruin on a hill; the opening sequence shows the villagers rushing towards the ruin in large numbers and with quick steps, a hunting scene.

The opposite pole of the city appears as a red light district in Grenzlos . In the figure of Agnes' girlfriend Rödl shows the cliché of the prostitution of the farmer's daughter in the city, but Agnes resists and returns to there. Agnes has an outwardly more eventful life in the city than in her home village, but her inner life has become impoverished. This corresponds to Rödl's personal experience with these two rooms.

  • Political connotation of outdoor spaces

The wild clown was filmed in East Bavaria, in the no man's land of an American military training area, “... an area where today there are only ruins, no streets, and where the little that is left is dying. I tried to create a metaphor for German reality, on the one hand a concentrate of forty years of history and on the other hand our present. ”This is where the confrontation with history comes into play: Typical of this area, according to Rödl, is the suppression of the National Socialist past : the retreat of people into themselves, violent reactions to specific questions, many contradictions. This is also due to the fact that the families in the province felt much less direct effects of the Second World War than the people in the bombed cities and the war did not bring about any major changes there, even leaving positive memories.

The opposite area to the province is America in the film . For the post-war generation, this word was “a great temptation to get out of the provincial narrowness”, and emigration to the USA was “a German reality”, especially for women who were in a relationship with American men. At that time, the Germans 'image of the USA was mainly based on films: “They are looking for Humphrey Bogart, Chaplin and Marilyn, but they meet people.” “In the film, Jack compares Janis with:' America and Germany, that's like you and me. You are tall, modern and excitingly beautiful. You are like America. I am more like Germany: got fat after the war, but existence is uncertain. And since we've been liking each other, my America - you've got me under control. '"

  • inside rooms

Rödl is interested in the inner movements and changes in his characters. In his view, life in the province is comparatively uneventful from the outside, but the inner sphere, the dream world of the characters, is very intense: religion and sexuality are the basis of inner images and dreams, passions and aversions. The static of a cinematic setting can be associated with an external lack of motion and event, but the transition to the dream world is characterized by movement, color and dynamics.

Movement and crossing borders

Apart from the commercial vehicles, movement in rural areas is decoupled from modern technology: Albert goes on a long journey through the village in a wheelbarrow , and a long tracking shot in Grenzlos follows a cart that Agnes is pulling.

Because the protagonists in Grenzlos and Albert - why? Constantly pushing the limits of freedom and tolerance, they demand these very values with eccentric behaviors: “You are foolish,” Adi's father says to Agnes: “Limitless.” In this world in particular, love relationships are subject to strict laws that can destroy people.

Religious symbolism

In Grenzlos the fire that extinguishes forbidden love is shown: Agnes' lover is burning in a barn, the burning beams that fall into the straw fire are in the shape of a cross .

characters

About people like Albert and Agnes Rödl says: "Especially in a narrow, repressive environment there are strong forces that have to go under if no one supports them."

The outsider

With his slowness in speaking and his physical handicaps, the mentally alert Albert is made an outsider by the village community, disciplined, teased, humiliated and treated as a scapegoat : "His face is dull, his movements are slow and angular, he speaks sluggishly and stammered - but he reveals his feelings more clearly than the people around him; he is more prone to injury. ”He reacts to the degradation with“ stoic-melancholic equanimity ”. Only once does he defend himself, and here not with physical violence, but by pouring the contents of a beer glass into the aggressor's face .

Female figures

In Grenzlos the story is told from the perspective of a woman because, according to Rödl, women develop a special sensitivity in a repressive environment. Agnes' inner life could be represented by dreams and myths. The two women who eventually go into town differ fundamentally from the other villagers in terms of language, movement and thinking.

Formal elements

Cinematic means

In Grenzlos there is no unobstructed view, the camera searches for the figures through cracks and cracks, ruins and archways, in the opening scene the fog is already swallowing the next fields and forests.

Cast

Albert - why? Rödl shot only with lay people, with people from his village. Also in Franz - the quiet way people from Darshofen play, the film was shot there.

The financial aspect did not play the main role, but Rödl's approach was: "We tell our own stories." And: "We are our own artists." According to Rödl, a trained actor can only imitate, while a layman can only imitate himself can represent, but there is nothing artificial about his acting. So that working with laypeople does not degenerate into peasant theater , the role and the actor have to fit together. That is why Rödl worked with people he knew personally in his early films. “In the first three films I cast laypeople because I made peasant films, and actors aren't peasants.” “Laypeople don't bring big ideas to the role, they bring themselves. The director has to prepare incredibly well, everything down to the smallest glance. While with the actor after the introduction to the scene, the individual movements can usually only be controlled, with the layperson they have to be developed. "When working with laypeople, Rödl appreciates working conditions that form the basis for" being able to reach the soul " : "On-site shooting, no major travel expenses, no inhibiting because hectic and planned production operations, greater freedom and time, much more time to shoot."

Rödl used both amateur and professional actors in Unlimited . The director wanted to do justice to the three levels of the film: the reality, that of the dream and that of the dream with open eyes. Myth and artificial language, which are far removed from the colloquial language of the Upper Palatinate, would have seemed unnatural from the mouths of the villagers, so that trained actors had to take on this part. But as in the previous films, the focus is on the villagers, who are portrayed by lay people, including Rödl's mother and one of his neighbors.

volume

Film music

Enjott Schneider praised Albert - why? and Franz - Der leise Weg the “inner spaciousness” of the protagonists, “which is created by the way in which the music is used.” Schneider attributes the fascination of the audience with the characters to the fact that “in the village-like and simple characters with their external limitations wide space for a free-swinging and sensitive music (in Limitless even for an orchestra of symphonic fullness). "the music inserts are seen at Rödl always related to the story. For example, while in Albert - why? everything slowly develops and then stops hard, in Franz - Der leise Weg the music had to "rather create a balance to the always tough beginnings."

In Rödl's films, the music is closely related to the representation of space. A scene in the church with dominant organ music begins in Grenzlos , which is initially perceptible from the off and creates a wide, invisible, inner space in the audience's imagination. As the camera pans, this narrows initially to the real interior of the church, but then to Agnes' inner space when the camera increasingly focuses on Agnes. With this increasing concentration of the camera on the protagonist, church music is increasingly turning into film music again. Little by little, the other instruments of the composed piece of music come from the off and let the reality of the church take a back seat. Now the music fills a space of imagination. The acoustic implementation of this movement interior - exterior - interior was made possible because Peer Raben used the church organ sounds as the basis for the film music.

  • Albert - why?

In Albert - why? Rödl wanted to use woodwind instruments such as flute or oboe, because in his eyes these have a close connection to the landscape shown. However, he deliberately avoided folk music in order to keep the film away from folklorism . That is why he mainly used classical, delicate flute music by Bach , Debussy , Honegger , Shostakovich and Tartini , which gives the clumsy protagonist "a peculiar greatness and frees him from the humility of his appearance." The music artfully alternates with the noises and never becomes placed under a dialog, i.e. not used as background, but has its own function.

  • Franz - The quiet way

At Franz - Der leise Weg , Rödl worked with the composer Andreas Köbner and wanted “classical and orchestral music”. According to Rödl, the choice of Anton Webern resulted in “a new dimension in film”. Limitless , in which Rödl cooperated with Peer Raben , introduced two protagonists in contrast to the two previous films. In order to do justice to this, the music should create “two points and an area of ​​tension in between”.

  • Limitless

In Grenzlos there is an example of a lyrical image montage in which the music is primary and the editing is based on it: Peer Raben had made a piano version of the later film music for the village festival scene so that the scene could be edited in harmony with the music.

Use of noise

Enjott Schneider praised Albert - why? and Franz - Der leise Weg "the good sound dramaturgy (the quality of the sounds themselves, their use, their interweaving with music)."

  • Albert - why?

With the noises in Albert - why? alternate between realistic and excessive. Noises, according to Rödl, “must not only be a realistic repetition of what was badly recorded in the picture, but must also form a level of expression of their own.” Rödl sees an essential element of tension in his film in the interplay of cinematic realism and excessive cinematic design. In the opening scene at the train station outside the village, when Albert returns from the psychiatric clinic, people and the train move noiselessly. For 160 seconds only a solo flute sonata by Bach can be heard, which can represent Albert's sensitive interior; only then do noises set in. Through this change , the viewers leave Albert's perspective , the loneliness, and arrive with him in the reality of his home village. In the final scene Albert rings the bells violently before he ends up hanging himself on the bell rope; a storm chime , which is traditionally a cry for help to call people together about an impending danger. The audience sees a “cut to the loudly ringing bell that hangs horizontally in the air: the silence has become the sign of Albert's suicide - not metaphorically, but quite factually. As factual as the film. "

  • Limitless

Using the example of tin rattle and Krähengekreische is in Limitless clear how aware Rödl noise deploy understands: Viewers have these noises "in the traumatic input collage and otherwise quite a few times" belongs as part of the soundtrack, until it in the scene with the Scarecrow the meaning of these tones for Agnes 'story are cleared up: the scarecrow wears the clothes of Agnes' rapist, whom she murdered, the bird cries are "resolved as remorse and the riddle of the clattering cans through localization in the picture".

literature

About Josef Rödl

  • 1986: Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , pp. 223-225.
  • 1988: Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Che cos'è lo ‚Heimatfilm '? (Intervista con Josef Rödl) In: Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. Florence La Casa Usher, BSB-ID 1253100, pp. 97-101 (Italian).
  • 1989: Peter Glotz: The auteur filmmaker Josef Rödl from the Upper Palatinate. , in Lichtung , Volume 2, Issue 3, pp. 24–28, ISSN  0934-7712 .

Reviews of films and plays

  • To Alkaid - Furzig has the state in bed.

'Alkaid' with Erwin Pelzig in the Residenztheater. Thrilling comedy without great depth: World premiere of 'Alkaid' with Erwin Pelzig in the Residenztheater. , www.merkur.de, April 25, 2010, accessed on December 3, 2015.

  • To "days like nights"

Wolf Banitzki: Metropol Theater: 'Days like Nights' by Josef Rödl. Elegy about forgetting. , www.theaterkritiken.com, accessed on December 3, 2015.

Web links

Individual evidence

  1. ↑ a b Hans-Ulrich Pönack in an interview with Josef Rödl ( memento of the original from December 8, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , www.poenack.de, October 1986, accessed on December 5, 2015.  @1@ 2Template: Webachiv / IABot / www.poenack.de
  2. ↑ a b c d Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, p. 97 (Italian).
  3. ↑ a b Josef Rödl, quoted from: Joseph Berlinger: The soul begins somewhere else ... The work of the director Josef Rödl with amateurs and professionals. , in: Der wilde Clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart , Andreas Haller Verlag, Passau 1986, ISBN 3888490146 , p. 177.
  4. ↑ Peter Klewitz: Intersections of Illusion. Production designers from the Upper Palatinate work with director Josef Rödl.  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , www.oberpfalznet.de, November 10, 2002, accessed on December 6, 2015.@1@ 2Template: Toter Link / www.oberpfalznetz.de  
  5. ↑ Information from the Regieverband zu Schartl , www.regieverband.de, accessed on December 4, 2015.
  6. ↑ Announcement on the award of the prize ( Memento of the original from December 8, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , wwwold.hff-muenchen.de, accessed on December 5, 2015. @1@ 2Template: Webachiv / IABot / wwwold.hff-muenchen.de
  7. ↑ Announcement on the award of the prize , www.fipresci.org, accessed on December 5, 2015.
  8. ↑ Notice on participation in the Chicago International Film Festival , www.imdb.com, accessed on December 5, 2015.
  9. ↑ Message from the Quinzaine des Réalisateurs on the participation of Josef Rödl ( Memento of the original of December 8, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , http://www.quinzaine-realisateurs.com , accessed December 5, 2015. @1@ 2Template: Webachiv / IABot / www.quinzaine-realisateurs.com
  10. ^ Winners of the Locarno Festival , www. pardolive.ch, accessed on March 19, 2016.
  11. ↑ Announcement on the winners , www.hofer-filmtage.com, accessed on December 5, 2015.
  12. ↑ Films by Josef Rödl at the Hof Film Festival , accessed on December 6, 2015.
  13. ↑ Communication on participation in the Wasserburger Theatertage , accessed on December 5, 2015.
  14. ↑ a b c d e f Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, p. 100 (Italian).
  15. ↑ a b Josef Rödl: In Search of the Lost Home (1986). , in: Hans Helmut Prinzler, Eric Rentschler (eds.): 100 texts on West German film 1962 - 1987. , Verlag der Autor, Frankfurt (Main), 2001, p. 320, ISBN 3886612325 . First published in: Hans Helmut Prinzler, Eric Rentschler (Hrsg.): Augenzeugen. 100 texts by new German filmmakers. , Publishing House of the Authors, Frankfurt (Main), 1987.
  16. ↑ a b c d e Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, p. 98 (Italian).
  17. ↑ a b c d e f Arnd Schirmer: The court fool 'Albert - why?' Feature film by Josef Rödl. , Der Spiegel , Heft 17, 1979, www.spiegel.de, April 23, 1979, accessed on December 6, 2015.
  18. ↑ a b c d e Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 224.
  19. ↑ a b c d e f g h i j k l m n o Helmut Schödel: Kino: 'Grenzenlos' by Josef Rödl: barbed wire around the heart. , www.zeit.de, June 10, 1983, accessed December 6, 2015.
  20. ↑ Wild clown room difference. , Der Spiegel , Issue 46, November 10, 1986, accessed December 6, 2015.
  21. ↑ a b c Entry "Der wilde Clown" in Munzinger Online / Film - Reviews from the film-dienst , www.munzinger.de, issue 23/1986, accessed on December 9, 2015.
  22. ↑ Eleanor Mannikka, Rovi: Review of 'Der wilde Clown' , accessed on December 6, 2015; Original English text: "A tough black comedy that reaches into the absurd to bring its message across, this effort by director Josef Roedl is a true original."
  23. ↑ Rafi Seligmann: Shalom, my love! Two-part television film. , www.hagalil.com, accessed December 7, 2015.
  24. ↑ a b c Communication from Bayerischer Rundfunk on cabaret , accessed on December 17, 2015.
  25. ↑ a b Josef Rödl: In Search of the Lost Home (1986). , in: Hans Helmut Prinzler, Eric Rentschler (eds.): 100 texts on West German film 1962 - 1987. , Verlag der Autor, Frankfurt (Main), 2001, p. 320, ISBN 3886612325 . First published in: Hans Helmut Prinzler, Eric Rentschler (Hrsg.): Augenzeugen. 100 texts by new German filmmakers. , Publishing House of the Authors, Frankfurt (Main), 1987.
  26. ↑ Vera Gabler: Darshofen became the setting After 40 years, the award-winning film by director Josef Rödl is back on the screen. He remembers the filming well. , www.mittelbayerische.de, August 31, 2012, accessed on March 19, 2016.
  27. ↑ a b c Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, p. 101 (Italian); Text in the Italian original: “... una zona dove oggi ci sono solo rovine, dove non ci sono strade e quel poco che rimane sta morendo. Ho cercato di creare una metafora della realtà tedesca, da un lato un concentrato di quarant'anni di storia e dall'altro la nostra quotidianità. "
  28. ^ A b c Josef Rödl: Location search I. Journey to America. , in: 1986: Der wilde Clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart, Andreas-Haller-Verlag, Passau, ISBN 3888490146 , p. 161.
  29. ↑ a b c Josef Rödl in conversation with Annamaria Percavassi: Che cos'è lo Heimatfilm? Conversation with Josef Rödl. In: La Capella Underground. A cura di Annamaria Percavassi, Leonardo Quaresima, Elfi Reiter: Il villaggio negato. La Baviera e il cinema tedesco degli anni ottanta. La Casa Usher Firenze 1988, p. 99 (Italian).
  30. ↑ Werkschau honors Josef Rödl. Lions Club Oberpfälzer Jura shows old film and new theater productions by the Darshofen director. , www.mittelbayerische.de, July 31, 2009, accessed December 7, 2015.
  31. ↑ Josef Rödl, quoted from: Joseph Berlinger: The soul begins somewhere else ... The work of the director Josef Rödl with amateurs and professionals. , in: Der wilde Clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart , Andreas-Haller-Verlag, Passau 1986, ISBN 3888490146 , p. 175.
  32. ↑ Josef Rödl, quoted from: Joseph Berlinger: The soul begins somewhere else ... The work of the director Josef Rödl with amateurs and professionals. , in: Der wilde Clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart , Andreas-Haller-Verlag, Passau 1986, ISBN 3888490146 , p. 174.
  33. ↑ a b Josef Rödl, quoted from: Joseph Berlinger: The soul begins somewhere else ... The work of the director Josef Rödl with amateurs and professionals. , in: Der wilde Clown: a film , with contributions by Joseph Berlinger, Michael Kuttan and Sigi Zimmigart , Andreas-Haller-Verlag, Passau 1986, ISBN 3888490146 , p. 178.
  34. ↑ a b c d e f g h Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the new German film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 223.
  35. ^ Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Musical dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 225.
  36. ↑ a b c d e Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 137.
  37. ^ Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Musical dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 118.
  38. ↑ a b Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 129.
  39. ^ A b c Enjott Schneider: Handbuch Filmmusik: Contributions from the University of Television and Film Munich / 1: Music dramaturgy in the New German Film. , Ölschläger Verlag Munich, ISBN 3882951168 , p. 230.
personal data
SURNAME Rödl, Josef
BRIEF DESCRIPTION German director and screenwriter
DATE OF BIRTH 1949
PLACE OF BIRTH near Parsberg