Thomas Brandlmeier

Thomas Brandlmeier (* 1950 ) is a film scholar who worked at the Deutsches Museum in Munich until the end of 2015 . He is also a biochemist and film and exhibition curator .

biography

After studying physics, chemistry and biology at the Ludwig Maximilians University in Munich , he received his doctorate there in 1981 on phytochromes - chromophores . 1980 Structure elucidation of the phytochrome chromophore in the light red form. At the same time, Brandlmeier was managing director of the Association of Friends of the Munich Film Center from 1973 to 1980 and published specialist articles on topics of film history and film aesthetics in the early 1970s. He also studied American studies , theater studies , communication studies and Slavic studies in Munich and completed his habilitation in media studies at the University of Siegen . He has curated special exhibitions at the German Film Museum in Frankfurt and the City Museum in Munich . From 1994 he worked at the Deutsches Museum in Munich, where he headed the main exhibition operations department. There he curated the exhibition Lernort Museum in 2001 and Fellini ex machina in 2004 and presented a number of the technical, physical and chemical permanent exhibitions in the series of publications Masterworks from the German Museum .

Brandlmeier deals scientifically with both film history and film technology and considers film in the context of technology and aesthetics. Among other things, he was very interested in forms of the grotesque and melodramatic, the German film of the Weimar Republic, the Nazi era and the post-war era, as well as the development of camera technology. His long-standing admiration for the Portuguese director Manoel de Oliveira resulted in his 2010 book Manoel de Oliveira and the grotesque melodrama , one of the few German-language works on Portuguese film . Some of his early articles, such as in 1976 “The People's Singer as a People's Enemy” on Karl Valentin or in 1983 “Right Taste in Nazi Film” on the current reception in the Federal Republic, appeared under the pseudonym André Gerely .

Fonts (selection)

• Environmental problems of industrial society. Their representation in industrial and educational films. Munich 1973.
• (as André Gerely) Harold Lloyd. Munich 1978.
• The phytochrome chromophores. Biochemical properties and interactions with the apoprotein. Dissertation, Munich 1981.
• Film comedian. The salvation of the grotesque. S. Fischer Verlag , Frankfurt 1983, ISBN 3-596-23690-8 .
• Nightmare genre. The American films of the 'black series' 1941–1953. Amerikainstitut, Munich 1985.
• The Ufa. On the trail of a large film factory Berlin , 1987, Elefanten Press Verlag, ISBN 3885202255
• Fantômas. Contributions to the panic of the 20th century. Verbrecher Verlag , Berlin 2007, ISBN 978-3-935843-72-0 .
• Camera writers. Technology and aesthetics. Schüren Verlag , Marburg 2008, ISBN 978-3-89472-486-3 .
• Manoel de Oliveira and the grotesque melodrama. Verbrecher Verlag, Berlin 2010, ISBN 978-3-940426-53-6 .
• Film noir. The dress rehearsal of postmodernism. Edition text + kritik , Munich 2017, ISBN 978-3-86916-599-8 .

literature

• Harro Segeberg (ed.): The perfection of the appearance. The cinema of the Weimar Republic in the context of the arts. Fink, 2000, ISBN 3-7705-3310-0 , p. 354. (Short biography) (Media history of film, Volume 3)

Web links

• Homepage of Thomas Brandlmeier at the Deutsches Museum

Individual evidence

1. ↑ Wolfhart Rüdiger, Thomas Brandlmeier, Inge Blos: Isolation of the Phytochrome Chromophore. The Cleavage Reaction with Hydrogen Bromide . In: Journal for Nature Research . Vol. 35c, 1980, pp. 763-769 .
2. ↑ Michael Glasmeier: Karl Valentin. The comedian and the arts. Hanser, Munich 1987, ISBN 3-446-14999-6 , p. 173.