Werner Barg

Werner C. Barg (* 1957 in Neumünster ) is a German author , film and media scholar and film producer . Under the pseudonym Henrijk van Zaiszt , he published satirical essays and short films in the 1980s .

education

At the age of 19 years Werner Barg ended the Immanuel-Kant school in Neumünster and studied at the University of Kiel , first philosophy , and later German and history, also geography , sociology and pedagogy . The training included guest semesters in both Marburg and Freiburg im Breisgau .

After completing his community service , Werner Barg initially worked as a media educator for two years. The first publications were already made at this time. Together with the artist and musician Jonathan Weiszbrodt , Barg founded the Kiel artists' association Deutsche AC.NE. They formulated open letters to politicians, published critical essays on topics such as nuclear energy , the peace movement and shot various short films and the like in Barg's first production company Vulkan-Film . a. for the NDR . As vulkanistisch films and texts designated took the West German politics satirical operation targeted. Based on Heinrich von Kleist , Barg signed his work with the pseudonym Henrijk van Zaiszt .

From 1987 to 1993 Barg taught the aesthetics and history of film at Kiel University, as well as media art at the University of Education in Kiel and media practice at the university there. In 1992 he received his doctorate on the films by Alexander Kluge and Edgar Reitz at the University of Kiel - the dissertation was published from 1996ff. as a non-fiction book. Subsequently, Dr. Werner Barg worked for five years as an artistic and academic assistant in the field of television / film at the Art Academy for Media in Cologne . In cooperation with Prof. Michael Lentz and Prof. Jeanine Meerapfel he participated in the development of the script writing department .

Life

Already in 1995 published Barg numerous reviews to newly released film reference books in the journal Media Studies and wrote to 1998 movie reviews for the culture department of the Westdeutsche Allgemeine Zeitung .

In 1998 Barg was appointed head of studies at the German Film and Television Academy in Berlin . From 2001 he was also the artistic director of the associated script academy . When Prof. Reinhard Hauff left , Barg became one of the two interim managing directors in 2005. In this role, he was responsible in particular for the external representation of the dffb for the production and co-production of the final films for television broadcasters and film subsidies, and for full-program films, he was also responsible for cooperation with editors and producers. In the more than 15 years of teaching, Werner Barg supervised numerous documentaries as well as over 20 feature films for cinema and television as a co-producer and dramaturge. These included projects such as Berlin is in Germany (2001) by the director Hannes Stöhr , Mitfahrer - Every encounter is a chance (2003), directed by Nicolai Albrecht and Sooner or Later (2007) by the director Ulrike von Ribbeck .

Since 2007, since he left teaching at the dffb , Dr. Werner C. Barg works full-time as an author and producer for television, cinema and business films. As chief dramaturge, he was in charge of the first season of the documentary fiction series Die Deutschen (2008) from ZDF ; thereof five episodes in scenic dramaturgy and two episodes as co-author. For the Federal Government Commissioner for Culture and Media Werner Barg dramaturgical consultant was funded screenplay projects.

In order for the production of debut -, documentaries and arthouse films , as well as in the development of historical docu-fiction work transmitter across possible formats, Werner Barg and Alexander founded Hohenthal, CEO of Opal film production , in 2011, the heart field productions as an extension of Opal group . The first example of the synergetic collaboration is the cinema co-production with NDR : Across the Sea - Erhard Schelter's GDR Flight (2011), a docu-drama directed by Arend Agthe .

Werner Barg also works as a crime novel writer. Together with Andreas Dirr he participated in the ZDF series Coast Guard , episode: The Amber Witch (2012). Author projects by Dr. Werner C. Barg mainly deal with topics from history and contemporary history. One of them is Die Odyssey der Kinder (2008) about the escape history of Jewish children, the so-called Tehran children during the Second World War , together with author and producer Stephan M. Vogel for ZDF. Werner C. Barg has been working as an author and director for history-vision.de , one of the largest online film archives for contemporary history, since 2010 . Other projects are: Anniversaries - 365 days - 365 events - 365 clips in which a historical event is documented on film for each date of the year , the clip productions Boulevard History and the app guide on the history of the Berlin Wall . In addition, Barg is working on the film clip production of the continuously growing web portal Your History - More Knowledge about the Holocaust , a three-year funding project of the Federal Ministry for Family, Seniors, Women and Youth .

At the same time, from 1993 to 2017, Barg wrote weekly film reviews for the cinema website of sh: z (Schleswig-Holsteinischer Zeitungsverlag / Flensburger Tageblatt). In specialist journals, etc. a. in tv discurs and in MedienConcret , he regularly publishes articles, essays and interviews on topics such as film culture , film reception , and cinema .

In 2017, again as a producer, Barg made the feature film Loneliness and Sex and Pity , a satirical social comedy directed by Lars Montag and has been the sole producer of the herzfeld productions in Berlin and Halle / Saale since 2018 . In addition to his work as a film producer and author, Dr. Werner C. Barg has been professor of Audiovisual Media in the Department of Media and Communication Studies at the Institute for Music, Media and Speech Studies at Martin Luther University Halle-Wittenberg since 2015 .

Werner Barg is married to the actress Lisa Adler and lives in Berlin and in the Uckermark .

Political commitment

“... the viewer is challenged more than ever to react to a media world that is ready to show almost everything without taboos. What is required is one's own sensitivity, personal responsibility, which some media makers have apparently lost. Where the social gestures become more and more limitless, everyone will have to find their own taboos and set their "personal scandals" in order not to become completely blunted in the endless sex - & - crime attitudes of the media. The point is to take taboo seriously again in the true sense of the word, as the invisible ... "(Quote: Barg from: Scandalfilme. On the pleasure of provocation. P. 9).

1980 was Werner Barg founding member of the Kiel Künstlervereinigung German AC.NE and 1989 founding member of the Film Funding Schleswig-Holstein eV From 1995 to 1999 he was a member of the board of the Bundesverband Jugend und Film ( BJF ), for whom he worked as a cultural manager already 1993/94 and was responsible for the conception and management of the tent tour project 100 Years of Cinema . He was a member of the jury of the International Federation of Film Clubs ( FICC ) at the Locarno International Film Festival in 1998 and a member of the PANORAMA short film jury at the Berlinale 2000 and the FISH 2007.

Werner Barg has been a member of the Board of Trustees of the German Children's and Youth Film Center ( KJF ) since 2002 and was its deputy chairman from 2008. Together with Prof. Claudia Wegener, he has chaired the KJF Board of Trustees since 2012. In addition, from 2009 Werner Barg is an honorary member of the expert jury for the German Youth Film Award and a member of the jury of the Bundes.Festival.Film .

Awards

• 1988: Audience award at the No-Budget Short Film Festival Hamburg for "Nichtgedanke feat. The tub of the month".

• 1990: German Special Award at the 13th Tokyo Video Festival for "Narrowing".

• 1997: Debut script award (with Thomas Plöger) from the Schleswig-Holstein Media Foundation, Rowohlt Verlag and NDR for Der Acker, the hell about the life of agricultural workers in the 19th century.

• 2006: Special award for the best European short film at the Cork International Film Festival as a producer for Gero, Gerd and the Great (Director: Lisa Adler).

• 2006: Audience Award at the St. Etienne International Film Festival for Gero, Gerd and the Great (Director: Lisa Adler).

• 2006: Canal + Short Film Award at the Paris International Film Festival for Gero, Gerd and the Great (Director: Lisa Adler).

• 2018: Nomination as a producer for loneliness and sex and compassion for best foreign film at the 4th. Nice International Film Festival .

Book publications

• Narrative cinema and auteur film, On the theory and practice of cinematic narration with Alexander Kluge and Edgar Reitz (dissertation) Munich: Fink-Verlag, 1996, ISBN 3-7705-3001-2

• Cinema of Cruelty, The films by Sergio Leone, Stanley Kubrick, David Lynch, Martin Scorsese, Oliver Stone and Quentin Tarantino (co-author: Thomas Plöger), Frankfurt / Main: BJF-Verlag, 1996, ISBN 3-89017-147-8

• Manual: Youth: Film: Culture, basics and practical aids for film education (co-editor, author), Munich: kopaed-Verlag, 2006, ISBN 3-938028-15-7

• Playing with Reality On the development of documentary fictional formats in film and television (co-editor, author), Konstanz: UVK 2012 (CLOSE UP series, writings from the House of Documentary Film Stuttgart), ISBN 978-3-86764-257-6

• Blockbuster Culture - Why young people are fascinated by mainstream cinema (Author), Berlin: Bertz + Fischer, 2019, ISBN 978-3-86505-260-5

Articles and essays (selection)

• Correct history - falsely told. Intertextuality and the interpretation of history in Rainer Werner Fassbinder's Lola and Lili Marleen. In: Kodikas / Code, Volume 17, Tübingen: Narr-Verlag, 1994, pp. 91-107 (English)

• A documentarist of the protest. Alexander Kluge's theory of the documentary film. Observations on his essay films and television magazines. In: Manfred Hattendorf (ed.): Perspektiven des Dokumentarfilms (= diskurs film 7), Munich: diskurs-verlag, 1995, pp. 111–126

• Limitless imagination !? 100 years of cinema - on the way to synthetic film. In: Horst Schäfer / Walter Schobert (eds.): Fischer Film Almanach 1995, Frankfurt / Main: Fischer-Verlag, 1995, pp. 480–490

• The Revolution in Close-Up - A plea for thinking about new forms of film historiography. In: Knut Hickethier u. a. (Ed.) The film in history, Berlin: Ed. Sigma, 1997, pp. 241-254

• (Irr) paths into the virtual world: film, computer, cyberspace. In: Wolfgang Zacharias (Hrsg.): Interactive - In the labyrinth of possibilities, Remscheid 1997, pp. 99-105

• New modernity !? - A media aesthetic assessment of the cinema at the beginning of the 21st century. In: Horst Schäfer (Hrsg.): Lexikon des Kinder- und Jugendfilms, Meitingen: Corion-Verlag, 2000, Chapter 6: Genre, themes and aspects

• The MATRIX phenomenon. An essay. In: Horst Schäfer (ed.): Lexikon des Kinder- und Jugendfilms, Meitingen: Corion-Verlag, April 2004 (16th edition)

• Film aesthetics, film language, film analysis - history, methods, perspectives. In: Werner Barg, Jan Schmolling u. a. (Ed.), Handbook: Youth Culture and Film Understanding. Munich: Kopäd-Verlag, 2005

• The metaphysical psychological thriller. In: Psychopraxis 5/2006, pp. 22–30 (together with Hinderk Emrich)

• The rebel cinema - youth protest in international film since the Second World War. In: Horst Schäfer (ed.): Lexikon des Kinder- und Jugendfilms, Meitingen: Corion-Verlag, November 2007 (26th edition)

• Exciting stories from history - On the importance of television as historical memory for young people. In: Medienconcret: Politik 2.0., Cologne 2009, pp. 56–60

• Pictures of children and depictions of childhood in adult feature films. In: tv diskurs 3/2009, pp. 14-19
• Fake and Fact - How to deal with document and fiction in film and television. In: tv-diskurs No. 2/2010, Baden-Baden: Nomos Verlagsgesellschaft 2010, pp. 54–57

• Scandalous films. About the pleasure in provocation. In: tv-diskurs No. 4/2010, Baden-Baden: Nomos Verlagsgesellschaft 2010, pp. 40–45

• Born to see, not ordered to look. In: Medienconcret: Digital Creativity, Cologne; jfc / KJF 2011, pp. 92–95

• Where the wild things live. For the formal construction of narratives for children and adults in mainstream cinema. In: Christian Exner / Bettina Kümmerling-Meibauer (eds.): From wild guys and wild chickens. Perspectives of the modern children's film. Marburg: Schüren-Verlag 2012, pp. 55–61

• In the Chamber of Secrets. Features of the gloomy for children, adolescents and adults in fantasy films. In: Ute Dettmar u. a. (Ed.): Schwellengang. On the poetics, topics and optics of the fantastic in children's and youth literature and media. Ffm: Peter Lang 2012, pp. 255–268

• Feelings & facts - documentary tracks in the feature film. In: Playing with Reality. For the development of documentary fictional formats in film and television. Konstanz: UVK 2012, pp. 73–89

• Hunger for reality or: The birth of the docu-drama on West German television from sources of enlightenment and entertainment. In: Playing with Reality. For the development of documentary fictional formats in film and television. Konstanz: UVK 2012, pp. 279–291

• Reality game - on the narrative dramaturgy of documentary-fictional television formats. In: Playing with Reality. For the development of documentary fictional formats in film and television. Konstanz: UVK 2012, pp. 319–337

• The voltage increases! In: tv-discurs No. 1/2013. Konstanz: UVK, 2013, pp. 28–33

• Artistic provocation or commercial calculation - thoughts on the curiosity of sex and violence in the cinema. In: Medienconcret: Sex & Crime, Cologne: jfc / KJF 2013, pp. 54–58

• Heroes Unchained. Two special role models in current Hollywood cinema. In: tv-discurs No. 3/2013. Konstanz: UVK 2013, pp. 40–45

• Morals in Series 1: The Sopranos - Guilt without Atonement? In: tv-discurs No. 1/2014. Konstanz: UVK 2014, pp. 90–95

• Morals in Series 2: Breaking Bad - Evil Is Dying !? In: tv-discurs No. 2/2014. Konstanz: UVK 2014, pp. 80–85

• Morale in Series 3: The Morale of a Secret War. A comparison of the series "24" and "Homeland". In: tv-discurs No. 3/2014. Konstanz: UVK 2014, pp. 90–95

• The rule of fiction over the facts? - Notes on current history television. In: tv-discurs No. 4/2014. Konstanz: UVK 2014, pp. 38–43

• You have to take the docu-drama seriously - interview with Raymond Ley. In: tv-discurs No. 4/2014. Konstanz: UVK 2014, pp. 44–49

• BREAKING TIME. Innovative and traditional storytelling in current TV series. In: Medienconcret: Narrative Worlds 3.0. Cologne: jfc / KJF 2015

• Morals in series 4: horror, violence, feeling. Moral Discourses in "The Walking Dead". In: tv discurs. Responsibility in Audiovisual Media. Volume 19, 1/2015 (issue 71), pp. 80–83

• To die to live? Death and the cinema. In: tv discurs. Responsibility in Audiovisual Media. Volume 19, 3/2015 (edition 73), pp. 58–63

• Morals in series 5: The age of women has begun ... In: tv discurs. Responsibility in Audiovisual Media. Volume 19, 4/2015 (issue 74), pp. 82–87

• Fassbinder's despair. The rediscovery of an (almost) forgotten masterpiece from a film-philosophical perspective: “Despair - A Journey into Light”. In: Michael Töteberg (Ed.): Rainer Werner Fassbinder. Second edition: new version. In: Text + Richter, Heft 103 / Dezember 2015, pp. 90–99

• Morals in Series 6: Politics as Compromise and Intrigue. The representation of political decision-making processes in US and European high-quality series. In: tv discurs. Responsibility in Audiovisual Media. Volume 20, 1/2016 (edition 75), pp. 70–73

• Literary and cinematographic spatial compositions in Hercule Poirot novels and film adaptations. In: Kretschmar, Judith; Stobbe, Sebastian; Vollberg, Susanne (Ed.) Hercule Poirot meets Miss Marple. Darmstadt: Büchner 2016, pp. 135–152

• About setting out and arriving - migration in film. In: Medienconcret: Media and Migration. Cologne: jfc / KJF 2016

• The birth of the series. On the interrelationship between feature films and TV series in film and television history. In: tv discurs; 20. Vol. 2/2016 (edition 76), pp. 80–85

• It can not be what may not be? Political correctness - for and against. In: tv-diskurs: 20 vol., 3/2016 (edition 77), pp. 28–33

• Political correctness remains at its core teaching. Conversation with Klaus Theweleit. In: tv-diskurs: 20 Jg., 3/2016 (Edition 77), pp. 34–37

• From knife attacks, shootings and ax attacks. Terror and amok in the German news media. In: tv-diskurs: 20th year, 4/2016 (issue 78); Pp. 30-33

• The Fifth Estate: The Cinema. In: tv diskurs: Vol. 21, 2/2017 (issue 80), pp. 60–63

• The immediacy of violence in the cinema is growing. In: webklusiv (web edition of tv-diskurs), August 27, 2017: https://tvdiskurs.de/beitrag/die-unmittelbarkeit-der-gewalt-im-kino-waechst/

• The future doesn't wait! Plea for utopian thinking. In: tv-diskurs: Vol. 21, 4/2017 (issue 82), pp. 62–69

• The myth of the screen. How the cinema sees television. In: webklusiv (web edition of tv-diskurs), February 28, 2018: https://tvdiskurs.de/beitrag/mythos-mattscheibe/

Web links

• Official website: herzfeld-production
• Official website: Vulkan-Film
• Internet presence of the Kiel artists' association Deutsche AC.NE
• Werner Barg in the Internet Movie Database (English)

Individual evidence

1. ↑ http://www.abebooks.de/servlet/SearchResults?an=Barg,+Werner
2. ↑ http://www.ndr.de/fernsehen/epg/epg1157_sid-1036401.html ( Memento from October 1, 2011 in the Internet Archive )
3. ↑ http://www.serienjunkies.de/kuestenwache/15x23-die-bernsteinhexe.html
4. ↑ Archived copy ( Memento of the original from April 21, 2012 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. 
5. ↑ http://www.medienkomm.uni-halle.de/an-institut/him/projekte/your-history/
6. ^ Barg, Werner C .: Scandal films. About the pleasure in provocation. In: Voluntary Self-Control Television (FSF) (Ed.): Tv diskurs. Taboos. Culturally set, negotiated through the media. 14th year, issue 4/10. ( Online at mediaculture-online.de )
7. ↑ http://www.medienkomm.uni-halle.de/mitarbeiter/barg/
8. ^ Barg, Werner C .: Scandal films. About the pleasure in provocation. In: Voluntary Self-Control Television (FSF) (Ed.): Tv diskurs. Taboos. Culturally set, negotiated through the media. 14th year, issue 4/10. ( Online at mediaculture-online.de )