Look up Margaret in Wiktionary, the free dictionary.

Margaret may refer to:

People[link]

• Margaret (name), with a list of people having this name

Places[link]

• Margaret (moon), a moon of Uranus
• Margaret, Alabama, USA
• Margaret River, Western Australia
• Margaret Island, Budapest, Hungary
• Margaret Bridge, Budapest, Hungary
• Isla Margarita, Venezuela
• Margarita Island (Colombia)
• Marghita, Romania
• Princess Margaret Bridge in Fredericton, New Brunswick, Canada

Ships[link]

• Margaret, Scottish warship
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Fictional characters[link]

• Margaret, a Little Britain character

Other uses[link]

• Margaret, 1845 novel by American author Sylvester Judd
• Margaret (2011 film), American drama film written and directed by Kenneth Lonergan
• Margaret (2009 film), BBC television film about Margaret Thatcher
• Margaret (magazine), Japanese shōjo manga magazine
• "Margaret", a song by Kevin Ayers from the album Whatevershebringswesing

See also[link]

• Margareta (disambiguation)
• Margarita
• Margret (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Hannah Arendt

Hannah Arendt from a 1988 German stamp of the Women in German history series.
Born	(1906-10-14)October 14, 1906 Linden, Hanover, Germany
Died	December 4, 1975(1975-12-04) (aged 69) New York, United States
Era	20th-century philosophy
Region	Western Philosophers
School	Continental Philosophy
Main interests	Political theory, modernity, philosophy of history
Influenced by Pre-Socratics, Socrates, Plato, Aristotle, Jesus, Paul, Duns Scotus, Saint Augustine, Machiavelli, Montesquieu, Edmund Burke, Kant, Tocqueville, Kierkegaard, Heidegger, Russell, Jaspers, Benjamin
Influenced Jürgen Habermas, Maurice Merleau-Ponty, Giorgio Agamben, Seyla Benhabib, Cornelius Castoriadis, Claude Lefort, Elisabeth Young-Bruehl, Michael Jackson (anthropology), Reinhart Koselleck, Hanna Pitkin, Michael Marrus, Quentin Skinner, J. G. A. Pocock, Philip Pettit, Alain Finkielkraut, Julia Kristeva, Richard Sennett, Charles Taylor, Harrison, Michel Foucault, Alain Badiou

Johanna^[1] “Hannah” Arendt (October 14, 1906 – December 4, 1975) was a German American political theorist. She has often been described as a philosopher, although she refused that label on the grounds that philosophy is concerned with "man in the singular." She described herself instead as a political theorist because her work centers on the fact that "men, not Man, live on the earth and inhabit the world".^[2] Arendt's work deals with the nature of power, and the subjects of politics, authority, and totalitarianism.

Biography[link]

Arendt was born into a family of secular German Jews in the city of Linden (now part of Hanover), and grew up in Königsberg (the birthplace of Prussian philosopher Immanuel Kant, renamed as Kaliningrad and annexed to the Soviet Union in 1946) and Berlin.

At the University of Marburg, she studied philosophy with Martin Heidegger. According to Hans Jonas, her only German-Jewish classmate, Arendt embarked on a long and stormy romantic relationship with Heidegger, for which she was later criticized because of Heidegger's support for the Nazi party when he was rector of Freiburg University.^[3]

In the wake of one of their breakups, Arendt moved to Heidelberg, where she wrote her dissertation, under the existentialist philosopher-psychologist Karl Jaspers, on the concept of love in the thought of Saint Augustine. In 1929, in Berlin, she married Günther Stern, later known as Günther Anders; they divorced in 1937.

The dissertation was published in 1929. Because she was Jewish, Arendt was prevented from habilitating, a prerequisite for teaching in German universities. She researched anti-Semitism for some time before being interrogated by the Gestapo. Thereupon Arendt fled Germany for Paris. There she befriended the Marxist literary critic and philosopher Walter Benjamin, her first husband's cousin. While in France, Arendt worked to support and aid Jewish refugees. She was imprisoned in Camp Gurs but able to escape after a few weeks.

With the German military occupation of northern France during World War II and the deportation of Jews to Nazi concentration camps even by the Vichy collaborator regime in the unoccupied south, Arendt was compelled to leave France. In 1940, she married the German poet and Marxist philosopher Heinrich Blücher, by then a former member of the Communist Party.

In 1941, Arendt escaped with her husband and her mother to the United States. They were relied on the life-saving visas, illegally issued by the American diplomat Hiram Bingham IV, who aided in this way approximately 2,500 other Jewish refugees. Another American, Varian Fry, paid for their travels and helped in securing the aforementioned visas. Upon arrival to New York, Arendt became active in the German-Jewish community. From 1941 to 1945, she wrote a column for the German-language Jewish newspaper, Aufbau. From 1944, she directed research for the Commission of European Jewish Cultural Reconstruction and traveled frequently to Germany in this capacity.^[4]

After World War II she returned to Germany and worked for Youth Aliyah^[5], an organization that had saved thousands of children from the Holocaust. She became a close friend of Karl Jaspers and his Jewish wife,^[6] developing a deep intellectual friendship with him. She began corresponding with Mary McCarthy.^[7]

In 1950, she became a naturalized citizen of the United States.^[8] Arendt served as a visiting scholar at the University of California, Berkeley, Princeton University and Northwestern University. In the spring of 1959, she became the first woman lecturer at Princeton. Arendt also taught at the University of Chicago, where she was a member of the Committee on Social Thought; The New School in New York City; Yale University, where she was a fellow; and, the Center for Advanced Studies at Wesleyan University (1961–1962,1962–1963).^[9] Arendt was elected a Fellow of the American Academy of Arts and Sciences in 1962^[10] and a member of the American Academy of Arts and Letters in 1964.^[11]

She died in 1975, at age 69, of a heart attack and was buried at Bard College in Annandale-on-Hudson, New York, where her husband taught for many years.^[12]

Arendt was instrumental in the creation of Structured Liberal Education (SLE) at Stanford University. She wrote a letter to the then president of Stanford University to convince the university to enact Mark Mancall's vision of a residentially-based humanities program.

Works[link]

Arendt theorizes freedom as public, performative and associative, drawing for illustration on the Greek "Polis", American townships, the Paris Commune, the civil rights movements of the 1960s, and the 1956 Hungarian uprising. She posits that freedom does not pre-exist the organised community but is rather constructed there, as the common space whereto its equal members bring their own uniqueness and "natality", and create something of lasting value such as a state. This natality signs the contingent, indeterminate and so political future that we don't know anything about.

The Origins of Totalitarianism

Arendt's first major book was The Origins of Totalitarianism (1951), which traced the roots of Stalinist Communism and Nazism in both anti-Semitism and imperialism. The book was opposed by the Left on the grounds that it presented the two movements as equally tyrannical. She further contends that Jewry was not the operative factor in the Holocaust but merely a convenient proxy. Totalitarianism in Germany was in the end about megalomania and consistency, not eradicating Jews.

The Human Condition

Arguably, her most influential work, The Human Condition (1958), distinguishes between the concepts of political and social, labour and work, various forms of action, and explores implications of those distinctions. Her theory of political action, corresponding to the existence of a public realm, is extensively developed in this work. Arendt argues that, while human life always evolves within societies, the social-being part of human nature, political life, was intentionally constructed by only a few of these societies as a space for individuals to achieve freedom through the construction of a common world. These categories, which attempt to bridge the gap between ontological and sociological structures, are sharply delineated. While Arendt relegates labour and work to the realm of the "social," she favors the human condition of action as the "political" that is both existential and aesthetic.

Men in Dark Times

Her collection of essays Men in Dark Times presents intellectual biographies of some creative and moral figures of the 20th century, such as Walter Benjamin, Karl Jaspers, Rosa Luxemburg, Hermann Broch, Pope John XXIII, and Isak Dinesen.

Adolf Eichmann Trial

In her reporting of the Eichmann trial for The New Yorker, which evolved into Eichmann in Jerusalem: A Report on the Banality of Evil (1963), she coined the phrase "the banality of evil" to describe Eichmann. She raised the question of whether evil is radical or simply a function of thoughtlessness, a tendency of ordinary people to obey orders and conform to mass opinion without a critical evaluation of the consequences of their actions and inaction.

Arendt was sharply critical of the way the trial was conducted in Israel. She was also critical of the way that some Jewish leaders, notably M. C. Rumkowski), acted during the Holocaust. This caused a considerable controversy and even animosity toward Arendt in the Jewish community. Her friend Gershom Scholem, a major scholar of Jewish mysticism, broke off relations with her. Arendt was criticized by many Jewish public figures, who charged her with coldness and lack of sympathy for the victims of the Shoah/Holocaust. Due to this lingering criticism, her book has only recently been translated into Hebrew. Arendt ended the book with:

Just as you [Eichmann] supported and carried out a policy of not wanting to share the earth with the Jewish people and the people of a number of other nations — as though you and your superiors had any right to determine who should and who should not inhabit the world — we find that no one, that is, no member of the human race, can be expected to want to share the earth with you. This is the reason, and the only reason, you must hang.

On Revolution

Arendt published another book in the same year, On Revolution. In this analysis of the two major revolutions of the 18th century, Arendt went against the grain of Marxist and leftist thought by contending that the American Revolution was a successful revolution, whereas the French Revolution was not. When the masses of France gained the sympathy of revolutionaries, the French Revolution turned away from the legal stability of a constitutional government toward the lawless satisfaction of the constantly regenerating economic needs of these masses. Some saw in this argument a post-Holocaust anti-French sentiment. Nevertheless, it was inveterate in the history of political philosophy, echoing that of Edmund Burke.

Arendt also argued that the revolutionary spirit endemic to the founding fathers had not been preserved in America because the majority of people had no role to play in politics other than voting. She admired Thomas Jefferson's idea of dividing counties into townships. Arendt's interest in such a "council system"^[13], which she saw as the only alternative to the state, continued all her life.

On Violence Essay

Arendt's essay "On Violence" distinguishes violence and power. She maintains that, although theorists of both the Left and Right regard violence as an extreme manifestation of power, the two concepts are in fact antithetical. Power comes from the collective will and does not need violence to achieve any of its goals since voluntary compliance takes its place. As governments start losing their legitimacy, violence becomes an artificial means towards the same ends and is therefore found only in the absence of Power. Bureaucracies then become the ideal birthplaces of violence since they are defined as the "rule by no-one", with whom to argue against and therefore re-create the missing link with the people it rules over.

The Life of the Mind

Her posthumous book, The Life of the Mind (1978, edited by Mary McCarthy), remained incomplete. Stemming from her Gifford Lectures at the University of Aberdeen in Scotland, it focuses on the mental faculties of thinking and willing, in a sense moving beyond her previous work concerning the vita activa.. In her discussion of thinking, she focuses mainly on Socrates and his notion of thinking as a solitary dialogue between Me and Myself. This appropriation of Socrates leads her to introduce novel concepts of conscience (which gives no positive prescriptions but instead tells me what I cannot do if I would remain friends with myself when I re-enter the two-in-one of thought where I must render an account of my actions to myself) and morality (an entirely negative enterprise concerned with non-participation in certain actions for the sake of remaining friends with one's self). In her volume on Willing, Arendt, relying heavily on Augustine's notion of the will, discusses the will as an absolutely free mental faculty that makes new beginnings possible.

Posthumous Legacy[link]

In the third volume, Arendt was planning to engage the faculty of judgment by appropriating Kant's Critique of Judgment ; however, she did not live to write it. Nevertheless, although we will never fully understand her notion of judging, Arendt did leave us with manuscripts ("Thinking and Moral Considerations", "Some Questions on Moral Philosophy,") and lectures (Lectures on Kant's Political Philosophy ) concerning her thoughts on this mental faculty. The first two articles were edited and published by Jerome Kohn, who was an assistant of Arendt and is a director of Hannah Arendt Center at The New School, and the last was edited and published by Ronald Beiner, who is a professor of political science at the University of Toronto.

Her personal library was deposited at Bard College at the Stevenson Library in 1976, and includes approximately 4,000 books, ephemera, and pamphlets from Arendt's last apartment. The college has begun digitally archiving some of the collection, which is available at The Hannah Arendt Collection.

Commemoration[link]

• The asteroid 100027 Hannaharendt is named in her honor.
• The German railway authority operates a Hannah Arendt Express between Karlsruhe and Hannover.^[14]
• The German post office has issued a Hannah Arendt commemorative stamp.
• Hannah-Arendt-Straße in the Mitte district of Berlin is named in her honor.
• The Hannah Arendt Institute for the Research on Totalitarianism is named in her honor.

Selected works[link]

• Der Liebesbegriff bei Augustin. Versuch einer philosophischen Interpretation (1929)
• The Origins of Totalitarianism (1951). Rev. ed.; New York: Schocken, 2004. (Includes all the prefaces and additions from the 1958, 1968, and 1972 editions.)
• The Human Condition (Chicago: University of Chicago Press, 1958).
• Rahel Varnhagen: the life of a Jewess. Translated by Richard and Clara Winston (1958). Complete ed.; Ed. Liliane Weissberg (Baltimore: Johns Hopkins University Press, 1997), also in March 2000. 400 pages . ISBN 978-0-8018-6335-6
• Die ungarische Revolution und der totalitäre Imperialismus (1958)
• Between Past and Future: Six exercises in political thought (New York: Viking, 1961). (Two more essays were added in 1968.)
• On Revolution (New York: Viking, 1963).
• Eichmann in Jerusalem: A Report on the Banality of Evil (1963). (Rev. ed. New York: Viking, 1968).
• Men in Dark Times (New York: Harcourt, Brace and World, 1968).
• On Violence. Harvest Books (New York: Harcourt, Brace and World, 1970) (Also included in Crises of the Republic.)
• Crises of the Republic: Lying in Politics; Civil Disobedience; On Violence; Thoughts on Politics and Revolution (New York: Harcourt, Brace, Jovanovich, 1972). "Civil Disobedience" originally appeared, in somewhat different form, in The New Yorker. Versions of the other essays originally appeared in The New York Review of Books.
• The Jew as Pariah: Jewish Identity and Politics in the Modern Age, edited with an introduction by Ron H. Feldman (1978)
• Life of the Mind, unfinished at her death, Ed. Mary McCarthy, 2 vols. (New York: Harcourt Brace Jovanovich, 1978).ISBN 0-15-107887-4
• Hannah Arendt/Karl Jaspers Correspondence, 1926–1969 Edited by Lotte Kohler and Hans Saner, translated by Robert Kimber and Rita Kimber (New York: Harcourt Brace Jovanovich, 1992).
• Essays in Understanding, 1930-1954: Formation, Exile, and Totalitarianism, Ed. Jerome Kohn (New York: Harcourt, Brace, 1994), Paperback reprint edition, September 10, 1983, ISBN 0-300-03099-1 . Paperback ed. (New York: Schocken, 2005).
• Love and Saint Augustine Edited with an Interpretive Essay by Joanna Vecchiarelli Scott and Judith Chelius Scott (Chicago: The University of Chicago Press, 1996/1998).
• Lectures on Kant's Political Philosophy. Edited and with an Interpretive Essay by Ronald Beiner (The University of Chicago Press, 1992).
• Within Four Walls: The Correspondence between Hannah Arendt and Heinrich Blücher, 1936-1968. Edited by Lotte Kohler, translated by Peter Constantine (New York: Harcourt, 1996).
• Responsibility and Judgment. Edited with an introduction by Jerome Kohn (New York: Schocken, 2003).
• Hannah Arendt and Martin Heidegger. Letters, 1925–1975, Ed. Ursula Ludz, translated Andrew Shields (New York: Harcourt, 2004).
• The Promise of Politics. Edited with an Introduction by Jerome Kohn (New York: Schocken, 2005).
• Arendt und Benjamin: Texte, Briefe, Dokumente. Edited by Detlev Schöttker and Erdmut Wizisla. (2006)
• The Jewish Writings. Edited by Jerome Kohn and Ron H. Feldman. Schocken Books. (2007)

See also[link]

Biography portal

• American philosophy
• German philosophy
• Research Materials: Max Planck Society Archive

Notes[link]

Further reading[link]

• Brandes, Daniel (2010). "Nietzsche, Arendt, and the Promise of the Future". Animus 14. ISSN 1209-0689. http://www2.swgc.mun.ca/animus/Articles/Volume%2014/4_Brandes.pdf. Retrieved August 18, 2011. 
• Elisabeth Young-Bruehl (1982), Hannah Arendt: For Love of the World, Yale University Press, ISBN 0-300-02660-9. (Paperback reprint edition, September 10, 1983, ISBN 0-300-03099-1; Second edition October 11, 2004 ISBN 0-300-10588-6.). 620 pages
• Elisabeth Young-Bruehl. 2010. Hannah Arendt (1906-1975). Who's Afraid of Social Democracy.
• Elisabeth Young-Bruehl. 2010. Arendt's Jewish Identity. Who's Afraid of Social Democracy.
• Elisabeth Young-Bruehl. 2000. Hannah Arendt in American Intellectual Life (2000). Who's Afraid of Social Democracy.
• Villa, Dana ed. (2000), The Cambridge Companion to Hannah Arendt, Cambridge University Press, ISBN 978-0-521-64571-3 (hb).
• Villa, Dana (1995), Arendt and Heidegger: the Fate of the Political, Princeton University Press, ISBN 0-691-04400-7.
• Villa, Dana (1999), Politics, Philosophy, Terror: Essays on the Thought of Hannah Arendt, Princeton University Press, ISBN 0-691-00935-X.
• Villa, Dana (2008), Public Freedom, Princeton University Press, ISBN 978-0-691-13594-6.
• Harms, Klaus: Hannah Arendt und Hans Jonas. Grundlagen einer philosophischen Theologie der Weltverantwortung. Berlin: WiKu-Verlag (2003). ISBN 3-936749-84-1. (de)
• Elzbieta Ettinger: Hannah Arendt/Martin Heidegger, Yale University Press (1997). ISBN 0-300-07254-6.
• Young-Bruehl, Elisabeth. Why Arendt Matters. New Haven, CT; London: Yale University Press, 2006 (hardcover, ISBN 0-300-12044-3).
• Dietz, Mary G. Turning Operations: Feminism, Arendt, and Politics, Routledge (2002). ISBN 0-415-93244-0.
• Julia Kristeva. Hannah Arendt. Trans. Ross Guberman. Columbia University Press. 2001. ISBN 978-0-231-12102-6
• Shlomo Avineri, "Where Hannah Arendt Went Wrong", Haaretz, 10 March 2010.
• Seyla Benhabib. The Reluctant Modernism of Hannah Arendt. Rowan and Littlefield Publishers. 2003. ISBN 978-0-7425-2151-3
• Jennifer Nedelsky and Ronald Beiner, ed. Judgment, Imagination, and Politics: Themes from Kant and Arendt. Rowan and Littlefield Publishers. 2001. ISBN 978-0-8476-9971-1
• Birmingham, Peg. Hannah Arendt and Human Rights: The Predicament of Common Responsibility. Indian University Press (2006) ISBN 978-0-253-21865-0
• Maurizio Passerin d'Entrèves. The Political Philosophy of Hannah Arendt. New York: Routledge, 1994. ISBN 978-0-415-08790-2
• David Keen. 2007. Learning About the Iraq War from Hannah Arendt . Counterpunch. September 24.
• Roger Berkowitz, Thomas Keenan, Jeffrey Katz, ed.Thinking in Dark Times: Hannah Arendt on Ethics and Politics Fordham University Press, 2009, ISBN 978-0-8232-3076-1
• Zamora, J.A. y Arribas, S. (Coord). “Hannah Arendt. Pensar en tiempos sombríos.”. Arbor, Vol 186, No 742 (2010). Consejo Superior de Investigaciones Científicas. doi:10.3989/arbor.2010.i742 [In Spanish].
• Hansen, Phillip Birger. Hannah Arendt: politics, history and citizenship. Stanford University Press, 1993. ISBN 978-0-8047-2145-5

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (September 2009)

Wikimedia Commons has media related to: Hannah Arendt

Wikiquote has a collection of quotations related to: Hannah Arendt

Writings[link]

Works related to Hannah Arendt at Wikisource

• Works in English and French, on the Internet Archive
• The Hannah Arendt Papers collection at the Library of Congress contains her personal archive, with scanned portions available on the internet.
• Hannah Arendt Collection - Stevenson Library, Bard College
• Author page at the New York Review of Books: Freely available letters and subscription-based essays
• Reflections on Violence
• A few writings by Arendt, on FindArticles
• The Bluecher Archive at Bard College, a digital audio archive of the work of Arendt's husband, the philosopher, Heinrich Bluecher

Overviews[link]

• Hannah Arendt (1906-1975) at the Internet Encyclopedia of Philosophy
• Hannah Arendt at the Philosophical Library of European Graduate School
• Hannah Arendt entry by Maurizio Passerin d'Entreves in the Stanford Encyclopedia of Philosophy
• Hannah Arendt: Biography at FemBio
• Hannah Arendt, in Paula Hyman and Deborah Dash Moore (eds.), Jewish Women in America. New York: Routledge, 1997.

Works on Arendt[link]

• Empire and Genocide: The Work of Hannah Arendt, audio recording of joint seminar hosted by Holocaust Research Centre and The Postcolonial Research Group at Royal Holloway, University of London
• Reading Arendt in Caracas, Young-Bruehl writes on Arendt and Venezuela.
• Hannah Arendt Conversations
• Collection of basic links at EpistemeLinks
• Numerous articles on Arendt
• Volume 69, Number 2 (Summer 2002) of Social Research: "Hannah Arendt: The Origins of Totalitarianism Fifty Years Later" Guest Editor: Jerome Kohn
• Volume 74, Number 3 (Fall 2007) of Social Research: "Hannah Arendt's Centenary: Political and Philosophic Perspectives, Part I". Guest Editor: Jerome Kohn
• Volume 74, Number 4 (Winter 2007) of Social Research: "Hannah Arendt's Centenary: Political and Philosophic Perspectives, Part II". Guest Editor: Jerome Kohn
• The Role of Experience in Hannah Arendt's Political Thought: Three Essays by Jerome Kohn (Director, Hannah Arendt Center, The New School)
• "Thinking Out Loud", in Lingua Franca, fall 1999. (review, Politics, Philosophy, Terror: Essays on the Thought of Hannah Arendt)
• "Hannah Arendt, Gershom Sholem, and the Founding of Israel", Munteanu, Raluca. Paper presented at the annual meeting of the American Political Science Association, 2003-08-27
• "Arendt's Judgment" by Mark Greif in Dissent magazine, spring 2004. (review, Responsibility and Judgment by Hannah Arendt and Letters 1925-1975: Hannah Arendt and Martin Heidegger, edited by Ursula Ludz)
• The philosophical Madonna, Daniel Cohn-Bendit recalls his relationship with the philosopher and reflects on her and on his generation, 2005-12-14
• Thinking with Body and Soul: Interview with the historian Joachim Fest about Hannah Arendt, by Volker Maria Neumann, February 2006.
• Hannah Arendt, 100 Years Later, Benjamin Balint, The Forward, 2006-10-06
• Hannah Arendt and the Study of Evil, NPR audio interview with Elisabeth Young-Bruehl, 2006-10-14
• ‘I merely belong to them’, by Judith Butler, London Review of Books, 2007-05-10 (review, The Jewish Writings)
• Hannah Arendt and the modern Jewish experience, Steven E. Aschheim, The Times Literary Supplement, 2007-09-26 (review, The Jewish Writings)
• Hannah Arendt and Nonviolence, by Dan Jakopovich, Peace Studies Journal, Fall 2009
• Kirsch, Adam (12 January 2009). "The Critics: Beware of Pity". The New Yorker 84 (44): 62–68. http://www.newyorker.com/arts/critics/atlarge/2009/01/12/090112crat_atlarge_kirsch. Retrieved 27 March 2009. 
• Hannah Arendt: Practice, Thought and Judgement

Organizations[link]

• Hannah Arendt Institute for the Research on Totalitarianism at the Technical University of Dresden
• Hannah Arendt Organization, clearinghouse for information on and about Hannah Arendt
• The Arendt Center for Politics and the Humanities at Bard College

Other[link]

• International Hannah Arendt newsletter
• Hannah Arendt Thinking Space. Art Exhibition Berlin 2006
• Dossier: Hannah Arendt (German Education Server)
• Warning against Menachem Begin, Letters to the Editor, New York Times December 4, 1948.
• Exhibition in the Jewish museum of Frankfurt, 2005.

Other languages[link]

• (French) Article on Hannah Arendt
• (French) Hannah Arendt, Heidegger and Nazism: video
• (Portuguese) Profile, collection of articles, and quotations on Hannah Arendt
• (Russian) On Revolution. H. Arendt Portal
• (Spanish) Zamora, J.A. y Arribas, S. (Coord). “Hannah Arendt. Pensar en tiempos sombríos.”. Arbor, Vol 186, No 742 (2010). Consejo Superior de Investigaciones Científicas. doi:10.3989/arbor.2010.i742.
• (Persian) Heidegger the Fox - Hannah Arendt

Margarethe von Trotta
Trotta in 2007
Born	(1942-02-21) 21 February 1942 (age 70) Berlin, Germany
Occupation	Film director, screenwriter, actress
Years active	1968 - present
Spouse	(First Husband) 1964-1968 (one son) Volker Schlöndorff 1971-1991

Margarethe von Trotta (born 21 February 1942, Berlin) is a German female film director and a "leading force" ^[1] of the New German Cinema movement.^[2]She is regarded as “the world’s leading feminist filmmaker.”^[3] Her films are more concerned with “feminine aesthetics” than with an upfront exploration of “political action” like that of her fellow German female filmmakers. ^[4] The connections between females within her work all have a serious tone that seems to be a bit “tortured.” ^[5] But, she rejects the term “women’s films” to label her work. ^[6] Many of von Trotta’s full-length films have been matched up to Ingmar Bergman’s features from the 1960s and 70s, which is no small feat. ^[7] She claims that, thanks to seeing Bergman’s work, she “ ‘fell in love’ with the medium and its possibilities for representing inner psychic worlds.” ^[7] On top of that, she boasts an impressive body of work that has won her awards all over the world in the last forty years. ^[1]

She was married to and collaborated with director Volker Schlöndorff. Although they made a great team in the filmic realm, von Trotta felt she was seen as secondary to Schlöndorff. ^[8] These feelings led to von Trotta making a solo career for herself and becoming “Germany’s foremost female film director, who has offered the most sustained and successful female variant of Autorenkino in postwar German film history.” ^[4] The predominant theme of von Trotta’s films is to create a new representation for females. ^[9]

Early Life[link]

The child of Elisabeth von Trotta and painter Alfred Roloff, she relocated to Paris in the 1960s, where she worked for film collectives, collaborating on scripts and co-directing short films.

In her early career, von Trotta was an actress, appearing in notable films of directors Rainer Werner Fassbinder and Volker Schlöndorff. In one of many interviews, von Trotta said: "I came from Germany before the New Wave, so we had all these silly movies. Cinema for me was entertainment, but it was not art. When I came to Paris, I saw several films of Ingmar Bergman, and all of the sudden I understood what cinema could be. I saw the films of Alfred Hitchcock and the French Nouvelle Vague. I stood there and said, ‘that is what I’d like to do with my life.’ But that was 1962, and you couldn’t think that a woman could be a director. In a way, as an unconscious act, I started acting and when the New German films started, I tried to get in through acting." ^[3] Through her acting career, von Trotta was able to create an initial name for herself before becoming a director. ^[3]

Career[link]

Her first input on a film, before making a solo-career out of it, was on Volker Schlöndorff’s The Sudden Wealth of the Poor People of Kombach (1971), which she also acted in. In 1975, they proceeded to co-write and co-direct The Lost Honor of Katharina Blum, which was based off of an adaptation of Heinrich Bölls novel that dealt with “political repression in the Federal Republic.” ^[10] Within this first film of von Trotta’s, one can see the conflict “between the personal and the public” that resonates throughout her early film career. ^[4] The female characters within the story must occupy suffocating spaces that von Trotta uses to represent the confinement that women are subjected to in a world run by men. ^[4] Von Trotta was in charge of supervising the performance aspect while Schlöndorff dealt with the film’s mechanics. As a director, he was not considered to be very audacious, while von Trotta’s strong suit was in how she directed the film’s actors “through whom she creates her story.” Therefore, the two were able to complement each other. Their film was considered to be “the most successful German film of the mid-1970s.” The couple collaborated on one more film, Coup de Grâce (1976), where von Trotta helped to write but not direct the work, before von Trotta branched off into her own career. ^[6]

Trotta’s first solo film was Das zweite Erwachen der Christa Klages, or The Second Awakening of Christa Klages (1977), which focused on “a young woman’s political radicalization.” ^[10] This film presented multiple subjects that Trotta’s films would be known for in the future: “female bonding, sisterhood, and the uses and effects of violence.” ^[11] The film’s script used real-life information about the seizure of school teacher Margit Czenki from Munich. ^[6]

THE SISTER FILMS[link]

Margarethe von Trotta’s second feature film was Sisters, or The Balance of Happiness (Schwestern oder die Balance des Glücks, 1979). Unintentionally, she created a “trilogy of sister films” with her proceeding works: Marianne and Juliane (Die Bleierne Zeit, 1981) and Three Sisters (Paura e amore, 1988). ^[7] Barbara Quart, author of the book Women Directors, commented on the three works: “It is the quest for wholeness that is the preoccupation of von Trotta’s entire sister series.”^[7] The females within these films are born into a traditional time (late 1940s and 50s), but they reject the positions that society has established for women. ^[7] As well, the topic of suicide plays an important role in the first two films and how the live sister connects to the dead one. ^[12] These three films investigate sisterhood and their bonds within a world that is falling apart all around them; this matter places von Trotta’s work into New German Cinema. ^[7]

Sisters, or The Balance of Happiness (1979) delves into bonds, both physically and mentally, between sisters Maria and Anna, along with a third party. ^[7] The siblings are close before Anna commits suicide, but hidden behind her facial expressions is a desire to escape this feeling of frustration between following what she wants and what Maria asks of her. ^[12] Maria faces post suicide trauma, coping with her devastation by transplanting the memory of her sister onto her co-worker, Miriam. This ultimately leads Maria to deal with her inner issues so she can try to move on with her life in a peaceful manner. ^[7] This film garnered the Grand Prix Award at Créteil International Women's Film Festival in 1981. ^[13]

Marianne and Juliane (1981) also deals with losing a sister and learning how to handle the grief. ^[7] Marianne and Juliane grow much closer after Marianne is put behind bars for her radical, terrorist activities. After unexpected news of Marianne’s death, Juliane becomes obsessed with finding out the truth behind the supposed suicide, which she doesn’t believe to be true.^[12] The characters are based off the real-life Christiane and Gudrun Ensslin, which made “feminist critics” give extra notice to this work in comparison to all other films that von Trotta has done. Critics question the way von Trotta structured the plot and why she positioned it from that of Christiane’s character, Juliane, instead of from Gudrun (Marianne). The film is characterized by the use of multiple flashback sequences, jumping between present day to childhood and everywhere in between, breaking any chance of a linear structure. ^[8]

A theme within Marianne and Juliane that von Trotta uses throughout her works is that of “the personal is political.” ^[5] In Marianne’s jail cell, the sisters come to terms with “their personal and political differences.” ^[5] One take on this theme is that Marianne’s personal past has fostered her political, terrorist present. In the story’s present day, her political actions effect her personal life: she is sentenced to prison and passes away in her cell, her husband takes his own life, and her son is put in danger. ^[5] Not surprisingly, this film was the subject of much debate from conservatives who believed that Marianne’s character as a terrorist was given too much understanding. ^[14] This film won the AGIS Award, FIPRESCI Prize, Golden Lion Award, New Cinema Award, and OCIC Award at the Venice Film Festival in 1981, along with a few more listed in the awards section.^[13] Von Trotta winning the Golden Lion was a true achievement for women in film, for an honor of this stature had not been awarded to a female director since Leni Reifenstahl received “the Mussonlini Cup” in 1938 for Olympia. ^[15]

Paura e amore (1988), von Trotta’s sixth feature-length film, focuses on a set of three sisters—Olga, Masha, and Irina. It is through these females that von Trotta is able to present her opinions concerning the stature of females in society and the traditional politics of the time that play a role in shaping their lives. Once again, this film deals with sisters who yearn for significance in all aspects of their lives (Rueschmann, 168). Their constant quest for love is the way they cope with the unfavorable aspects of life. Compared to the other two preceding films in the “sister series,” Paura e amore contains key melodramatic elements that focus on one’s feelings and anguish. It does not address politics as heavily as the other films, but more on von Trotta’s take of the distinction between men and women in society.^[7] This film was nominated for the Palme d’Or Award at the Cannes Film Festival in 1988. ^[13]

SHEER MADNESS[link]

Sheer Madness (Heller Wahn, 1983), one of von Trotta’s popular feature films, also uses suicide as an important part of the storyline. An analysis on the film given by authors Susan Linville and Kent Casper reads: “suicidal states of mind may stem not from negative distortions of external reality, but from an accurate assessment of the way things are.”^[12] Within this story, once again, women’s feelings are investigated through the friendship between two females, Lina and Olga.^[4] This film gave the impression that, supposedly, von Trotta was a “man-hater.”^[12] Von Trotta won the OCIC Award-Honorable Mention at the Berlin International Film Festival in the Forum of New Cinema for Sheer Madness in 1983. This film was also nominated for the Golden Berlin Bear at the Berlin International Film Festival in the same year.^[13]

ROSA LUXEMBURG[link]

Von Trotta’s film Rosa Luxemburg (1986) presents a biographical piece about an important individual who affected “the history of European socialism.” ^[16] Barbara Sukowa, who stars in several of von Trotta’s films, put on a great performance, capturing the Best Actress honors at Cannes in 1986 for her delivery of the main role. Through her cinematic vision, von Trotta returns to the theme of “the political and the personal,” giving fair attention to both Rosa Luxemburg’s personal life as a female in society and her political life as a “public revolutionary.”^[16] Rosa Luxemburg was nominated for the Palme d’Or at Cannes Film Festival in 1986. This film won the Guild Film Award-Gold at the Guild of German Art House Cinemas in German Film in 1987. ^[13]

TELEVISION[link]

The common problem that filmmakers run into is budget issues and where they get their funds; during the mid-eighties, many films went under due to money cuts by the “German subvention system.” Several of von Trotta’s fellow German female filmmakers took the safe route and went into the education field in media. But not Margarethe von Trotta—to stay in the game, she accepted proposals for TV pieces, even if it meant losing a bit of her artistic allowances. ^[9] Her first piece for television was Winterkind (1997), which was the first time she did not compose the screenplay for a work she was directing. She followed this with three more TV films: Mit fünfzig küssen Männer anders (1997), Dunke Tage (1997), and Jahrestage (2000). Through her experience of working in television, von Trotta learned how to try to hold on to her stamp as an “independent filmmaker” in terms of keeping her artistic approach. ^[9]

ROSENSTRASSE[link]

Looking forward to some of von Trotta’s more contemporary films, this same idea of female bonds and their emotions is still center stage, such as in her piece from 2003, Rosenstrasse. The film uses melodramatic elements, like in Paura e amore (1988), to express the emotions of the characters. The difference here is that Rosenstrasse is a “maternal melodrama.” ^[4] There are three overlapping familial connections involving “mother-daughter relationships” within the story: “the bond between Hannah, a first-generation Jewish American, and her mother Ruth”; “the…mother-daughter bond between Ruth and her Jewish mother Miriam”; “and…the central relationship between surrogate mother Lena von Eschenbach/Fisher and Ruth.”^[4] In this, the definition of a mother is stretched from the “biological” standpoint to the “symbolic.” ^[4]

VISION[link]

The film Vision (2009) chronicles the true tale of Hildegard von Bingen, a nun who stands for another one of von Trotta’s strong female protagonists who fights the patriarchal society of the church by foregoing the established rules of conduct and, upon learning one of her fellow sisters is with child, asking for a different area for the nuns to call their own. In an interview between von Trotta and Damon Smith from Filmmaker Magazine, von Trotta explains her choice for the subject of her film: “When I’m searching for a woman in the very distant past, I look for a woman who is in a way near to my own vision…I am always attracted by a woman who has to fight for her own life and her own reality, who has to get out of a certain situation of imprisonment, to free [herself]. That is perhaps the main theme in all my films.”^[15]

Again, a deep female bond is witnessed in this story, just like the rest of von Trotta’s films, between Hildegard and a young nun, Richardis. Continuing with the interview, von Trotta says, “It’s not a lesbian love! At one point she [Hildegard] says, ‘She is my mother and I’m her mother, I’m her daughter and she’s my daughter.’ Hildegard couldn’t have children, so in a way Richardis is her daughter and friend and mother [all at once]; it’s a very deep love.”^[15]

Von Trotta wanted to make a film with a female protagonist that viewers could relate to instead of looking at her from below, as she clarifies in an interview with Zeitgeist Films: "The figures that appeal to me are always strong women who also have moments of weakness; therefore, I never try to make heroines out of them. Instead I show how they fought to find their own way, how they put themselves out there, and how much they had to swallow in order to find themselves. I am fascinated by how they overcome obstacles in order to achieve their goals. Hildegard von Bingen had a dream of founding her own abbey, and she suffered a lot of setbacks in the process. The moments of her greatest weakness are when the nun Richardis is to be taken away from her. In this situation, she behaves either like a small, abandoned child, or with fury. This conduct is all recorded in her letters. And it is precisely these moments of extreme self-abandonment that I find so beautiful, surprising, and contradictory. Hildegard von Bingen demands for herself what she usually gives to others. I absolutely did not want to portray her as a saint." ^[11]

HANNAH ARENDT[link]

Hannah Arendt (2012) portrays an important segment in the true life of the German-Jewish academic, Hannah Arendt.^[17] In an interview with Thilo Wydra, von Trotta is asked if Arendt is similar to the women she has portrayed in past films. Von Trotta replies with an explanation about how real-life characters from her past films, Rosa Luxemburg and Die bleierne Zeit (Marianne and Juliane), fought and died for causes they found to be right: Rosa wanted more equality in her community, and Gudrun Ensslin (Marianne) wanted to revolutionize humanity. Von Trotta says, “Hannah Arendt is a woman who fits into my personal mold of historically important women that I have portrayed in my films. ‘I want to understand,’ was one of her guiding principles. I feel that applies to myself and my films as well. ^[17] Hannah Arendt is set for theatrical release in October 2012. ^[18]

Von Trotta, often featuring prominent female characters, has become the foremost female director working in Germany. Throughout her years of filmmaking, she has been able to address many points that are significant to women: “abortion, contraception, the situation of women at work, spousal abuse, and [the] traditional female role.”^[9] She continues today with her work, unafraid to let her thoughts be heard and her artistic vision seen by the world. She is a Professor of Film at the European Graduate School in Saas-Fee and remains an important personality of German cinema.

Filmography (Directing)[link]

• Die Verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie führen kann (The Lost Honor of Katharina Blum) 1975
• Das Zweite Erwachen der Christa Klages (The Second Awakening of Christa Klages) 1978
• Schwestern oder die Balance des Glücks (Sisters, or The Balance of Happiness) 1979
• Die Bleierne Zeit (Marianne and Juliane; also known by the English title of Two German Sisters) 1981
• Heller Wahn (Sheer Madness) 1983
• Rosa Luxemburg 1986
• Felix (Segment "Eva") 1988
• Fürchten und Lieben (Paura e amore) 1988
• Die Rückkehr (L'Africana) 1990
• Zeit des Zorns (Il Lungo silenzio) 1993
• Das Versprechen (The Promise) 1995
• Winterkind 1997 (TV movie)
• Mit fünfzig küssen Männer anders 1998 (TV movie)
• Dunkle Tage 1999 (TV movie)
• Jahrestage (Aus dem Leben von Gesine Cressphal) 2000 (TV mini-series)
• Rosenstrasse 2003
• Die Andere Frau (The Other Woman) 2004 (TV movie)
• Ich bin die Andere (I Am the Other Woman) 2006
• Tatort 2007 (TV series)
• Vision (Original title: Vision - Aus dem Leben der Hildegard von Bingen) 2009
• Die Schwester 2010 (TV movie)
• Mai per amore 2012 (TV mini-series)
• Hannah Arendt 2012 (post-production)

^[19]

Awards and Nominations[link]

1972:

• Won Critics Award at German Critics Association Awards in Film.

1981:

• Won Grand Prix Award at Créteil International Women's Film Festival for Sisters, or The Balance of Happiness (1979).
• Won Critics Award at the German Critics Association Awards in Film.
• Won Honorable Mention at Valladolid International Film Festival for Marianne and Juliane (1981).
• Won AGIS Award, FIPRESCI Prize, Golden Lion Award, New Cinema Award, and OCIC Award at Venice Film Festival for Marianne and Juliane (1981).

1982:

• Won David Award at David di Donatello Awards in Best Foreign Director for Marianne and Juliane (1981).
• Nominated for David Award at David di Donatello Awards in Best Foreign Film for Marianne and Juliane (1981).

1983:

• Won OCIC Award-Honorable Mention at Berlin International Film Festival in Forum of New Cinema for Sheer Madness (1983).
• Nominated for Golden Berlin Bear at Berlin International Film Festival for Sheer Madness (1983).

1986:

• Nominated for Palme d’Or at Cannes Film Festival for Rosa Luxemburg (1986).

1987:

• Won Guild Film Award-Gold at Guild of German Art House Cinemas in German Film for Rosa Luxemburg (1986).

1988:

• Nominated for Palme d’Or at Cannes Film Festival for Paura e amore (1988).

1989:

• Won Special Film Award '40th Anniversary of the Federal Republic of Germany' at German Film Awards for Marianne and Juliane (1981).

1993:

• Won Most Popular Film and Prize of the Ecumenical Jury at Montreal World Film Festival for Il Lungo Silenzio (1993).

1994:

• Won Career Award at Flaiano International Prizes in Cinema.

1995:

• Won Bavarian Film Award at Bavarian Film Awards in Best Direction for Das Versprechen (1995).
• Won Guild Film Award-Gold at Guild of German Art House Cinemas in German Film for Das Versprechen (1995).

2000:

• Won Audience Camera Award at Golden Camera, Germany for Dunkle Tage (1999) (TV).

2001:

• Won Special Mention at Biarritz International Festival of Audiovisual Programming in TV Series and Serials for Jahrestage (2000).

2003:

• Won SIGNIS Award-Honorable Mention and Unicef Award at Venice Film Festival for Rosenstrasse (2003).
• Nominated for Golden Lion Award at Venice Film Festival for Rosentrasse (2003).

2004:

• Won David Award at David di Donatello Awards in Best European Film for Rosenstrasse (2003). (Tied with Dogville (2003)).
• Won Golden Globe Award at Golden Globes, Italy in Best European Film for Rosentrasse (2003).
• Won Honorary Award at Hessian Film Awards.
• Won Taormina Arte Award at Taormina International Film Festival.

^[13]

Bibliography[link]

1. Andac, Ben. "Margarethe Von Trotta." Senses of Cinema. Web. 04 May 2012. <http://sensesofcinema.com/2002/great-directors/von_trotta/>.
2. "Awards for Margarethe Von Trotta." IMDb. IMDb.com. Web. 02 May 2012. <http://www.imdb.com/name/nm0903137/awards>.
3. "Birds Eye View: Filmmaker Focus: Margarethe Von Trotta." 2011 Film Festival: Celebrating Women Filmmakers. Birds Eye View. Web. 02 May 2012. <http://www.birds-eye-view.co.uk/3878/filmmaker-focus-margarethe-von-trotta/margarethe-von-trotta.html>.
4. Eifler, Margret. "Margarethe Von Trotta as Filmmaker: Biographical Retrospectives." The German Quarterly 76.4 (2003): 443-48. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/3252242.pdf>.
5. Gollub, Christian-Albrecht. "Volker Schlöndorff and Margarethe Von Trotta: Transcending the Genres." New German Filmmakers: From Oberhausen through the 1970s. Ed. Klaus Phillips. New York: Ungar Pub., 1984. 266-302. Print.
6. "An Interview with Margarethe Von Trotta: Director of ‘Vision’" Interview by Zeitgeist Films. Spirituality Practice. Zeitgeist Films. Web. 3 May 2012. <http://www.spiritualityandpractice.com/films/features.php?id=20271>.
7. Kuttenberg, Eva. "The Hidden Face of Narcissus: Suicide as Poetic Speech in Margarethe Von Trotta's Early Films." Women in German Yearbook: Feminist Studies in German Literature & Culture 20 (2004): 122-44. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/20688975.pdf>.
8. Linville, Susan E. "Retrieving History: Margarethe Von Trotta's Marianne and Juliane." PMLA 106.3 (1991): 446-58. JSTOR. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/462778.pdf?acceptTC=true>.
9. "Margarethe Von Trotta." German Flicks. HyperEd. Web. 02 May 2012. <http://www.germanflicks.com/trotta.html>.
10. "Margarethe Von Trotta." IMDb. IMDb.com. Web. 06 May 2012. <http://www.imdb.com/name/nm0903137/>.
11. Parkinson, Anna M. "Neo-Feminist Mütterfilm? The Emotional Politics of Margarethe Von Trotta's 'Rosenstrasse'" The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century. Ed. Jaimey Fisher and Brad Prager. Detroit: Wayne State UP, 2010. Print.
12. Prot, Bénédicte. "Von Trotta to Start Shooting Hannah Arendt Biopic." Cineuropa. German Films. Web. 04 May 2012. <http://cineuropa.org/2011/nw.aspx?t=newsdetail>.
13. Rueschmann, Eva. "The Politics of Intersubjectivity: The Sister Films of Margarethe Von Trotta." Sisters On Screen: Siblings in Contemporary Cinema. Philadelphia: Temple UP, 2000. 147-75. Print.
14. Seiter, Ellen. "The Political Is Personal: Margarethe Von Trotta's 'Marianne and Juliane'" Films For Women. Ed. Charlotte Brunsdon. London: British Film Institute, 1986. Print.
15. Skidmore, James M. "Intellectualism and Emotionalism in Margarethe Von Trotta's "Die Bleierne Zeit"" German Studies Review 25.3 (2002): 551-67. JSTOR. German Studies Association. Web. 4 May 2012. <http://www.jstor.org.oca.ucsc.edu/stable/pdfplus/1432601.pdf>.
16. Sklar, Robert. "Invaded by Memories of Germany's Past: An Interview with Margarethe Von Trotta." Cineaste 29.2 (2004): 10-12. Web. 3 May 2012. <http://people.ucsc.edu/~stamp/162female/162_Female_Fmkrs/Readings_files/Cineaste%20Interview%20Sklar.pdf>.
17. Smith, Damon. "MARGARETHE VON TROTTA, "VISION" | Filmmaker Magazine." Filmmaker: The Magazine of Independent Film. Filmmaker Magazine, 13 Oct. 2010. Web. 05 May 2012. <http://www.filmmakermagazine.com/news/2010/10/margarethe-von-trotta-vision/>.
18. Wydra, Thilo. "Margarethe Von Trotta on Hannah Arendt: 'Turning Thoughts into Images'" German Filmmakers and Movies. Goethe Institute. Web. 04 May 2012. <http://www.goethe.de/kue/flm/far/en8898031.htm>.

References[link]

External links[link]

• Margarethe von Trotta at European Graduate School. Biography and filmography.
• Margarethe von Trotta at the Internet Movie Database
• | "Birds Eye View: Filmmaker Focus: Margarethe Von Trotta."
• | "German Flicks: Margarethe von Trotta"
• Senses of Cinema: Great Directors Critical Database
• |"Invaded by Memories of Germany's Past: An Interview with Margarethe Von Trotta."
• |"MARGARETHE VON TROTTA, 'VISION' | Filmmaker Magazine."
• | "An Interview with Margarethe Von Trotta: Director of ‘Vision’"
• | "Von Trotta to Start Shooting Hannah Arendt Biopic."
• | "Margarethe Von Trotta on Hannah Arendt: 'Turning Thoughts into Images'"
• | IMDB Filmography
• | Awards for Margarethe von Trotta
• | "CAREER ACHIEVEMENT TRIBUTE: MARGARETHE VON TROTTA"
• | "What goes around: Margarethe von Trotta’s history plays"

Julia Jentsch
Born	(1978-02-20) February 20, 1978 (age 34) Berlin, Germany
Occupation	Actress
Years active	1999–present

Julia Jentsch (born February 20, 1978) is a Silver Bear, two-time European Film Award, and Lola winning German actress. She is best known as the title character in Sophie Scholl – The Final Days, Jule in The Edukators and, Liza in I Served the King of England.

Career[link]

Jentsch was born to a family of lawyers in Berlin and began her acting education there at Hochschule Ernst Busch, a university for drama. Her first prominent screen role was in the 2004 cult film The Edukators, starring opposite Daniel Brühl.

Jentsch garnered further attention playing the title role in the 2005 film Sophie Scholl – The Final Days, which was nominated for an Academy Award for Best Foreign Language Film. In an interview, Jentsch said that the role was "an honor".^[1] For her role as Sophie Scholl she won the best actress at the European Film Awards, best actress at the German Film Awards (Lolas), along with the Silver Bear for best actress at the Berlin Film Festival.

Selected filmography[link]

• Angry Kisses (1999)
• Julietta (2001)
• Getting My Brother Laid, aka My Brother the Vampire (2001)
• The Edukators (2004)
• Tatort (TV) (2004)
• Downfall (2004)
• Schneeland (2005)
• Sophie Scholl – The Final Days (2005)
• The Crown Prince (TV) (2006)
• I Served the King of England (2006)
• Suddenly Gina (TV) (2007)
• 33 Scenes From Life (2008)
• Effi Briest (2009)
• Tannöd (2009)

Awards[link]

Julia Jentsch as Major Barbara

• 2004 Bavarian Film Award for Best New Actress.
• 2005 Film Award in Gold at the German Film Awards as Best Actress for portraying the role of Sophie Scholl.

References[link]

External links[link]

• Julia Jentsch at the Internet Movie Database
• Julia Jentsch fansite (German)

Barbara Sukowa
Barbara Sukowa in February 2010
Born	(1950-02-02) 2 February 1950 (age 62) Bremen, Germany
Occupation	Actress
Spouse	Robert Longo (1994-Present), 1 child Daniel Olbrychski (?-?) (divorced), 1 child Hans-Michael Rehberg (?-?), (divorced) 1 child

Barbara Sukowa (born 2 February 1950, Bremen, Germany) is a German theatre and film actress.

Work[link]

Sukowa's stage debut was in Berlin in 1971, in a production of Peter Handke's Der Ritt über den Bodensee. Günter Beelitz invited her to join the ensemble of the Darmstädter National Theatre in the same year. She also worked in Frankfurt am Main and Hamburg, in collaboration with directors such as Luc Bondy and Ivan Nagel. Her roles included Marion in Büchner's Danton's Death and Helena in A Midsummer Night's Dream. Other Shakespeare roles in Europe were Rosalind in As You Like It and Desdemona in Othello. Sukowa also performed in Ibsen's The Master Builder. In English, she has worked in a production of The Cherry Orchard (Princeton, New Jersey, 2000).^[1]

In addition to her stage work, Sukowa is well known for her performances in films from the New German Cinema. She portrayed Mieze in Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980), which earned her the German best young actress award. Her performance of the title role in Fassbinder’s Lola earned her a German Film Awards (Gold) award. Her performance in Margarethe von Trotta’s film Die bleierne Zeit (Marianne and Juliane, 1981) earned her a best actress award at the Venice Film Festival. In 1985 she appeared in the mini-series Space based on James A Michener's novel. She received best actress honours at the 1986 Cannes Film Festival for her work in von Trotta's film Rosa Luxemburg.

Sukowa has also developed a further career as a classical music narrator and speaker. She has performed the speaker's role in Arnold Schönberg’s Pierrot lunaire, first with the Schoenberg Ensemble under Reinbert de Leeuw. Other performances have been with ensembles in Paris, London,^[2][3] Berlin, St. Petersburg, Madrid, Rome, Tokyo, Salzburg, Los Angeles, and New York City.^[4] She has performed the Speaker's role in Schönberg's Gurrelieder with the Berlin Philharmonic under Claudio Abbado, and is featured on the recordings with Abbado and the Vienna Philharmonic, and Esa-Pekka Salonen and the Philharmonia. She narrated Prokofiev’s Peter and the Wolf both in concert and on record, as well as a recording of Mendelssohn’s music for A Midsummer Night’s Dream. She has performed in Arthur Honegger’s Jeanne d’Arc au bûcher and Kurt Weill’s The Threepenny Opera. She performed the speaking role in the US premiere of Michael Jarrell's Cassandre in March 2006, and in the New York City premiere that month, with musicians from the Saint Louis Symphony Orchestra.^[5][6]

On 19 December 2011, she was announced as being on the jury for the 62nd Berlin International Film Festival, scheduled to be held in February 2012.^[7]

Personal life[link]

Sukowa is married to the artist and director Robert Longo, with whom she has performed as a singer.^[8] She has two sons, from her earlier marriage to Hans-Michael Rehberg and from her relationship with Daniel Olbrychski.^[9]

Awards[link]

1980 Chaplin Schuh Beste NachwuchsDarstellerin 1981 Best Actress Venice film Festival 1982 Best Actress Bundesfilmpreis /German Federal Government Award

• 1986 Cannes Film Festival, Best Actress^[10]

1986 Best Actress Bundesfilmpreis /German Federal Government Award

• 1997 Bavarian Film Awards, Best Actress^[11]

2008 Best Actress World Film Festival Montreal 2009 Best Actress Bayerischer Filmreis/Bavarian Film Award

Music awards Echo Klassic Edison Grammy Nomination

Filmography[link]

• 1980 Berlin Alexanderplatz (Rainer Werner Fassbinder)
• 1981 Die bleierne Zeit (Marianne & Juliane) (Margarethe von Trotta)
• 1981 Lola (Rainer Werner Fassbinder)
• 1983 Équateur (Serge Gainsbourg)
• 1985 Space (Lee Phillips and Joseph Sergeant)
• 1986 Rosa Luxemburg (Margarethe von Trotta)
• 1987 The Sicilian (Michael Cimino)
• 1987 Days to Remember
• 1990 Europa (Lars von Trier)
• 1991 Voyager (Volker Schlöndorff)
• 1993 M. Butterfly (David Cronenberg)
• 1995 Johnny Mnemonic (Robert Longo)
• 1998 Lost Souls (Jeff Woolnough)
• 1998 Cradle Will Rock (Tim Robbins)
• 2001 Thirteen Conversations About One Thing (Jill Sprecher)
• 2004 Hierankl with Director Hans Steinbichler, Johanna Wokalek, Josef Bierbichler and Alexander Beyer
• 2005 Romance & Cigarettes (John Turturro)
• 2009 Vision (Margarethe von Trotta)

References[link]

External links[link]

• Barbara Sukowa at the Internet Movie Database
• Fassbinder Foundation