Julian Reichert

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Julian Reichelt ist ein deutscher Journalist. Er fungiert seit Februar als Vorsitzender der Chefredaktionen und Chefredakteur Digital der Bild. Seit dem Ausscheiden von Tanit Koch zum 1. März ist er außerdem Chefredakteur der. Julian Reichelt (* Juni in Hamburg) ist ein deutscher Journalist. Er fungiert seit Februar als Vorsitzender der Chefredaktionen und Chefredakteur. “ BILD-Chef Julian Reichelt und BILD-Vize Paul Ronzheimer im Streitgespräch über Corona-Maßnahmen. Menschen der Woche: Julian Reichert – allzeit kampfbereit! „Mit Julian Reichelt hat die BILD-Zeitung in kürzester Zeit eine Rolle rückwärts gemacht. Unter seiner​. "Bild"-Zeitung: Julian Reichelt bestreitet Anti-Drosten-Kampagne. Der Chef der "​Bild"-Zeitung hat die Kritik an Christian Drosten als "legitime.

Julian Reichert

Julian Reichelt (* Juni in Hamburg) ist ein deutscher Journalist. Er fungiert seit Februar als Vorsitzender der Chefredaktionen und Chefredakteur. Menschen der Woche: Julian Reichert – allzeit kampfbereit! „Mit Julian Reichelt hat die BILD-Zeitung in kürzester Zeit eine Rolle rückwärts gemacht. Unter seiner​. "Bild"-Zeitung: Julian Reichelt bestreitet Anti-Drosten-Kampagne. Der Chef der "​Bild"-Zeitung hat die Kritik an Christian Drosten als "legitime.

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Julian Reichert Video

Personen mit dem Namen Julian Reichert. Finde deine Freunde auf Facebook. Melde dich an oder registriere dich bei Facebook, um dich mit Freunden. Springer-Vorstandschef Mathias Döpfner redet mit Bild-Chefredakteur Julian Reichelt in einem Podcast über die Kritikwelle, die der Zeitung. Indes hat Bild-Chefredakteur Julian Reichelt ein Angebot gemacht: Er ist bereit, für einen FAZ-Podcast ein Gespräch mit Christian Drosten sowie. Kolumne „Medienmacher“: Friede Springer beklagt sich über Bild-Chefredakteur Julian Reichelt. Vor Vorstandsmitgliedern soll sich die. julian reichelt afd.

They learned how to run an offset printer in order to make their own posters. Reichert went on the road with their one print of the film, lugging the 16mm reels in their metal case and sleeping on couches.

She still recalls one exemplary incident:. In Athens, Ohio, a college town—Ohio University—a few women set up a screening in an auditorium.

We had a pretty big audience, both men and women. I got on the stage with the host after the film. Reichert faced hostile male hecklers in places like Norman, Oklahoma, and Tallahassee, Florida.

It was rentals because women, as teachers, had the power to rent but not buy films; the buyers were all men.

The fact that Growing Up Female was such an immediate success on an infinitesimal budget, and that from the start Reichert and Klein were able to keep all the profits by forming New Day Films, was career defining.

It meant that from then on, at least for a while, the filmmakers could self-fund the start of each new project.

Using scenes and interviews from a methadone clinic in Dayton, along with historical montage, expert interviews, and scenes from a drug-free rehab clinic in Washington, DC, the film argues that methadone is an attempt to pacify and manage alienation.

The film is structured, like Growing Up Female , as a social inquiry, with Reichert on camera asking the questions in an empathic, nonjudgmental way, as a stand-in for the viewer.

With evidence from a Washington, DC—based communal rehab center that eschews drugs altogether, the film presents a still-topical argument: that the more effective approach to addressing drug addiction focuses on building community and local economies.

Methadone: An American Way of Dealing. Methadone is notable not only for its investigative work and frank interviews—Reichert and Klein get a clinic employee to talk about addiction among employees, for instance—but also because it specifically locates drug use as an outcome of alienation and injustice.

From its base in one methadone clinic in Dayton, the film exposes deep institutional corruption. Thomas Waugh celebrated the film for its close listening to working-class voices, which he saw as a welcome step in a radical film movement too often obsessed with itself.

Reichert and Klein believed that this film, like Growing Up Female , would easily find an audience through organizing networks. They were wrong.

A screening at the Whitney Museum of American Art was picketed by both black and white addicts, who, Reichert believes, were recruited by methadone producers.

Really, it was just in a few cities. Reichert and Klein embraced the idea. They wanted to learn about organizing from their forebears, especially given the silence about the history of political and labor organizing during their upbringing in the s.

They faced criticism from filmmakers, historians, and critics for this omission, but always noted that the women had never mentioned their CP membership; it is also possible that if they had, the still-virulent anticommunism of the time would have prejudiced the utility of the film.

Mogulescu was an early video adopter. He convinced them to shoot in video, a suggestion Reichert and Klein liked for its supposed thriftiness.

Video permitted them much longer interview times, but in the end any cost saving was lost in the expense of transfers to film. They worked quickly, shooting the three interviews in three days.

The editing interweaves these interviews according to chronology and themes. Union Maids shows that women were critical to the labor movement and that the labor movement was critical to improvements in public welfare in general, and for women in particular.

Photo by Tony Heriza. Despite its primitive technology and short length fifty minutes , Union Maids got wide theatrical screening in twelve cities and immediately charmed reviewers.

The relatively murky video-transfer images struck audiences and reviewers as aesthetically appropriate. Sylvia, Stella and Kate are three naturals, characters whose hearts and minds leap off the screen with a kind of grace and nobility.

It did not win. Reichert had paid so little attention that she did not even dress up for the occasion.

These women played a role in [getting] working people a collective voice. Union Maids even gets into organizing tactics. It was designed as an organizing tool—maybe not wisely, but it was.

It is still the film that people mention to Reichert most often, usually because they saw it in a class. They applied to the Carter-era National Endowment for the Humanities and, to their surprise, got the grant.

The film was of a scope they had never before attempted. Meanwhile, Reichert discovered she was pregnant—a welcome fact that the couple hid for as long as they could, afraid that the NEH would withdraw the grant.

Fortunately, Klein said, the funding—amplified by a grant from the National Endowment for the Arts and from a clutch of private foundations—was enough to hire filmmaking consultants.

Reichert played the role of a skeptical mainstream viewer. Why did these people join the CP? Why did they hide their membership?

Did they ever see any spying? Why did they stay when rumors of Stalinism started? What happened to them when Khrushchev revealed the depth of Stalinism?

What about the image of CP members as all work and no play? What about the reputation of the CP as top-down and bureaucratic?

Reichert interviewing Pete Seeger for Seeing Red. The directors deliberately focused on the rank and file, not the leadership.

The film celebrates the activism of ordinary people who fought for social change. They include a number of women, some of whom are sharply critical of misogyny in the Party.

Not one of these rank-and-file folks ever saw any spying. Some lost faith, some lost jobs, some stayed in the Party after the revelations.

Again, Reichert and Klein had a hit. Seeing Red succeeded from the start, with a six-week run in New York City and eight weeks in Berkeley, as well as showings in a hundred other cities.

It also got an Academy nomination, and this time there were rumors it might win. Although it did not, Reichert still remembers with fondness her sequined tuxedo jacket, makeup session, and a written acceptance speech, just in case.

Eventually, PBS aired it. In , New American Movement merged with the more centrist Democratic Socialist Organizing Committee and eventually became Democratic Socialists of America , a moment Reichert still recalls as a crushing personal disappointment.

The communal household, the shared optimism for fundamental social change, and eventually her marriage all dissolved.

She began to search for and build community outside the once-encompassing world of the counterculture, although her nostalgia for the era remains.

For instance, the four-hour, two-part series on childhood cancer, A Lion in the House , sharply reveals class disparities in access to health care and the extraordinary challenges for any working family in health crisis in America, while both The Last Truck: Closing of a GM Plant and American Factory are close-up portraits of American workers caught in the slipstream of global trends.

Her films with Steven Bognar have left the public-television nexus behind as well. They have found production support from commercial cable, from equity investors—and, with American Factory , from Netflix and the Obamas as well.

It is also—partly in response to the imperatives of a more commercial environment—less focused on explaining systemic forces.

But it is no less grounded in socialist-feminist concerns. In the twenty-first century, character-driven storytelling has emerged as a preferred style for social-issue documentary.

They turn to reliable, award-winning filmmakers, who offer compelling and socially meaningful stories, to enhance their prestige and legitimacy.

Robert Arceci, a fan of Hoop Dreams , approached Reichert to make a film about childhood cancer. Photo by Steven Bognar. A Lion in the House creates a gigantic tapestry, featuring five families.

It is an observational film narrated by both Bognar and Reichert, in hushed whispers. They are careful to introduce the children first in a family setting, so as not to reduce them to patients.

The hospital personnel are faced with challenges far beyond the medical, including economic and social disparities.

The extraordinary intimacy and dignity of the film was celebrated in reviews and awards. Lion showed on PBS in prime time on two consecutive nights, a major programming coup.

The outreach was extraordinary. At that time, hospice care barely existed for children. Reichert left abruptly after the premiere.

When GM denied them access, they started hanging out at the bar next to the plant. They got their first payment in a few days, unlike the slow public-television process, and HBO executives told them to actually increase their proposed budget.

However, HBO would also own the film outright, and these were not filmmakers who were used to giving up control. Also, HBO wanted a film ready for Labor Day, a great political coup but one that would put them on a fast track for the very first time.

The social-inquiry mode was supplanted with human drama. Sheila Nevins, the legendary head of documentary at HBO, gave them a key shaping insight.

The Last Truck. HBO mounted an Oscar campaign for the film, and again, the film won a nomination but not the award.

HBO paid for an elaborate event, equipped with projection screens and sound trucks from New York. It was a free screening, with free popcorn, for a thousand auto workers.

It was such an important night. It was like a recognition that somebody cared. Their experiences were validated.

They were the protagonists in their story. News that the factory that they had documented in The Last Truck had been bought by the Chinese glass company Fuyao came while they were in the thick of making their film about the 9to5 movement.

But when the Dayton Development Coalition called Reichert and Bognar with a plea to make a positive film about the plant, in contrast to The Last Truck , they realized they could not say no.

The Dayton municipal officials and plant owner envisioned a work-for-hire job. But they insisted on independence: no money from the plant or owners, complete access, and sole control of editing.

Surprisingly, the Chinese owner—himself someone who prided himself on an aesthetic sense—agreed.

We're all citizens. We have a lot of power. Reichert then thanked the factories included in the documentary for "trusting us to bear witness to their hard work and fight for a decent life.

Even though she may be a new power figure to the masses, her work goes back to , when she debuted a groundbreaking feminist documentary Growing Up Female , made just after she graduated from Antioch College.

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Bladder cancer is one of the most common cancers, affecting 68, people in the United States, per the Mayo Clinic. And while it affects mostly older adults, it can happen at any age.

The kind of people that punch a clock, put on a uniform and work for an hourly rage. We all know that income equality is growing and widens and it's kind of becoming a canyon and we all know that.

Our film tries to ask the question: Is this the way we want the world to be? No, it's not and we could do something about it.

We're all citizens. We have a lot of power. Reichert then thanked the factories included in the documentary for "trusting us to bear witness to their hard work and fight for a decent life.

Even though she may be a new power figure to the masses, her work goes back to , when she debuted a groundbreaking feminist documentary Growing Up Female , made just after she graduated from Antioch College.

Like what you just read? Go here to subscribe. Weight Loss. Type keyword s to search. Today's Top Stories.

Join Our Day Ab Challenge! Kevin Winter Getty Images. Bognar and Reichert at the Sundance Film Festival. Rob Loud Getty Images.

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Accessed February 14, And pretty much everybody I knew there was a Republican. Julia Reichert, class of , co-directed and was a producer of American Factory.

Encyclopedia of the Documentary Film. New York: Routledge. Wright State University. Retrieved 8 February New Day Films. Sundance Institute.

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The film was in hot demand from the moment they began distribution through New Day Films. She and Bognar are almost finished with 9to5: The Story of a Movementmoving from rough cut to fine cut and headed to release. Over the next few years, and in spite of the fact that Steven was almost a generation younger, they became life partners—but not filmmaking partners untilwhen Beste Spielothek in finden began work on A Lion in the Learn more here. Educational distribution could still fully repay investment in production, because of the ample budgets of Cold War—era universities, especially public universities, and the still-high rental and sales prices for 16mm film in the era before VHS, DVD, and streaming. Bognar and Reichert think geography is a factor, especially since they do not circulate socially at Julian Reichert festivals and markets. The filmmakers began this documentary inand continue shooting and editing to this date. Jonathan Kahana, ed. April Learn how and when to remove this template message. The extraordinary intimacy and dignity of the film was celebrated https://simplehealthylife.co/online-casino-deutschland/beste-spielothek-in-oberhartmannsreuth-finden.php reviews and awards.