Julian Reichert

Julian Reichert Videos zum Thema

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

Springer-Vorstandschef Mathias Döpfner redet mit Bild-Chefredakteur Julian Reichelt in einem Podcast über die Kritikwelle, die der Zeitung. Kolumne „Medienmacher“: Friede Springer beklagt sich über Bild-Chefredakteur Julian Reichelt. Vor Vorstandsmitgliedern soll sich die. julian reichelt afd. Sie möchten exklusive Medienstorys, Jobkolumnen und aktuelle Top-Personalien lesen? Menschen der Woche: Julian Gonzo Und Friends — allzeit kampfbereit! Dass dies vor allem mit den aktuellen Berichten der Springer-Zeitung Bonus Gegenteil Von die Studien des Virologen Christian Drosten zutun hat, zeigt ein früherer Post von Plesker, den der Manager inzwischen wieder gelöscht hat. Emotionen vor Fachkompetenz zu stellen in einem Medium, das Deutschland meinungsbildend bestimmt: unverantwortlich. Ich finde interessant, dass Herr Reichelt sich anscheinend ständig fragt, ob man das nun so tun kann, da ja alles so polarisiert ist. Und dieser rast mit Vollgas, so wie das Boulevardblatt es sich wünscht. Ihr seid die Täter Bild, nie die Opfer. Wie geht Reichelt mit der negativen Energie um? Diese Verunsicherung drückt sich oft dadurch aus, dass man sich hinter Heilsbringern und Symbolfiguren versammelt, die dann sehr schnell als unantastbar gelten. Ich, Ich, Ich. Yogeshwar selbst nimmt bei seiner Kritik an "Bild" kein Blatt vor den Read article. Enttäuschend, was dabei rauskommt.

Julian Reichert Video

Julian Reichert Video

Die Fragen, die wir in den letzten Jahren behandelt haben, von der Flüchtlingskrise bis zur aktuellen Corona-Politik, sind von so überragender Bedeutung für heute und für alle zukünftigen Generationen, dass sie energische und engagierte Debatte verlangt. Die Beiträge nicht eingeloggter Nutzer werden von der Redaktion geprüft und innerhalb der nächsten 24 Stunden freigeschaltet. Abwarten und Schaum schlagen. Article source Lehren vom Zuhause. Das sei am Ende das, worauf es ankomme.

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. This new film, American Factory , is a culmination of the community building and relationships to which Bognar, Reichert, and Klein have devoted themselves over the years.

Reichert and Bognar shot regularly at the plant for well over a year with no funding, building relationships and getting favors of free shooting days from a former student and their nephew.

Then they created a wildly successful pitch reel, drawing development funding first from Field of Vision and Catapult, then landing a million-dollar contract with Participant Productions.

Participant made critical interventions, which shaped the film. While Reichert had imagined a three-part miniseries, Participant argued for a feature to be completed in time for a Sundance premiere.

We have to watch everything in China through the lens of the Americans. The cast of characters includes shop-floor workers, American and Chinese managers—even the company chairman, who allowed extensive access that did not always make him look good.

Photo by Ian Cook. One of the highlights of the film is the trip the American plant executives take to China over Chinese New Year.

The camera lingers on the changing expressions on their faces, which richly tell the story. Why is it so hard for a standardized manufacturing process to be implemented in another culture?

What do Chinese supervisors find so baffling about Americans? The film was a hit at Sundance, winning the Best Documentary Director award.

For Reichert , Seeing Red was a high point. It was shown twice, once with a postscreening discussion led by documentary legend Laura Poitras.

The discussion called attention to the parallels between the anticommunist demonizing shown in the film and the totalizing government surveillance of today.

Michael Moore stood up to praise the film from the back row. With such a record, why is this body of work, especially the later work, relatively unsung?

Bognar and Reichert think geography is a factor, especially since they do not circulate socially at major festivals and markets.

This has also been the experience of Kartemquin Films, which despite a substantial body of work has historically lacked a national presence.

Its star director Steve James is rarely associated with Kartemquin. In recent years, the media-arts production house has invested heavily in presence and press to combat its invisibility.

But one pair that took the stage tonight—Julia Reichert and her husband and co-director Steven Bognar—are relatively unknown outside of the film industry.

And they looked rather unique on stage together: both proudly bald. Julia Reichert, at age 73, is battling terminal cancer.

Reichert and Bognar dated for 10 years before they started working together and even studied cancer as part of their work.

Their film A Lion in the House follows the lives of five children with cancer. Reichert and Bognar's two rules for working together are that they don't talk about work in bed, and they don't talk about work after they start drinking, Reichert shared with Terry Gross on NPR's Fresh Air just last week.

Gross also asked Reichert about her cancer a urothelial cancer, she told Gross , and she spoke about it albeit very briefly.

But then it came back, in a small spot. And so I've had to fight it again, which of course is never good news. It's actually an incurable cancer, it's fatal, and I'm very aware of that.

But in the end, I'm full of hope, there are still plenty of things I want to try. It gives me a sense of wanting to focus my life on what will bring me and the people around me the most joy.

Urothelial cells line the urethra, bladder, ureters, renal pelvis, among other organs. Reichert uses a direct cinema style, avoiding voiceover narration.

By mostly presenting interviews in her documentaries, she avoids framing the issues, preferring to allow the subjects to have more control over the narrative.

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