A work in constant progress (and occasional regress).
Alias:
Jurgen Reble
Birthplace:
Düsseldorf, Germany
Jürgen Reble (born 1956 in Düsseldorf) is a German experimental filmmaker. In the late 1970s and 80s he was a member of the film ensemble Schmelzdahin. In the early 1980s he began making his own work in film, performance and installation often rooted in manual processing of film footage using mechanic and chemical influences and reconstruction of the cinematographic apparatus. Since 1992 he works together with the sound artist Thomas Köner in the fields of film, installation and performance. His works have exhibited at the Museum of Modern Art, New York; Auditorium of the Louvre, Paris; Filmmuseum Amsterdam; Walker Art Center, Minneapolis. In 1997 he got a scholarship from the Kunstfond in Bonn. In 2009 he made his first HD digital work, Materia Obscura, using footage from his earlier film Instabile Materie (1995). Reble lives and works in Bonn, Germany.
Director:
1989 Rumpelstilzchen
1990 Passion
1991 Zillertal
1992 The Golden Gate
1993 A Proven Partner
1995 Unstable Materials
1997 Chicago
1998 Tabula Smaragdina
2004 Arktis - Zwischen Licht und Dunkel
2006 L'après-midi d'un faune
2006 Yamanote Lightblast
2009 Materia Obscura
2010 Tabula Smaragdina
2010 Zagreb Tram Station
2011 Liquid Movements
2013 Das Schöpfwerk
2019 Chemical Intervention in (Film) History
Sound Editor:
1989 Rumpelstilzchen
1990 Passion
1991 Zillertal
1992 The Golden Gate
1993 A Proven Partner
1995 Unstable Materials
1997 Chicago
1998 Tabula Smaragdina
2004 Arktis - Zwischen Licht und Dunkel
2006 L'après-midi d'un faune
2006 Yamanote Lightblast
2009 Materia Obscura
2010 Tabula Smaragdina
2010 Zagreb Tram Station
2011 Liquid Movements
2013 Das Schöpfwerk
2019 Chemical Intervention in (Film) History
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.