In this documentation, there are media operations picture People who work with the Weltweit reporter Paul Ronzheimer have their say, and a little feedback is always good. So what are people saying about the vice of picture? At the beginning, says the journalist Liana Spyropoulou, with whom Ronzheimer cooperates on missions in Greece, it felt like “working for the devil” – she does not mean Ronzheimer personally, but the whole complex picture, of which she must at least have heard that many consider it to be something between very difficult and impossible. According to the mayor of Kiev, Vitali Klitschko, again very specifically about Paul Ronzheimer, he has “no brakes at all”.
And then there is the Ukrainian journalist Vadim Moissenko, who formulates what is probably the most beautiful sentence of this seven-part documentary, which is now available on Amazon. Moissenko and Ronzheimer are on the war front in eastern Ukraine in the summer of 2020, and the situation is at least tense. Ronzheimer fiddles with a device a little lost in thought, Moissenko sees it and says calmly: “I don’t think you should be touching the gun, Paul.”
This documentation is not just what makes the self-claims of picture heard she’s very close. And in the far-reaching access that picture gave the production team around Christoph Sievers, of course, there was a great opportunity. 1700 hours of material were collected on around 160 days of shooting. The preparation of the documentary had already started in autumn 2019, the emergence of the nasty virus then inevitably shaped the core period of the shooting between March and October.
It’s nice to see how Reichelt addresses China’s president personally and with Chinese subtitles via video
So there was the possibility of a constant insight into the work of what is probably Germany’s loudest media brand. On the one hand, the result is a little too long and has a few handcrafted serious defects. Apart from some politicians, there is a lack of external voices to support the work of picture would evaluate critically. In addition, the presentation of some essential facts of this year is somewhat one-sided in favor of picture, especially that of picture stoked conflict with the virologist Christian Drosten. But nevertheless after many hours one can judge that this documentation is at least worth watching. The fascination that picture also exercising on some of those who picture Despise in principle extends well into the seven episodes. Camera drone flights and dramatic beats have their share in this, which in the better sense of the megalomaniac try to create a look and a sound that might remind us of films by Christopher Nolan.
A far greater part of this, however, is what at picture is spoken and done. At some point the production built fixed cameras in some rooms, also because of the distance requirements in the editorial office, so in 2020 there was no need for a Wallraff or any other “man to do the job.” picture Hans Esser was “to get a front row seat.
Speaking of “front row seat to history, to be there where it happens”, this is how editor-in-chief Julian Reichelt formulates the work assignment for his staff, and it is sometimes amazing how this claim is sometimes actually met. A team of picture spends so much time in the crisis area of Heinsberg at the beginning of the pandemic that it can finally order dinner in “Pietro’s Pizzalinie” with “Once please as always”. And it is Paul Ronzheimer who, like not so many other journalists, will be reporting on location in Corona year 2020 about the shortage and misery in the Moria refugee camp.
Naturally, a look inside is even more interesting picture, in the conferences, in the discussions, in some hard argumentative arguments in the editorial team. Especially Julian Reichelt can be seen in what appears to be a fairly high degree of purity. Reichelt chews his way through the salt and confectionery department, from rubber animals to pretzel sticks, he smokes, he unbuttons his shirt sometimes just a little too wide, then again much too wide.
Above all, you can see Reichelt at work. When he was offered photos of “concubines” for a story about the “Thai King”, which we can also show pixelated, Reichelt says appreciatively: “Very great”. When the editorial team discussed the question of the extent to which China could be held liable for the pandemic, one could experience a certain overheating, as a result of which Reichelt addressed the Chinese president personally via video and with Chinese subtitles.
The non-secret is also interesting, which important people with picture drop by occasionally. There is a meeting of “politics” among others with Karl-Heinz Rummenigge, which runs a little later for the reporting and the business model of picture anything but unimportant Bundesliga again and Rummenigge speaks to a camera how important it was that picture stood behind the restart of the league.
As for the documentation under the title Picture. Power. Germany? could have gained from further outside perspectives, becomes clear in the statements to speak from the general secretaries of the SPD and CDU, Lars Klingbeil and Paul Ziemiak. Recognition and rejection, in short: the ambivalence in the evaluation of picture is easy to understand in these messages.
And even if it were wrong moral math, achievements of picture to be weighed up with the suffering it has caused, one can appreciate without exuberance what work is being done in this house.
In the end, it can also be appreciated because, on the other hand, even the Gaga part in the work of picture is not left out, for example on a business trip from Alexander von Schönburg to Rimini this summer. When you arrive at Schönburg, you can feel his reporter happiness being on the road and discovering things. But you can also see on site how the “most legendary lifeguard” Gabriele is held out a speech slip so that he can say something to the camera picture as an embassy want to pick up. In phonetic transcription it says: “I froie myself on oich liibe Doice”.
Documentation: picture. Power. Germany ?, 7 episodes, Amazon Prime