Deutsche Akademie für Fernsehen

The Deutsche Akademie, Fernsehen (DAfF) (German Television Academy) was founded in December 2010 by television professionals from various fields of television production.[1] It has its headquarters in Munich and an office in Cologne.[2]

The DAFF Symposium 2015 at the NRW Filmforum, Cologne

Origin, purpose and activities

According to its statutes, its purpose is

  • to promote the development of German television as an essential component of German culture and the German cultural industry and to preserve its diversity
  • to encourage, strengthen and cultivate discussion and the exchange of ideas and experience between German television professionals, especially between freelancers and those employed by broadcasters
  • to lead the discourse on content and economic aspects of German television.

The chairman is actor Michael Brandner.[3] His four deputies are screenwriter Jochen Greve, casting director Cornelia von Braun, set designer Frank Godt, and producer Stephan Ottenbruch from the television entertainment sector. Producer Frank Döhmann will assume the office of treasurer. The producer Gerhard Schmidt is the President of the Academy.[4]

Of the 23 sections that had been planned (including direction, screenplay, music, documentary, acting, image design, sound design),[5] some were constituted. The number of members is 800.[4]

Every two months a nationwide "Jour fixe" takes place in the cities of Berlin, Cologne, Hamburg and Munich.

According to Vice Chairman Jochen Greve, one of the founding intentions was that "television should not be left to the broadcasters alone"[6] The intention was rather: "We want to be a voice of the creative. We want to give people dignity."[7][8]

In May 2018, the association participated in the establishment of the Themis-Vertrauensstelle gegen sexuelle Belästigung and Gewalt (Trust Centre against sexual harassment and violence).[9]

Award ceremony

Since 2013, the association has presented an annual award for achievements in all trades of television production. Each section of the Academy can nominate a prize in its own field. The Acting Section can nominate prizes in four categories: Best Actress in a Lead Role, Best Actor in a Lead Role, Best Actress in a Supporting Role and Best Actor in a Supporting Role. The winners are then chosen by all members of the Academy.[10]

The winners of the awards since 2013 were:[11]

Image Design
  • 2013: Thomas Benesch, Mord in Eberswalde
  • 2014: Holly Fink, Spreewaldkrimi: Mörderische Hitze
  • 2015: Kolja Brandt, Nackt unter Wölfen
  • 2016: Jakub Bejnarowicz, Auf kurze Distanz
  • 2017: Eeva Fleig, Blaumacher
  • 2018: Nikolaus Summerer, Dark
  • 2019: Philipp Haberlandt, Beat

Casting

Documentary film
  • 2013: Eric Schulz, Karajan – Das zweite Leben
  • 2014: Martin Farkas and Dominik Graf, Es werde Stadt! 50 Jahre Grimme Preis in Marl
  • 2015: John Goetz and Poul-Erik Heilbuth, Jagd auf Snowden – Wie der Staatsfeind die USA blamierte
  • 2016: Birgit Schulz and Luzia Schmid, Zum Glück Deutschland – Ein anderer Blick auf unser Land
  • 2017: Till Schauder and Christoph Menardi, Glaubenskrieger
  • 2018: Katja Fedulova and Calle Overweg, Drei Engel, Russland – Glaube, Hoffnung, Liebe
  • 2019: Regina Schilling and Thomas Kufus, Kulenkampffs Schuhe

Screenplay
  • 2013: Beate Langmaack, Blaubeerblau
  • 2014: Thomas Kirchner, Spreewaldkrimi: Mörderische Hitze
  • 2015: Michael Proehl, Tatort – Im Schmerz geboren
  • 2016: Magnus Vattrodt, Ein großer Aufbruch
  • 2017: Esther Bernstorff, Ein Teil von uns
  • 2018: Dorothee Schön, Kästner und der kleine Dienstag
  • 2019: Dietrich Brüggemann, Tatort: Murot und das Murmeltier

Television journalism
  • 2013: Monika Anthes and Eric Beres, Der Fall Mollath
  • 2014: Monika Anthes and Edgar Verheyen, Deutschlands Ferkelfabriken
  • 2015: Daniel Harrich and Ulrich Chaussy, Attentäter – Einzeltäter? – Neues vom Oktoberfestattentat
  • 2016: Rainald Becker and Christian H. Schulz, Schattenwelt BND – Wie viel Geheimdienst braucht Deutschland?
  • 2017: Christian Stücken, Die Story im Ersten: Der vertuschte Skandal
  • 2018: Stephan Lamby and Egmont R. Koch, Bimbes – Die schwarzen Kassen des Helmut Kohl
  • 2019: Frank Zintner, Dem Rechtsruck auf der Spur. Eine Zeitung sucht Antworten

Television entertainment

Film editing
  • 2013: Jens Klüber, Der Turm
  • 2014: Tina Freitag, Spreewaldkrimi: Mörderische Hitze
  • 2015: Ulf Albert, Altersglühen
  • 2016: Claus Wehlisch, Polizeiruf 110 – Und vergib uns unsere Schuld
  • 2017: Claudia Wolscht, Zielfahnder – Flucht in die Karpaten
  • 2018: Janina Gerkens, Die Freibadclique
  • 2019: Barbara Brückner, Tatort: Anne und der Tod

Costume picture

Mask image
  • 2013: Gerhard Zeiß, Unsere Mütter, unsere Väter
  • 2014: Jens Bartram, Judith Müller and Katja Schulze, Die Spiegel-Affäre
  • 2015: Gerhard Zeiss & Silka Lisku, Tannbach – Schicksal eines Dorfes
  • 2016: Astrid Weber and Hannah Fischleder, Die Akte General
  • 2017: Jeanette Latzelsberger, Gregor Eckstein and Iris Peleira, Charité
  • 2018: Heiko Schmidt, Kerstin Gaecklein and Roman Braunhofer (Special Effects Maske), Babylon Berlin
  • 2019: Delia Mündelein and Sonja Fischer-Zeyen, Aufbruch in die Freiheit

Music

Production
  • 2013: Uli Putz and Jakob Claussen and Anja Föringer, Mobbing
  • 2014: Thomas Kufus, 24h Jerusalem
  • 2015: Michael Eckelt, Altersglühen
  • 2016: Gabriela Sperl, Max Wiedemann, Quirin Berg and Sophie von Uslar, Mitten in Deutschland: NSU – (Die Trilogie)
  • 2017: Max Wiedemann, Quirin Berg, Eva Stadler, Karsten Rühle, Anke Greifeneder and Hannes Heyelmann, 4 Blocks
  • 2018: Lisa Blumenberg, [[Bad Banks]]
  • 2019: Eva Kemme, Tobias Siebert, Florian Deyle and Philip Schulz-Deyle, Alles Isy

Editorial office/Producing
  • 2013: Barbara Buhl, Im Netz
  • 2014: Thomas Biehl, Solveig Willkommen and Birgit Brandes, Danni Lowinski, 5. Staffel
  • 2015: Claudia Simionescu, Der Fall Bruckner
  • 2016: Sascha Schwingel, Stefan Kruppa and Till Derenbach, Der Fall Barschel
  • 2017: Anke Greifeneder, 4 Blocks
  • 2018: Caroline von Senden, Alexandra Stain, Andreas Schreitmüller and Uta Cappel, Bad Banks
  • 2019: Philipp Käßbohrer and Matthias Murmann, How to Sell Drugs Online (Fast)

Director

Actor leading role
gollark: And it isn't be current majority views, which would be bad enough, but current loud people views.
gollark: If we just encoded current beliefs into law all the time, it would be harder to change them.
gollark: Truly we live in interesting\™ times.
gollark: Okay then!
gollark: They have different views, but you shouldn't and probably can't try and shut them down because of that.

References
  1. "Deutsche Akademie für Fernsehen e.V." (in German). School&CollegeListings. Retrieved 17 July 2020.
  2. "Impressum" (in German). Deutsche Akademie für Fernsehen e. V. Retrieved 17 July 2020.
  3. "STARTSEITE" (in German). Deutsche Akademie für Fernsehen e. V. Retrieved 17 July 2020.
  4. "STARTSEITE" (in German). Deutsche Akademie für Fernsehen e. V. Retrieved 17 July 2020.
  5. "Nach Sektion" (in German). Deutsche Akademie für Fernsehen e. V. Retrieved 17 July 2020.
  6. "„Das Fernsehen ist zu wichtig, um es allein den Sendern zu überlassen"" (in German). Berufsvereinigung Filmton e.V. 8 October 2011. Retrieved 17 July 2020.
  7. "Die Bodentruppen greifen an" (in German). Frankfurter Allgemeine Zeitung GmbH. 21 January 2011. Retrieved 17 July 2020.
  8. Peter Hartig (7 February 2018). "Vereinte Kakophonie" (in German). out takes. Retrieved 17 July 2020.
  9. "Gemeinsame Pressemitteilung der BKM und der Gründungsmitglieder des Vereins Vertrauensstelle gegen sexuelle Belästigung und Gewalt" (in German). 1 July 2018. Retrieved 23 July 2020.
  10. "Die Gewinner" (in German). Deutsche Akademie für Fernsehen e. V. Retrieved 23 July 2020.
  11. Uwe Mantel (16 November 2019). "Akademie-Fernsehpreis: "Aufbruch in die Freiheit" räumt ab" (in German). Retrieved 23 July 2020.
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