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Downloads/004Derhundvonbaskerville.Pdf (Aufgerufen Am 08.01.2013) 61 DIPLOMARBEIT Titel der Diplomarbeit „Der Hund von Baskerville – Auf der Spur eines verschollenen Films“ Verfasser Benedikt Grawe angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl Inhaltsverzeichnis Vorwort ....................................................................................................................... 4 I. Einleitung ..................................................................................................... 7 II. Die literarische Vorlage ................................................................................ 9 II.1 Inhalt ............................................................................................................... 10 III. Die Theaterfassungen ............................................................................... 14 III.2 Die Uraufführungsversion aus Hannover (1906) ............................................ 15 III.2.1 Inhalt ................................................................................................ 15 III.2.2 Inhaltliche Abweichungen zur Romanvorlage .................................. 20 III.2.2.1 Auswirkungen auf die Dramaturgie ................................................20 III.2.2.1.1 Komödie ..................................................................................... 20 III.2.2.1.2 Battle of Wits vs. Whodunit ......................................................... 20 III.2.2.1.3 Vorgriffe in der Handlung............................................................ 21 III.2.2.1.4 Die Fährte aufnehmen ................................................................ 23 III.2.2.1.5 Verkleidungen und technische Spielereien................................. 24 III.2.2.1.6 Keine Aufklärung ........................................................................ 24 III.2.2.1.7 Das Ende .................................................................................... 24 III.2.2.1.8 Von Doyle angedeutet, von Oswald und Philipp ausgeführt ....... 25 III.2.2.2 Figurenzeichnung ..........................................................................26 III.2.2.2.1 Sherlock Holmes ........................................................................ 26 III.2.2.2.2 Stapleton .................................................................................... 26 III.2.2.2.3 Barrymore ................................................................................... 29 III.2.2.2.4 Selden ........................................................................................ 31 III.3 Die Fassung des Intimen Theaters Wien (1907) ............................................ 31 III.3.1 Vergleich der Theaterfassungen Hannover - Wien .......................... 31 III.3.2 Hintergrund der Änderungen ........................................................... 41 III.3.3 Zusammenfassung der Unterschiede .............................................. 43 III.3.4 Die Kritik .......................................................................................... 45 IV. Der Stummfilm von 1914 ........................................................................... 46 IV.1 Einleitung ....................................................................................................... 46 IV.2 Die Rekonstruktion ........................................................................................ 47 IV.3 Der Inhalt ....................................................................................................... 48 IV.4 Die Änderungen zu den Theaterfassungen ................................................... 51 IV.4.1 Dramaturgie ..................................................................................... 52 IV.4.1.1 Vom Theatertext zum Drehbuch ....................................................52 1 IV.4.1.2 Die Beweislage ..............................................................................52 IV.4.1.3 Parallelen zwischen Richard Oswald und Ferdinand Bonn ...........53 IV.4.1.4 Technische Spielereien .................................................................54 IV.4.1.5 Die Figuren ....................................................................................56 IV.4.1.5.1 Barrymore .................................................................................. 57 IV.4.1.5.2 Kein Watson ............................................................................... 58 IV.5 Einfluss des Films .......................................................................................... 58 IV.5.1 Einleitung ......................................................................................... 58 IV.5.2 Silhouettenaufnahme ....................................................................... 59 IV.5.3 Das Versteck des Hundes ............................................................... 60 V. Der verschollene Film (1929) ..................................................................... 63 V.1 Die Ausgangslage .......................................................................................... 63 V.2 Die Rekonstruktion ......................................................................................... 64 V.2.1 Das Manuskript (Herbert Juttke, Georg C. Klaren) ........................... 64 V.2.1.2 Der Inhalt ........................................................................................65 V.2.1.2.1 Besonderheiten des Drehbuchs .................................................. 69 V.2.1.3 Die handschriftlichen Notizen .........................................................71 V.2.1.4 Die Einflüsse ..................................................................................73 V.2.1.4.1 Richard Oswald ........................................................................... 73 V.2.1.4.2 Der Film aus dem Vereinigten Königreich von 1921 (DEA 1925) 77 V.2.1.4.3 Die deutsche Übersetzung des Romans ..................................... 78 V.2.1.5 Die Figuren und ihre Darsteller .......................................................79 V.2.1.5.1 Sherlock Holmes (Carlyle Blackwell) .......................................... 80 V.2.1.5.2 Dr. Watson (George Seroff) ........................................................ 80 V.2.1.5.3 Stapleton/Stapelton (Fritz Rasp) ................................................. 81 V.2.1.5.4 Lord Charles Baskerville (Alexander Murski) .............................. 83 V.2.1.5.5 Sir Henry Baskerville (Livio Pavanelli) ........................................ 83 V.2.1.5.6 Barrymore (Valy Arnheim) und Frau Barrymore (Alma Taylor) ... 83 V.2.1.5.7 Beryl (Betty Bird) ......................................................................... 84 V.2.1.5.8 Laura Lyons (Carla Bartheel) ...................................................... 84 V.2.1.5.9 Dr. Mortimer (Jaro Fürth) und Frankland (Robert Garrison) ........ 85 V.2.1.5.10 Selden und der namenlose vierte Herr ..................................... 85 V.2.1.5.11 Der Hund von Baskerville.......................................................... 86 V.2.2 Filmwissenschaftliche Analyse ......................................................... 88 V.2.2.1 Filmzeitliche Gliederung .................................................................88 V.2.2.2 Einstellungskomposition .................................................................88 V.2.2.2.1 Einstellungsgrößen ..................................................................... 88 2 V.2.2.2.2 Optische Perspektive .................................................................. 90 V.2.2.2.3 Kamerabewegungen ................................................................... 91 V.2.2.2.4 Beleuchtung ................................................................................ 92 V.2.2.3 Montage .........................................................................................93 V.2.2.3.1 Plansequenz ............................................................................... 93 V.2.2.3.2 Einstellungsverknüpfungen (Harte und weiche Schnitte) ............ 93 V.2.2.3.3 Continuity Cutting ........................................................................ 95 V.2.2.3.4 Parallelmontage .......................................................................... 95 V.2.2.4 Ton (diegetisch und nicht-diegetisch) .............................................95 V.2.2.5 Kulissen (Gustav A. Knauer, Willy Schiller (Assistenz)) .................96 V.2.2.5.1 Schloss Baskerville (innen), Hall ................................................. 96 V.2.2.5.2 Schloss Baskerville (innen), Wohnzimmer .................................. 97 V.2.2.5.3 Fremdenzimmer .......................................................................... 97 V.2.2.5.4 Das Moor .................................................................................... 97 V.2.2.5.5 Zimmer Laura Lyons ................................................................... 98 V.2.2.5.6 Haus Stapelton (Keller) ............................................................... 98 V.2.2.5.7 Steinhöhle ................................................................................... 98 V.2.2.5.8 Schauplätze ohne Standbilder .................................................... 98 V.2.2.6 Die Regie (Richard Oswald) ...........................................................99 V.2.3 Die Zensurkarten ...........................................................................
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