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Arthur Schnitzler Und Der Film - Bedeutung Repositorium für die Medienwissenschaft Claudia Wolf Arthur Schnitzler und der Film - Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. 2006 https://doi.org/10.25969/mediarep/3576 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wolf, Claudia: Arthur Schnitzler und der Film - Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung.. Karlsruhe: Universitätsverlag Karlsruhe 2006. DOI: https://doi.org/10.25969/mediarep/3576. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC-ND 2.0 This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC-ND 2.0 License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/2.0 https://creativecommons.org/licenses/by-nc-nd/2.0 Claudia Wolf Arthur Schnitzler und der Film Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. Arthur Schnitzler und der Film Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. von Claudia Wolf Dissertation, Universität Karlsruhe (TH) Fakultät für Geistes- und Sozialwissenschaften, 2006 Referenten: Prof. Dr. Hansgeorg Schmidt-Bergmann, Prof. Dr. Jan Knopf Impressum Universitätsverlag Karlsruhe c/o Universitätsbibliothek Straße am Forum 2 D-76131 Karlsruhe www.uvka.de Dieses Werk ist unter folgender Creative Commons-Lizenz lizenziert: http://creativecommons.org/licenses/by-nc-nd/2.0/de/ Universitätsverlag Karlsruhe 2006 Print on Demand ISBN-13: 978-3-86644-058-6 ISBN-10: 3-86644-058-8 Arthur Schnitzler und der Film. Bedeutung. Wahrnehmung. Beziehung. Umsetzung. Erfahrung. Zur Erlangung des akademischen Grades eines DOKTORS DER PHILOSOPHIE (Dr. phil.) von der Fakultät für Geistes- und Sozialwissenschaften der Universität Karlsruhe angenommene DISSERTATION von Claudia Wolf aus 76135 Karlsruhe Dekan: Prof. Dr. Uwe Japp 1. Gutachter: Prof. Dr. Hansgeorg Schmidt-Bergmann 2. Gutachter: Prof. Dr. Jan Knopf Tag der mündlichen Prüfung: 02.08.2006 Inhaltsverzeichnis 1. Einleitung S. 5 2. Fin de siécle: ein neues Medium entsteht - der Film S. 11 2.1 Kinematographie in Deutschland und in Österreich S. 12 2.1.1 Die „Wiener Kunstfilm“ und die „Sascha-Filmfabrik“ S. 17 2.1.2 Französischer „film d’art“ und deutscher „Autorenfilm“ S. 20 2.2 Filmhistorischer Kontext: Frühe Erfahrung und Wahrnehmung des Kinos S. 23 2.2.1 Das Kinobuch S. 25 2.2.2 Die Literaten und das Kino S. 26 2.3 Die Anfangszeit des Films: öffentliche Kritik S. 32 2.3.1 Schriftsteller als Drehbuchautoren? S. 37 3. Die Verfilmungen von Arthur Schnitzlers Werken S. 40 3.1 Die Verfilmung der „Liebelei“ 1914 S. 40 3.1.1 Der „Erfolg“ der frühen „Liebelei“-Verfilmung S. 51 3.2 „Der junge Medardus“ 1923 S. 52 3.2.1 Vor der Verfilmung (1919-1923) S. 52 3.2.2 Die Verfilmung des „Medardus“ durch die „Sascha Film“ S. 56 3.2.3 Diese „wunderbare romantische Geschichte“ – Reaktionen auf einen „neuen künstlerischen Stil“ S. 68 3.3 Die zweite Verfilmung von „Liebelei“ 1927 S. 70 3.3.1 Der Streit um die Rechte mit der „Nordisk“ S. 70 2 3.3.2 Die Verfilmung durch die „Hegewald-Film Deutschland“ S. 73 3.3.3 Die „Liebelei“-Verfilmung von Max Ophüls S. 78 3.4 Die „Freiwild“-Verfilmung 1928 S. 80 3.5 „Fräulein Else“ mit Elisabeth Bergner 1929 S. 85 3.5.1 „Was haben die Leute mit dem Schluss gemacht!“ S. 93 4. Arthur Schnitzler und der Film S. 96 4.1 Kommerzielle Kontexte seiner Filmarbeit S. 101 4.1.1 Schnitzlers beratende Tätigkeit in Filmangelegenheiten S. 107 4.1.2 Schnitzlers Tätigkeit als literarischer Beirat der „Vita-Film“ S. 108 4.2 Schnitzlers Theorie des Films S. 109 4.2.1 Die Verfilmungen und Entwürfe Schnitzlers – eine Übersicht S. 115 4.3 Die Filmentwürfe von Arthur Schnitzler S. 116 4.3.1 Der Entwurf zu „Die Hirtenflöte“ 1913 S. 116 4.3.2 „Der Ruf des Lebens“ 1920 S. 121 4.3.3 „Der Schleier der Pierrette“ 1921 S. 123 4.3.4 „Die große Szene“ 1926 S. 126 4.3.5 „Spiel im Morgengrauen“ 1928 S. 130 Exkurs: Die MGM Verfilmung „Daybreak“ 1931 S. 138 4.3.6 Die „Traumnovelle“ 1930 S. 139 Exkurs: Stanley Kubricks „Eyes Wide Shut“ 1999 S. 143 5. „Die Strenge der Form“ - Schnitzlers Filmtheorie S. 145 5.1 Filmische Erzählstrategien: Schnitzlers ästhetische Forderungen an den Film S. 150 5.1.1 Schnitzlers Filmtechnik S. 155 5.2 Skizzierte Stoffe für den Film S. 157 3 5.2.1 Das Drehbuch für einen „Kriminalfilm“ 1931 S. 157 5.2.2 Schnitzlers Filmskizzen S. 159 5.3 Der „enteignete Autor“? S. 163 5.4 Verhandlungen über Tonfilmrechte am Beispiel „Anatol“ S. 166 5.4.1 „Ich stelle mir die Verfilmung des ‚Reigen’ überhaupt nicht so einfach vor“ - Schnitzlers Reflexion über den „Reigen“ als Film S. 170 Exkurs: „La Ronde“ von Max Ophüls 1950 S. 174 6. Schlussbetrachtung S. 178 Literaturverzeichnis S. 184 4 1. Einleitung Zwei Tage vor seinem Tod, am 19. Oktober 1931, notiert Arthur Schnitzler in seinem Tagebuch seinen letzten Kinobesuch: „Mit C.P. (Schubert) Kino, Café Paradies.“ (TB, 19.10.1931, 10, 82). 1 Arthur Schnitzler ist 33 Jahre alt, als die neue Erfindung der Kinematographie 1895 ihren Geburtstag feiert. Als ein Zeitgenosse beobachtet der Schriftsteller den Beginn der Kinematographie in Österreich und Deutschland und erlebt die langwierige Anerkennung und Etablierung des neuen Mediums. Er besucht die Kaiser-Panoramen, 2 sieht die ersten Kurzfilme, geht später regelmäßig ins Kino und berichtet darüber ausführlich in seinem Tagebuch. Dabei reflektiert er, wie Freunde und Kollegen das neue Medium wahrnehmen, setzt sich mit der Kritik von Zeitgenossen, den Schwierigkeiten und Widerständen, die dem Film künstlerisch entgegengebracht werden, auseinander und macht schließlich selbst zahlreiche – positive und negative – Erfahrungen mit der Filmbranche. „Meine Erfahrungen mit den Filmleuten sind so übel als möglich“, konstatiert er im Mai 1931 in einem Brief an die Schriftstellerin Karen Stampe-Bendix. 3 Wenig beachtet wurde bisher in der Forschungsliteratur, dass Schnitzler als Filmautor Anteil an der produktionstechnischen Seite der Kinematographen hat und als Mitarbeiter Einblicke in die Arbeitsweise und in die Entstehung von Filmprojekten bekommt, die nicht zuletzt ausschließlich aus ökonomischen Gründen realisiert werden und deren künstlerischen Anspruch er Zeit seines Lebens hinterfragen wird. Die vorliegende Untersuchung liefert einen Gesamtüberblick über Schnitzlers Zusammenarbeit mit der Filmindustrie. Dabei wird seine Haltung zum Kino ebenso berücksichtigt, wie seine Wahrnehmung und seine theoretische Reflexion des neuen 1 Arthur Schnitzler: Tagebuch 1879-1931. 10 Bde. Unter Mitwirkung von Peter Michael Braunwarth, Susanne Pertlik, Reinhard Urbach hrsg. von der Kommission für literarische Gebrauchsformen der Österreichischen Akademie der Wissenschaften. Wien: Verlag der Österreichischen Akademie der Wissenschaften, 1981-2000. Die Tagebücher werden im Folgenden zitiert durch: TB, Datum, Bandangabe, Seite. 2 Stephan Oettermann definiert das Panorama in seiner gleichnamigen Monografie als „Medium, in der die Herrschaft des bürgerlichen Blicks gelernt und zugleich verherrlicht wird, als Instrument zur Befreiung und zur erneuten Einkerkerung des Blicks, als erstes optisches Massenmedium im strengen Sinne.“ Stephan Oettermann: Das Panorama. Die Geschichte des Massenmediums. Frankfurt/M.: Syndikat, 1980. Seite 9. Vgl. die Ausführungen über das Panorama in Kapitel 2, S. 13-15 dieser Arbeit. 3 Brief an Karen Stampe-Bendix, 27.5.1931. Arthur Schnitzler: Briefe 1913-1931. Hrsg. von Peter M. Braunwarth, Richard Miklin, Susanne Pertlik, Heinrich Schnitzler. Frankfurt/M.: Fischer, 1984. S. 790f. Im Folgenden zitiert als: Briefe II. 5 Mediums. Betrachtet man die Kontakte Schnitzlers zur Filmindustrie, seine Verhandlungen über die einzelnen Filmprojekte, sein Lob und seine Kritik, ist es möglich, die Bedeutung des Films für sein ästhetisches Konzept zu rekonstruieren. Die Umsetzung dieser Erfahrungen und Ansichten dokumentieren Schnitzlers eigene Drehbuchentwürfe und Filmskizzen. Sein Gespür für die künstlerischen und stilistischen Möglichkeiten des Films lässt sich an seinem Mitwirken bei der Realisierung der Verfilmungen seiner Werke und anhand seiner Hinweise und Vorschläge an die Filmfirmen, Regisseure und Dramaturgen zeigen. 1914 wird das Schauspiel „Liebelei“ verfilmt, 1923 das dramatische Historienspiel „Der junge Medardus“, 1927 folgt erneut eine „Liebelei“-Verfilmung, 1928 das Schauspiel „Freiwild“ und 1929 die Verfilmung der Novelle „Fräulein Else“. Die fünf Verfilmungen werden in Kapitel 3 dieser Arbeit im Einzelnen thematisiert, dabei wird erstmals ausführlich auf bisher unveröffentlichte Kritiken und Stellungnahmen Schnitzlers eingegangen, die sich im Deutschen Literaturarchiv in Marbach a.N. befinden. 4 Der Schriftsteller Arthur Schnitzler ist sich der narrativen und ästhetischen Möglichkeiten des neuen Mediums bewusst und versteht es, sich dieser auch zu bedienen, was sich nicht zuletzt an seiner geäußerten Kritik über die Verfilmungen zeigt, die seiner Ansicht nach künstlerisch nicht gelungen sind. 5 Diese zentralen Aspekte des Filmschaffens von Arthur Schnitzler sind bislang unerforscht und wurden in der Forschungsliteratur bisher nicht nachhaltig genug berücksichtigt. Denn neben der Entstehungsgeschichte der Verfilmungen, die zu Schnitzlers Lebzeiten auf der Grundlage seiner literarischen Texte entstanden sind, gilt es, Schnitzlers eigene Filmentwürfe nach seinen Werken und schließlich seine Drehbücher und Filmskizzen anzuführen. 6 Es zeigt sich, dass Schnitzler die Verschiedenheiten der Medien Literatur und Film, also poetisches
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