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Autor in Aufsatztitel Journal Empfohlene Zitierweise Impressum Autor_in Paul Malone (Waterloo/Kanada) Aufsatztitel Werbecomics at the Beginning of German Comics. Emmerich Huber and Joseph Mauder Journal Closure. Kieler e-Journal für Comicforschung 4 (2017) – www.closure.uni-kiel.de Empfohlene Zitierweise Paul Malone: Werbecomics at the Beginning of German Comics. Emmerich Huber and Joseph Mauder. In: Closure. Kieler e-Journal für Comicforschung 4 (2017), S. 7–27. <http://www.closure.uni-kiel.de/closure4/malone>. 21.11.2017. Herausgeber_innen Cord-Christian Casper, Chris Ullrich Cochanski, Yanine Esquivel, Kerstin Howaldt, Julia Ingold, Gerrit Lungershausen, Susanne Schwertfeger, Simone Vrckovski, Rosa Wohlers Redaktion & Layout Victoria Allen, Cord-Christian Casper, Chris Ullrich Cochanski, Sandro Esquivel, Yanine Esquivel, Constanze Groth, Jana Hanekamp, Kerstin Howaldt, Julia Ingold, Gerrit Lungershausen, Marie- Luise Meier, Susanne Schwertfeger, Simone Vrckovski, Dennis Wegner, Rosa Wohlers Technische Gestaltung Sandro Esquivel, Simone Vrckovski Kontakt Homepage: http://www.closure.uni-kiel.de – Email: [email protected] www.closure.uni-kiel.de Werbecomics at the Beginning of German Comics Emmerich Huber and Josef Mauder Paul Malone (Waterloo, Kanada) German comics specialize in beginnings. The 1980s; and after a massive post-reunification recent promotion of »die Graphic Novel« as a market contraction, the embrace of Japanese loan word from English and as the flagship of manga as a lifeboat in the mid-1990s. Building the German-language comics industry is only upon the unprecedented, wide popularity of the latest attempt at renewal in a field that has manga, particularly among women, the graphic always been marginalized in Germany relative novel – a term that the publishers appear to to the greater economic, cultural and symbolic take seriously not merely as a marketing term, capital possessed by comics in other countries. but also as a form capable of genuine cultural Similar fresh starts, or false starts, have been consecration – was meant to open the 21st- made regularly since 1945. First, there was century market to a broader adult readership. the rise of an under-capitalized local comics As the recent collapse of egmont’s graphic industry in 1950s West Germany, including novel imprint indicates, however, this form small companies like Lehning Verlag and seems to have failed to attract the hoped-for Gerstmayer Verlag; then the entry onto the readers from either the manga audience or the market of import-dominated multinationals, literary readership (Hofmann, 13; von Törne, originally principally from Denmark (begin- 34f.). Another beginning will now be neces- ning in the 1950s with Egmont Ehapa, and sary. gaining momentum in the 1960s as egmont’s Despite all of these recurring attempts to rival Carlsen began publishing comics in Ger- place the German comics industry on a fir- many). Another such start was the adoption of mer footing, the German market remains underground sensibilities in the 190s, through small and precarious, with, as contemporary American imports and local imitations; follo- comics artist Marvin Clifford has recently wed by the expansion into bande-dessinée-style described it, a history, but almost no local albums for a collector’s market through the tradition: closure 4 (201) Malone – Werbecomics at the Beginning of German Comics Das Problem in Deutschland ist, dass wir eigent- pagandization of the mainstream magazines lich keine Comickultur haben, weil uns 50 Jahre under the Nazi regime. Comickultur fehlen, da es neben der Bücherver- brennnung im Nationalsozialismus auch so etwas Throughout, I also draw points of compari- wie Comicverbrennung gab. In der Nachkriegszeit son with the relationship between early comics wurden wir dann vor allem mit den Sachen kon- and advertising in the US, as described by Ian frontiert, die gut verkauft werden konnten. Das waren dann eben Donald Duck und Lucky Luke, Gordon (199). The objective is to argue that Comics, die in einer eigenen Kultur herangereift a similar process of modernization occurred sind (Steffes, 2016b). in both the US and Germany, and that in both This has become a standard explanation for cases this process spurred the production of the weakness of the German-language comics advertising and the production of comics in scene; and yet this story is incomplete. tandem. This production began later in Ger- This essay examines some of the comics many than in the US, but nonetheless took that fall outside of this narrative, because they place earlier in Germany than has generally were neither comic books nor sold on the been acknowledged. commercial market. I situate the beginning of a specific German-language comics tradition in the field of advertising periodicals Werbe-( Werbecomics and the False Dichotomy zeitschriften or Kundenzeitschriften) in the 1910s and 1920s, and in the connections between There is indeed a long tradition of German- these periodicals and some of the important language comics, itself marginalized within mainstream commercial periodicals of the day. this already marginalized milieu: with the After giving some of the historical context, debatable exception of Rolf Kauka’s Fix und I focus on the pioneering magazines given Foxi (1953–94), most of the longest-running, away with two of Germany’s major margarine best-produced, and most widely disseminated brands between 1909 and 1932. In particular, I indigenous comics in the German-speaking describe the careers of Emmerich Huber and countries have been Werbecomics, whose roots Josef Mauder, who worked first for competing lie in the Kundenzeitschrift of the early 20th cen- magazines and later for the same periodical. tury, well before the Second World War. These Huber’s relevance to the history of German comics are nonetheless reduced to a footnote comics has been well known for almost forty or prologue in most accounts. For example, years (Knigge; Dolle-Weinkauff 21; 35); Mau- they are mentioned as historical precursors to der, however, has been much better known as the ›real‹ comic – that is, the American-style a book illustrator (Ries) than he has for his comic with speech balloons – peripherally, in role in integrating comics into both adver- the cases of Dolle-Weinkauff (33f.) and Kaindl tising and mainstream periodicals. In part, (2002, 149), and more centrally throughout his relative obscurity may be due to the fact the series Deutsche Comicforschung (Sackmann that Mauder’s period of greatest prominence et al., since 2005); their continued renewal in this regard fell during the increasing pro- and existence into the present day, however, closure 4 (201) Malone – Werbecomics at the Beginning of German Comics often go largely unexamined. Instead, these lized in the history, and there were influences older comics’ alleged formal conservatism is in both directions between the two forms. emphasized, based on an artificial dichotomy Moreover, an examination of the develop- between graphic narrative with, and without, ment of Werbecomics in Germany reveals some speech balloons, the ›real‹ Sprechblasencomic as interesting parallels with the development of late, unwelcome American interloper versus comics in the United States of America. the supposedly traditional German Bilderge- schichte, with narrative verse or prose captions beneath each picture in the style of Wilhelm Modernization, Advertising Busch (132–190). and Comics We might note here that similarly ›conser- vative‹ comics existed in Britain, in particular Ian Gordon interprets the rise of comic strips those published by Amalgamated Press, which and eventually of comic books in America, regularly combined captions and speech bal- with their close ties to commercial advertising, loons. One of these comics, the weekly Chips, as a manifestation of a modernity whose sali- maintained this format proudly until its final ent features included the increasing orientation number of 12 Sept. 1953 (Perry and Aldridge, toward consumerism and the market, and the 52; 4; ). Historians such as George Perry commodification of society around the turn or Roger Sabin describe such comics with of the 20th century (Gordon 199, 4–6). captions as »old fashioned«, to be sure, but These modernizing developments occur- they explain this »as a sop to those critics red in the nascent German Empire, however, who continued to complain that comics were at roughly the same time. As Dirk Reinhardt a threat to literacy« (Sabin, 2). Rather than has pointed out, »Vor 10 ist für kein ein- being instrumentalized as a bulwark against ziges deutsches Wirtschaftsunternehmen American influence, these British comics are die Existenz einer eigenen Werbeabteilung accepted as full-fledged comics, and part of nachweisbar« (24), but this situation changed the national history. rapidly once Berliner Johann Hoff began to Perhaps the strongest argument against use in-house advertising to speed the sales applying this dichotomy to German comics of his Hoffschen Malzextrakt, a health potion history, however, is the observation that of dubious therapeutic value but enormous speech balloons were more commonly used, profitability (Reinhardt, 24f.). Other, more and appeared earlier, than the standard argu- respectable manufacturers initially tried to ment acknowledges. Even if only Sprechbla- hold to the superiority of word-of-mouth sencomics are real comics, then Germany and advertising and a good reputation, but the Austria had them long before 1945; not only, Gründerkrise, the 13 recession that set in but
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