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Downloads/Probeseiten/NRP Geschichte Muendlich.Pdf, Letzter Zugriff: 15.03.2015 DIPLOMARBEIT Titel der Diplomarbeit „Voice-Over und Film Noir im kulturhistorischen und zeitgeschichtlichen Kontext (1945-1948)“ verfasst von Marlene Danzinger angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2015 Studienkennzahl lt. Studienblatt: A 190 333 313 Studienrichtung lt. Studienblatt: Lehramtsstudium UniStG UF Deutsch UniStG UF Geschichte, Sozialkunde, Polit.Bildg. UniStG Betreut von: Univ.-Prof. Dr. Frank Stern Danksagung Zuallererst möchte ich mich bei meinem Diplomarbeitsbetreuer Univ.-Prof. Frank Stern bedanken, der mir in unzähligen Momenten mit Ratschlägen, Ideen und Gedanken zur Seite gestanden ist und mir dennoch jenen Freiraum gewährt hat, welchen ich zum Erstellen dieser Arbeit benötigt habe. Weiters gebührt mein Dank meinen Eltern, die es mir ermöglicht haben, mich intensiv auf mein Studium zu konzentrieren, ohne den Glauben an mich verloren zu haben. In Momenten, in denen ich keine Motivation gefunden habe, haben sie mir zugesprochen und mich aufgerichtet. Sie haben Verständnis gezeigt und mir Zeit gelassen, aber doch ausreichend Druck gegeben, um den Abschluss meines Studiums zu realisieren. Meinen lieben Eltern, Anna und Karl, danke ich weiters für ihren grenzenlosen Optimismus, mit dem sie mich unterstützt haben und den ich übernommen habe. Außerdem will ich mich bei meinen Freunden, Verwandten und Kollegen für ihre seelische und moralische Unterstützung und ihr Verständnis bedanken. Danke, dass ihr immer ein offenes Ohr für mich hattet und mich aufgemuntert habt, Christoph Müller, Sarah Pichler, Sarah Kaufmann, Chuandi Zhou, Lucia Filipova und besonders mein Freund Maximilian Achter. Ihr alle habt meine Diplomarbeit begleitet und ein Umfeld geschaffen, das es mir ermöglichte, immer an eine Fertigstellung dieser Arbeit zu glauben. Besonders möchte ich mich auch bei meinem fleißigen Korrekturleserteam, Anna Danzinger, Gerhard Achter, Sarah Pichler und Lucia Filipova bedanken, das es in kürzester Zeit geschafft hat, meine komplizierten Gedankengänge nachzuvollziehen. 1. Einleitung ........................................................................................................................................... 3 2. Film Noir im zeitgeschichtlichen und kulturhistorischen Kontext ............................................... 6 2.1. Die Komplexität des Begriffs Film Noir ...................................................................................... 6 2.2. Historische und kulturwissenschaftliche Kontextualisierung ..................................................... 10 2.2.1. Production Code ................................................................................................................... 12 2.2.2. Produktionsbedingungen ...................................................................................................... 14 2.2.3. Filmexil: Hollywood ............................................................................................................ 16 2.3. Ästhetische Einblicke ................................................................................................................. 17 3. Voice-Over als narratologisches und ästhetisches Stilmittel im Film Noir ................................ 20 3.1. Voice-Over: Theoretische Ansätze ............................................................................................. 20 3.2. Bild – Stimme –Ton .................................................................................................................... 25 3.3. Voice-Over und differente Wirkungsansprüche ......................................................................... 27 3.3.1. Die Brücke in der Erzählung: Flashback und Voice-Over ................................................... 27 3.3.2. Voice-Over, Perspektive, Subjektivität und Wahrnehmung ................................................ 29 3.3.2.1. Voice-Over und die Mittel der Subjektivität ................................................................. 29 3.3.2.2. Identifikation und die Macht der Stimme ...................................................................... 32 3.3.2.3. Der inhaltliche Aspekt des Voice-Over ......................................................................... 35 3.3.2.4. Voice-Over, Wahrheit und Lüge ................................................................................... 38 4. Filmanalyse ...................................................................................................................................... 42 4.1. Voice-Over: Blicke in die Vergangenheit................................................................................... 44 4.1.1. Detour (Edgar G. Ulmer, 1945) ........................................................................................... 44 4.1.1.1. Gedankliche Überzeugungsarbeiten .............................................................................. 47 4.1.1.2. Fazit ............................................................................................................................... 53 4.1.2. The Killers (Robert Siodmak, 1946) .................................................................................... 54 4.1.2.1. Voice-Over, Flashback und multiple Erzähler/Erzählerinnen ....................................... 56 4.1.2.2. Fazit ............................................................................................................................... 62 4.2. Lineare Handlungen mit reflektierenden Subjekten ................................................................... 63 4.2.1. Raw Deal (Anthony Mann, 1948) ........................................................................................ 63 4.2.1.1. Voice-Over und/oder innerer Monolog? ....................................................................... 66 4.2.1.2. Fazit ............................................................................................................................... 70 4.2.2. The Lady from Shanghai (Orson Welles, 1947) .................................................................. 73 4.2.2.1. Voice-Over: „I was not in my right mind" .................................................................... 75 1 4.2.2.2.Fazit ................................................................................................................................ 82 4.3. Das Voice-Over und der Blick in die Psyche ............................................................................. 83 4.3.1. The Locket (John Brahm, 1946) .......................................................................................... 83 4.3.1.1. Tiefenstruktur durch Voice-Over und Flashback .............................................................. 86 4.3.1.2.Fazit ................................................................................................................................ 95 4.3.2. Secret Beyond the Door (Fritz Lang, 1947) ......................................................................... 97 4.3.2.1. Voice-Over: Zeitliche und tiefenpsychologische Brüche ............................................ 100 4.3.2.2. Fazit ............................................................................................................................. 109 5. Unterrichtkonzept - Thema: Exilerfahrungen (in der Zeit des Nationalsozialismus)............. 111 5.1. Ausführung des Stundenbildes ................................................................................................. 112 6. Ausblick .......................................................................................................................................... 115 7. Tabelle zu den Voice-Over-Stimmen im Film Noir (Auswahl) ................................................. 117 8. Abbildungsverzeichnis .................................................................................................................. 118 9. Bibliographie .................................................................................................................................. 120 9.1. Internetquellen .......................................................................................................................... 125 10. Filmographie ................................................................................................................................ 128 11. Abstract ........................................................................................................................................ 129 12. Lebenslauf .................................................................................................................................... 130 2 1. Einleitung Diese abschließende Arbeit meines Studiums wird sich mit den narrativen und ästhetischen Einflüssen des Voice-Over als Stilmittel im Film Noir auseinandersetzen. Hierzu sollen unterschiedlichste Aspekte des Themas, sowohl auf einer allgemeinen filmischen und ästhetischen, wie auch auf der kulturhistorischen Ebene diskutiert und erarbeitet werden. In dem Gebiet des Film Noir fließen unterschiedlichste Einflüsse zusammen, deren Einarbeitung unabdingbar erscheint. Jene Einflüsse, seien es kulturhistorische oder filmische, weisen wiederum bedeutende Zusammenhänge auf, wie beispielsweise die Arbeit von europäischen Exilanten und Exilantinnen in den Hollywood Studios jener Zeit. Das Voice-Over als Erzählstil fand in den amerikanischen Kinos bereits vor der klassischen Periode des Film Noir, also vor den 1940er Jahren, ein breites Anwendungsfeld. Bereits mit dem Ende des Stummfilms und den Anfängen
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