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‚Objekt' Mensch ‚Objekt’ Mensch. Körper als Ikon und Ideologem in den cineastischen Werken Leni Riefenstahls. Ästhetisierter Despotismus oder die Reziprozität von Auftragskunst und Politik im Dritten Reich. Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie Eingereicht von Stefanie Grote an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina Frankfurt (Oder) November 2004 Gutachter: Prof. Dr. Eckhard Höfner Lehrstuhl für Vergleichende Literaturwissenschaft und Medienforschung Europa-Universität Viadrina, Frankfurt (Oder) Prof. Dr. Hartmut Schröder Lehrstuhl für Sprachwissenschaft II: Linguistische Kommunikations- und Medienforschung Europa- Universität Viadrina, Frankfurt (Oder) Mit finanzieller Unterstützung der Otto-Wolff-Stiftung und der Hanns-Seidel- Stiftung 2 Dank Mein Dank gilt zunächst meinem Betreuer, Prof. Dr. Eckhard Höfner von der Europa- Universität Viadrina, Frankfurt (Oder), der die Arbeit kontinuierlich und umfassend unterstützte, so dass im Laufe der Zeit eine große Nähe entstanden ist. Die zahlreichen Gespräche auf intellektueller und persönlicher Ebene werden mir immer als bereichernder und konstruktiver Austausch in Erinnerung bleiben. Ich habe unseren Dialog stets als Ermutigung und Motivation empfunden und danke vor allem für das beständige Vertrauen in die Umsetzung meiner Ideen. Für diesen Zuspruch, die wertvollen Anregungen, das Interesse und die Unterstützung bin ich auch Dr. Marie-Luise Bernreuther als wissenschaftliche Mitarbeiterin am Lehrstuhl für Vergleichende Literaturwissenschaft und Medienforschung sehr dankbar. Der Otto-Wolff-Stiftung verdanke ich eine Stipendienvergabe und meine Teilnahme an dem ihrerseits unterstützten internationalen Forschungsprojekt Centre for Advanced Central European Studies (CACES). Meinen Kollegen aus Moldawien, Serbien, Kroatien, Albanien, Bulgarien, Polen, Rumänien und Italien danke ich für den bereichernden Dialog und die eindrücklichen kultur-politischen ‚Einblicke’, die ich im Rahmen meiner Teilnahme am inneruniversitären, internationalen Medien- und Promotionskolleg – Transformation der Bildschirm-Medien in West- und (Süd-) Osteuropa. Informationsvermittlung und öffentliche Meinungsbildung - gewonnen habe. Für die Förderung desselben sei der Hanns-Seidel-Stiftung, insbesondere Prof. Hans-Peter Niedermeier als Leiter des Förderungswerks und Dr. Michael Czepalla als Leiter des Auslandsstipendienprogramms, gedankt. Die Realisierung der Dissertation wurde durch diese Stipendienvergaben erst möglich. Ich danke Prof. Dr. Hartmut Schröder von der Europa-Universität Viadrina, Frankfurt (Oder), für die wissenschaftliche Betreuung als Zweitgutachter. Als Mitglied des Kulturwissenschaftlichen Zentrums für Doktoranden- und Postdoktorandenstudien der Europa-Universität Viadrina fand ich dankenswerterweise umfassende Unterstützung zur Umsetzung meines Forschungsvorhabens. Ich bedanke mich auch bei allen ‚auswärtigen‘ Kollegen sowie den zahlreichen Mitarbeitern in Bibliotheken, Archiven, Museen, Institutionen, Unternehmen und Sendeanstalten für die große Hilfsbereitschaft und das Entgegenkommen, hier besonders bei Dr. Lutz Kinkel (Pressebüro, Hamburg), Dr. Jürgen Trimborn (Institut für Theater-, Film- und Fernsehwissenschaft, Universität Köln), Dr. Rainer Rother (Deutsches Historisches 3 Museum/Zeughauskino Berlin), Rosel Kern (ROM e.V., Köln), Daniela Leopold (Gruner + Jahr), Angelika Rode (Der Spiegel), Christina Voigt (Deutsches Rundfunkarchiv, Frankfurt a.M.), Frau Klawitter (Bundesarchiv-Filmarchiv, Berlin), Florence Kluge und Cornelia Bess von der ARD, Jutta Louise Oechler, Alexander Bohr, Veit Scheller und Heidi Wisselmann- Wagner vom ZDF, Stefan Rothmund (SWR), Patricia Marquardt (RBB), Gerrit Angela Zemlin (NDR), Hans Müller-Jahns (MDR), Gabriele Wenger (BR), Irene Hermelink (BR), Dieter Weiss, Mark Grünthal (Transit-Film), Dr. Andrea Mork (Haus der Geschichte, Bonn). Ich bin dankbar für die vielen Hinweise, Ratschläge und Anregungen von Freunden und Bekannten, für ihr Bestehen auf Denkpausen und die nötigen Momente der Entspannung. Mein herzlichster Dank gilt Jenny Tillmanns für die Kontinuität und Konstruktivität des Disputs, für ihren fortwährenden Zuspruch, die Aufmerksamkeit und Unermüdlichkeit ihres ‚Da-Seins’ als Freundin und Wohltat für Geist und Seele, Aleksandar Ivkovac für seine große Hilfsbereitschaft und sein Engagement zur Problemlösung, Gabriela für ihre Geduld, ihre Ermutigung und unschätzbare seelische Unterstützung sowie meinen Eltern für das aufrichtige Interesse, ihren Zuspruch und vor allem für ihre Liebe. 4 Inhaltsverzeichnis 1 EINLEITUNG....................................................................................................................8 2 FORSCHUNGSSTAND.................................................................................................. 12 3 NS-RASSISMUS UND DIE IDEOLOGIE VOM ‚PERFEKTEN‘ MENSCHEN..... 17 3.1 Plädoyers für Züchtung und Vernichtung - Vordenker des NS-Rassismus seit Darwin ....................... 18 3.2 Hitlers rassischer Dualismus ................................................................................................................. 22 3.3 Der Idealtypus des faschistischen Mannes............................................................................................ 24 3.4 ‚Einzel-Körper‘ im Dienste des ‚Volks-Körpers‘ ................................................................................. 27 4 RIEFENSTAHL VOR 1933 – EINE SKIZZE.............................................................. 29 „AUF AUSDRÜCKLICHEN WUNSCH DES FÜHRERS“ - RIEFENSTAHLS KARRIERE IM NATIONALSOZIALISMUS.................................... 33 5 DER AUFTRAG DES JAHRES 1933 ........................................................................... 33 5.1 1933: Reichsparteitag des Sieges .......................................................................................................... 33 5.1.1 Reichsparteitag als Liturgie – Nationalsozialismus als Ersatzreligion ........................................... 37 5.2 Der Sieg des Glaubens - der Film vom Reichsparteitag 1933............................................................... 38 5.2.1 Auftraggeber und Vorbereitung...................................................................................................... 39 5.2.2 Engagement und Widerstände ........................................................................................................ 44 5.2.3 Propagandistischer Nutzen des Mediums Film im Allgemeinen und im Besonderen.................... 48 5.2.4 Propagandistischer ‚Unnutzen‘....................................................................................................... 54 5.2.5 Der Mangel an Professionalität ...................................................................................................... 55 6 DER AUFTRAG DES JAHRES 1934 ........................................................................... 57 6.1 1934: Reichsparteitag der Einheit und Stärke. Die ‘zweite Realität’. ................................................... 57 6.1.1 Camouflage des Konflikts .............................................................................................................. 57 6.1.2 Ästhetisierung des Real-Parteitags ................................................................................................. 58 6.1.3 Fazit................................................................................................................................................ 61 6.2 Triumph des Willens – „Hinter den Kulissen des Reichsparteitag-Films 1934“ ................................... 62 6.2.1 Auftraggeber und Finanzierung...................................................................................................... 63 6.2.2 „Sonderbevollmächtigte der Reichsleitung der NSDAP“............................................................... 66 6.2.3 Exklusivstatus als Führerbeauftragte.............................................................................................. 74 6.2.4 Urheber- und Verwertungsrechte nach 1945.................................................................................. 78 6.3 Ideologie und die Ikonografie vom ‚perfekten‘ Menschen - Triumph des Willens als ‚dritte‘ Realität............................................................................................. 81 6.3.1 Untersuchungsgegenstand und Methodik....................................................................................... 81 6.3.2 Reichswehrsequenz ........................................................................................................................ 84 6.3.3 Film-Parteitag als Kunstwerk – Inszenierung der Inszenierung ..................................................... 87 6.3.3.1 Filmchronologie – Sequenzliste und -auswahl.......................................................................... 91 6.3.4 Hitlers Ankunft in Nürnberg – „Volksgemeinschaft“ als Fangemeinschaft................................... 92 6.3.5 Morgenstimmung und Zeltlager- Janusköpfigkeit des Kameradschaftsmotivs .............................. 97 6.3.6 Arbeitsdienst-Appell - “Wir sind der Arbeit Soldaten”................................................................ 104 6.3.7 SA- und SS-Appell – Statuarik der Masse ohne Menschen.......................................................... 109 6.4 Das Dokument als Propaganda ........................................................................................................... 119 6.4.1 Ideologiekonforme Selektivität
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