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Listen to Britain Strukturen Und Arbeitsweisen Der Films Division Listen to Britain Strukturen und Arbeitsweisen der Films Division des Ministry of Information 1939-45 Ein Beitrag zur Administrations- und Produktions- geschichte britischer Filmpropaganda Dissertation zur Erlangung des akademischen Grades des Doktors der Philosophie an der Universität Konstanz Geisteswissenschaftliche Sektion Fachbereich Literaturwissenschaft Vorgelegt von Jürgen Berger aus Mannheim Tag der mündlichen Prüfung: 07.12.2001 Referent: Prof. Dr. Joachim Paech Referent: Prof. Dr. Rainer Wirtz Inhalt 1. Vorwort 3 2. Einleitung 2.1. Why We Fight: Forschungsstand / Fragestellung 6 2.2. Prelude to War: Politik / Propaganda / Film 14 3. Die Films Division des Ministry of Information 3.1. Into the Blue: Planung für ein Ministry of Information und eine Films Division 41 3.2. These are the Men: Organisationsstruktur des Ministry of Information und der Films Division 55 4. Die Propagandapolitik des Ministry of Information und ihre Umsetzung durch die Films Division 4.1. Do it Now: Propagandaauftrag an die Films Division: Das Policy Committee und seine für die Films Division relevanten Propagandakampagnen 79 4.2. The Plan and the People: Propagandaauftrag und Realität: Die Film- und Propagandapolitik der Films Division 110 5. Die Verleihstrukturen für Filme 5.1. HeartofBritain:Theatrical Filmverleih 151 5.2. They Speak for Themselves: Non-Theatrical Filmverleih 175 5.3. Salute to the Red Army: Filmverleih im Ausland 192 5.4. A Welcome to Britain: Filmverleih in den USA 199 5.5. The Front Line: Vertrieb von Filmen in „liberated territories“ 213 6. Die staatlichen Produktionsfirmen 6.1. Listen to Britain: Die G.P.O. Film Unit / Crown Film Unit 224 6.2. An African in London: Die Colonial Film Unit 252 6.3. True Glory: Die Army- / Royal Air Force- / Navy-Film Units 258 1 7. Die Kontrolle über die staatliche Filmproduktion 7.1. Subject for Discussion: Pre-production I: Ideenproduzenten und Drehbuchkontrolle 270 7.2. Subject Discussed: Pre-production II: Das Planning Committee als politisches Entscheidungs- 298 Gremium für die filmische Umsetzung von Propagandaideen 7.3. Transfer of Skill: Produktionskontrolle I: Kontrolle über Auftragsproduktionen 315 7.4. A Job to be Done: Produktionskontrolle II: Kontrolle über Eigenproduktionen 334 7.5. Salvage with a Smile: Produktionskontrolle III: Abbruch von Produktionen und intraministerielle Zensur 379 8. Die Kontrolle über die private Filmproduktion 8.1. Camouflage: Staatliche Filmzensur und das British Board of 389 Film Censors 8.2. Hitler Listens: Nachrichtenkontrolle und Wochenschauen 400 8.3. Journey Together: Kontrolle über die Spielfilmproduktion 424 9. Zusammenfassung 462 10. Anhang 10.1.Quellen und Literatur Unveröffentlichte Quellen 472 Filmzeitungen / Filmzeitschriften 472 Literatur 473 Zeitungs- und Zeitschriftenartikel 485 10.2.Filmografie 494 10.3.Dokumente Conditions of Contract governing the Production of films for 545 the Ministry of Information, May, 1942, PRO, INF1/616 (1942) Feature Films Policy (1943) 556 2 1. Vorwort Die Arbeit versteht sich als eine Politik- und Sozialgeschichte staatlich geför- derter und kontrollierter Filmpropaganda während des Zweiten Weltkriegs. Im Mittelpunkt steht die Films Division des britischen Ministry of Information, die als Entscheidungszentrale und Verwaltungsapparat die Kontrolle über die staatliche wie auch kommerzielle Filmproduktion während des Krieges ausüb- te. Die Arbeit zeigt auch die Integration und Beeinflussung der in den dreißiger Jahren außerhalb der kommerziellen Filmproduktion agierenden Filmemacher des Documentary Movements in die Dienste einer umfassend staatlich geför- derten Filmproduktion. Der Staat, der zum erstenmal als Filmproduzent in stärkerem Maße in Er- scheinung trat, fand auch Mittel und Wege, die private Filmwirtschaft in sei- nem Sinne zu beeinflussen. Die Dissertation versteht sich nicht als britische Filmgeschichte während des Krieges. Die Inhalte der Filme und ihre formale Umsetzung interessieren für den zu untersuchenden Zweck nicht. Es geht vielmehr darum, wie und unter welchen Schwierigkeiten sich Propaganda-Aufträge in der Maschinerie staat- licher Kontrolle in Filmprodukte umgesetzt haben. Es wird deutlich, wie sich die Ideen der Auftraggeber dabei häufig derart ver- ändert haben, dass der realisierte „Film“ gegenüber dem beabsichtigten Pro- 3 pagandaprodukt ein Eigenleben entwickelte, wobei sich die vom Staatsappa- rat gewünschte „bevorzugte Leseart“ des Filmtextes nicht immer realisierte. Indem sich die Arbeit auf die Darstellung und Beschreibung der Eigenwilligkei- ten und Eigenständigkeiten der Institution Ministry of Information konzentriert und die Produktionsbedingungen der Filme beschreibt, versucht sie, die Ent- stehungsbedingungen und den -prozess, denen die Propagandaideen und -absichten unterworfen waren und die in das Produkt „Film“ eingeflossen sind, nachvollziehbar zu machen. Der Grund für die Untersuchung der Produktionsbedingungen der staatlich geförderten und produzierten Filme liegt dabei aber nicht allein im Interesse herauszuarbeiten, welche Auswirkungen diese Bedingungen auf die „bevor- zugte Leseart“ von diesem oder jenem einzelnen Filmtext hatten, sondern es gilt die Strukturen aufzudecken, innerhalb derer „bevorzugte Lesearten“, d.h. Filmpropaganda realisiert werden sollten. Gleichzeitig gilt es zu bestimmen, welche Auswirkungen die staatlich kontrollierten Produktionsbedingungen auf die britische Filmgeschichte während des Krieges besaßen. Für Hilfestellung bei den Recherchen und bei der Fertigstellung der Arbeit möchte ich mich bei folgenden Personen und Institutionen bedanken: Vor allem bei Bettina Thienhaus-Berger, die den mühseligen, sich über Jahre erstreckenden Fortgang der Arbeit begleitete und kritisch kommentierte. Bei Helmut Diederichs, der die entscheidende Hilfestellung gab, und bei Stefanie Roth für Ihre Unterstützung. Bei den Mitarbeitern der Bibliothek und des Filmarchivs des British Film Insti- tute, London, hier vor allem aber bei Susan Julian-Huxley, Library and Infor- mation Services; Brenda Davies, Leiterin der Library and Information Services 4 und bei allen ihren Mitarbeitern insbesondere bei Gillian Hartnoll und John Gillett; bei David Francis, Michelle Aubert und Jeremy Boulton, National Film Archive; Elaine Burrows, Clyde Jeavons, Anne Fleming, National Film and Television Archive; ein besonderer Dank an Markku Salmi. Mein Dank gilt Roger Smithers, Imperial War Museum, London; Eva Orbanz, Stiftung Deutsche Kinemathek, Berlin; Renate Wilhelmi, Bibliothek der Deut- schen Film- und Fernsehakademie, Berlin; Eberhard Spiess, Deutsches Insti- tut für Filmkunde, Wiesbaden/ Frankfurt; Helmut Regel, Bundesarchiv – Film- archiv, Koblenz sowie den Mitarbeitern des Public Record Office, Lon- don/Kew, der British Library, London und des Deutschen Filmmuseums, Frankfurt am Main. 5 2. Einleitung 2.1. WhyWeFight:Forschungsstand / Fragestellung Es überrascht, wie wenig Bücher und Aufsätze über das britische Kino der Jahre 1939-45 in den letzten zwanzig Jahren veröffentlicht wurden, die sich mit Filmpropaganda im Zweiten Weltkrieg und der besonderen Rolle der Films Division des Ministry of Information beschäftigen. Nicholas Pronays Einschät- zung von 1980 hat noch immer seine Gültigkeit: „A full assessment of the working and achievements of the Films Division during the Second World War has yet to be made.“1 So erwähnt das 1979 erschienene Standardwerk zur Geschichte des Ministry of Information, Ian McLaines akribisch recherchiertes ‚Ministry of Morale‘, den cinematografischen Propagandaapparat gerade einmal in einer Fußnote.2 Auch Michael Balfours ‚Propaganda in War‘ aus dem gleichen Jahr, eine ver- gleichende Studie der unterschiedlichen Propagandaaktivitäten Deutschlands und Großbritanniens, enthält nur marginale Hinweise auf die britischen Pro- pagandafilmaktivitäten.3 Erst 1998 erscheint mit ‚The British at War‘ von James Chapman der erste Versuch, die institutionelle Organisation der Films Division und des Ministry of 1 Pronay in seiner Einleitung zu: Frances Thorpe/Nicholas Pronay mit Clive Coultass, British Official Films in the Second World War – A Descriptive Catalogue, Oxford/Santa Barbara 1980, S. 40 2 Ian McLaine, Ministry of Morale – Home Front Morale and the Ministry of Information in World War II, London/Boston/Sydney 1979 3 Michael Balfour, Propaganda in War 1939-1945 – Organisations, Policies and Publics in Britain and Germany, London/Boston/Henley 1979 6 Information und deren Propagandapolitik auf den Film anzuwenden und zu beschreiben.4 Beschreibt Chapman vor allem die organisatorischen Bedingungen, unter de- nen gearbeitet wurde, sowie ausführlich die Themen und Inhalte der Filme, zielt die vorliegende Dissertation hauptsächlich auf die Organisations- und Machtstruktur von Propagandaarbeit selbst. Es geht darum, wie und unter welchen Schwierigkeiten Propagandaaufträge in einem staatlich kontrollierten System in Filme umgesetzt wurden. Dabei interessieren Inhalt, Form und Re- zeption der Filme nur am Rande. Der Wendepunkt in der Geschichtsschreibung zur Filmpropaganda war 1975 die Aufhebung der 30jährigen Sperrfrist für die seit Kriegsende im Public Re- cord Office eingelagerten offiziellen Dokumente und Akten zur britischen Kriegspropaganda. Die Literatur lässt sich damit leicht in ein ante quem und ein post quem einteilen. Die Literatur ante quem stammt von Autoren, die selbst in der einen oder an- deren Form mit offizieller Filmpropaganda zu tun gehabt hatten: Paul Rotha, Harry Watt, John Grierson, Roger Manvell, Basil Wright.5 Wright,
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