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Kultfigur Michael Moore Vor Der Linse – Bowling for Columbine

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Kultfigur Michael Moore Vor Der Linse – Bowling for Columbine Kultfigur Michael Moore vor der Linse – Bowling for Columbine und Fahrenheit 9/11 in deutscher Fassung Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Stefanie FRIEDRICH am Institut für Theoretische und Angewandte Translationswissenschaft Begutachterin: Ao.Univ.-Prof.in Mag.a Dr.in phil. Michaela Wolf Graz, 2014 Danksagung Mein Dank gilt all jenen Menschen, die mich mit ihren verschiedenen Talenten bei der Verwirklichung dieser Arbeit unterstützt haben: Chri, danke für deinen grenzenlosen Optimismus und die Gabe, mir zu zeigen was wirklich wichtig ist im Leben. Meiner Familie, danke, dass ihr immer an mich geglaubt habt. Mama und Evi, danke, dass ihr mich zum Lesen und Lernen animiert habt. Anna, danke, dass du mit mir die Freuden und Leiden des Studiums geteilt hast, alles was ich produziert habe immer sorgfältigst korrigiert hast und immer für mich da bist. Carmen, danke für deine Ehrlichkeit und deine lustige und überdrehte Art. Berna, danke für die philosophischen Gespräche und den Urlaub am Bauernhof. Emine, danke, dass wir schon so lange Freundinnen sind und wir es trotz geographischer Distanz immer noch sind. Julia, danke für deine unerschütterliche Art, deinen trockenen Humor und die vielen gemütlichen Abende. Tina, danke für dein tolles Lachen und deine soziale Ader. Dani, danke für die Diplomarbeitsgespräche und die legendären Abende in Granada, Lissabon, Wien und Graz. Michaela, danke für deine rasche Korrektur und deine konstruktive Kritik, die mich immer wieder motivierten meine Arbeit zu überdenken und zu verbessern. Danke an alle, die mich während des Studiums unterstützt haben und mich stets aufs Neue motivierten. 2 Inhaltsverzeichnis Einleitung.................................................................................................................6 1 Dokumentarfilmtradition in den USA und im deutschsprachigen Raum .......8 1.1 Definitionen................................................................................................................8 1.1.1 Genre versus Gattung .........................................................................................8 1.1.2 Documentary, Nonfiction, Dokumentarfilm, Dokumentation .............................8 1.2 Geschichte, Entwicklung und Tradition des Dokumentarfilms .........................10 1.2.1 Dokumentarfilm in den USA ............................................................................11 1.2.2 Dokumentarfilm im deutschsprachigen Raum ..................................................16 1.2.2.1 Österreich...................................................................................................16 1.2.2.2 Schweiz......................................................................................................20 1.2.2.3 Deutschland................................................................................................21 2 Michael Moore....................................................................................................24 2.1 Biographie und Werke ...........................................................................................24 2.2 Werke und Stilentwicklung ....................................................................................26 2.2.1 Roger & Me........................................................................................................27 2.2.2 Bowling for Columbine .....................................................................................28 2.2.3 Fahrenheit 9/11 .................................................................................................29 2.2.4 Sicko...................................................................................................................30 2.2.5 Capitalism: A Love Story ..................................................................................30 3 Die Originalversionen Bowling for Columbine und Fahrenheit 9/11...............32 3.1 Inhalt.........................................................................................................................32 3.1.1 Bowling for Columbine......................................................................................32 3.1.2 Fahrenheit 9/11 .................................................................................................37 3.2 Rezeption in den USA..............................................................................................42 3.2.1 Bowling for Columbine .....................................................................................42 3.2.2 Fahrenheit 9/11 .................................................................................................45 4 Die Übersetzung von Bowling for Columbine und Fahrenheit 9/11 im deutschsprachigen Raum .................................................................................49 4.1 Audiovisuelle Translation ......................................................................................49 4.2 Dokumentarfilmübersetzung .................................................................................51 4.3 ÜbersetzerInnen der deutschen Fassung von Bowling for Columbine und Fahrenheit 9/11 ............................................................................................................54 4.3.1 Bowling for Columbine .....................................................................................55 4.3.2 Fahrenheit 9/11..................................................................................................56 4.4 Rezeption im deutschsprachigen Raum ...............................................................57 4.4.1 Bowling for Columbine ....................................................................................58 3 4.4.2 Fahrenheit 9/11 .................................................................................................61 5 Genreanalyse von Bowling for Columbine und Fahrenheit 9/11......................65 5.1 Das „Michael Moore Genre“ .................................................................................65 5.2 Spezifische Genreelemente in Bowling for Columbine und Fahrenheit 9/11......70 5.2.1 Genreelemente in Bowling for Columbine ........................................................70 5.2.1.1 Autobiographische Elemente .....................................................................71 5.2.1.2 Moore vor der Kamera ..............................................................................72 5.2.1.3 Voice-over-Kommentar .............................................................................74 5.2.1.4 Schnitt und Musik .....................................................................................74 5.2.2 Zusammenfassung..............................................................................................75 5.2.3 Spezifische Genreelemente in Fahrenheit 9/11.................................................75 5.2.3.1 Autobiographische Elemente .....................................................................76 5.2.3.2 Interview ...................................................................................................76 5.2.3.3 Voice-over-Kommentar .............................................................................77 5.2.3.4 Schnitt und Musik .....................................................................................77 5.2.4 Zusammenfassung .............................................................................................78 6 Paratextanalyse von Bowling for Columbine und Fahrenheit 9/11..................79 6.1 Paratexte nach Gérard Genette .............................................................................79 6.1.1 Der Name der Autorin/des Autors .....................................................................81 6.1.2 Der Titel ............................................................................................................81 6.1.3 Der Zwischentitel ..............................................................................................82 6.1.4 Der Waschzettel ................................................................................................82 6.1.5 Das Motto...........................................................................................................83 6.1.6 Das Vorwort ......................................................................................................83 6.2 Paratexte im Film ...................................................................................................84 6.2.1 Einlageblatt........................................................................................................85 6.2.2 Beiheft ...............................................................................................................85 6.2.3 Auf der materiellen Scheibe...............................................................................86 6.2.4 Auf der virtuellen Scheibe ................................................................................86 6.3 Paratexte zur US-amerikanischen DVD-Version von Bowling for Columbine..87 6.3.1 Einlageblatt .......................................................................................................87 6.3.2 Beiheft ...............................................................................................................89 6.3.3 Auf der materiellen Scheibe ..............................................................................90 6.3.4 Auf der virtuellen Scheibe ................................................................................90
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