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Der Seuchenfilm: Epidemien Und Virale Infektionen Im Film. Teil II

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Der Seuchenfilm: Epidemien Und Virale Infektionen Im Film. Teil II Repositorium für die Medienwissenschaft Hans Jürgen Wulff Der Seuchenfilm: Epidemien und virale Infektionen im Film. Teil II: Filmographien 1930–2020 2020-07-26 https://doi.org/10.25969/mediarep/14138 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Der Seuchenfilm: Epidemien und virale Infektionen im Film. Teil II: Filmographien 1930–2020. Westerkappeln: DerWulff.de 2020-07-26 (Medienwissenschaft: Berichte und Papiere 194). DOI: https://doi.org/10.25969/mediarep/14138. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0194_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 194, 2020: Epidemiefilm II. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0194_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: Rev. 1, 26.07.2020. Der Seuchenfilm: Epidemien und virale Infektionen im Film Teil II: Filmographien 1930 !0!0 Kompiliert und eingeleitet von Hans J. Wulff Inhalt: 1. Einleitung: Das Drama der Epidemie. Ein kurzer Blick auf die Filmgeschichte [2] 2. Der Seuchenfilm. Kleine Filmographie der Epidemien im Spielfilm, 1$%&'2&2& [(] %. Film"graphie der Z"m*ies und anderer virus-infizierter Wesenswandler [/$] 0. V"n Viren, F"rschern und Ärzten, a*er auch v"n Ü*erle*enden und Z"mbies: Kleine Seri"graphie der Seuchenthematik im Fernsehen [1&0] 4. Fantasy, und Alien,1iren# Sternenst7u*e, Sp"ren, Gr"tesken [114] 9. !leine Filmographie der bi*lischen Plagen [12(] ;iteratur zur Filmgeschichte der Zehn Plagen [12(] Film"graphie [12/] Medienwissenschaft: Berichte und Papiere wird herausgegeben von Hans J. Wulff und Ludger Kaczmarek in Verbindung mit Anna Drum (Dresden), Sophie G. Einwächter (Marburg), Dietmar Kammerer (Marburg), Franz Obermeier (Kiel) und Sebastian Stoppe (Leipzig). Epidemiefilm II <1$%&'2&2&= // Medienwissenschaft# 1$0# 2&2& >// 2 Teil II: Filmographien 1930 !0!0 1" Einleitung: Das Drama der Epidemie" Ein kurzer %lick auf die Filmgeschichte& ).ar hat es im 1erlauf der Filmgeschichte seit 1/$4 immer .ieder reale Epidemien gege*en# sol, che lokaler und andere glo*aler 1erbreitung, d"ch sind sie im Spielfilm nur selten thematisiert ."rden# .eder als thematischer !ern n"ch als hist"rische 8ege*enheit des En+ir"nments der er, z7hlten 8eschichte. Erst in den 1$4&ern f"rmieren sich erste ?uster heraus <da+"n sp7ter mehr=. Sel*st in 7lteren @ist"rien lmen# die et.a im ?iAelalter spielen# ist die B*er Cahrhunderte in der erz7hlten -elt präsente :est ' der Dsch.arze E"dF# eine sprachliche Floskel, die *is heute geläu g ist ' angespr"chen ."rden. 6uch die Eu*erkul"se *lei*t randst7ndig. In der ;iteratur spielte gera, de sie gleichzeitig dagegen eine *edeutende G"lle und fand die in der Figur der 1i"leAa in 1erdis La traviata seine +ielleicht prägnanteste Inkarnati"n <die D!ameliendameF ' so der Eitel der H"+el, le +"n 6lexandre Dumas fils# auf die die Jper zurückgeht ' ist seit 1$&( mehrere Dutzend ?ale auch lmisch adaptiert ."rden=. Es .undert# dass die existentielle Bedr"hung, die +"n der Seuche ausgeht# in der Filmgeschich, te eine so nachge"rdnete G"lle spielt. 1"n .enigen existentialistischen 1ersuchen a*gesehen# ne, *en 6llegorien .ie Det sjunde inseglet <Das siebente Siegel# Sch.eden 1$4(# Ingmar Bergman= *lei*t die Suche erf"lgl"s. 1ielleicht ist die Knterhaltungsfunkti"n des !in"s so d"minant# dass z.ar DE"dF ein Lema sein kann# die !"mbinati"n D!rankheit M E"dF a*er +ermieden .ird. Knd dass D?assent"dF +ielleicht nur in !"ntexten .ie D!rieg“ angespr"chen .erden kann# in denen ?itleid mit Schuld+"r.urf +ereint .erden kann# nicht a*er als *lindes @insterben gesichtslos *lei*ender 1ieler. Das .Brde sagen# dass sich die Epidemie und auch das 1irus gegen eine Dramatisierung sperren# .eil sie die Frage nach der Krhe*erschaN nur mechanisch *eant."rten kOnnen# "hne je, den Bezug zum Intenti"nalen <und damit zum SchuldQ7higen=. Die 6*senz der Epidemien 7ndert sich in den 1$4&er Cahren. Seitdem ha*en sich mehrere Er, z7hl- und Deutungsmuster der !rankheit herausge*ildet. ' 1 Das (aranoide Erst in den frühen 1$4&ern also *ildete sich ein erster klarer erkenn*arer ?"ti+k"mpleI des Seu, chen lms heraus ' und es ist deutlich erkenn*ar# dass es sich um Dramatisierungen ganz anderer zeitgenOssischer Lemen handelte# +"r allem um die 6ffektp"litik der zeitgenOssischen KS,:"litik und ,-issenschaN in der )eit des frühen !alten !rieges. 2ngste .erden zu .irkungsästhetischen 6nkern QBr )uschauer# 2ngste# die auf die innere Jrdnung der amerikanischen )i+ilgesellschaN gerichtet sind: )um einen die 6ngst +"r einer D6uSOsung +"n innen her“ <zu realer p"litischer :ra, xis in der panischen 6*.ehr k"mmunistischen 8edankenguts ge."rden=# zum anderen +"r einer ?achtB*ernahme D+"n auTenF und einer In+asi"n +ielleicht sogar durch -esen aus einer anderen -elt <die BezBge zur *eginnenden Gaumfahrt liegen auf der @and=. In *eiden F7llen spielen die Fil, me mit k"llekti+er :aran"ia und deren unterhaltsam-lust+"llen 6usarbeitung in !atastrophensze, Epidemiefilm II <1$%&'2&2&= // Medienwissenschaft# 1$0# 2&2& >// % narien. Das -issen um die unkalkulier*aren Effekte radi"akti+er Strahlung und um eine experi, mentelle ?edizin# die sich mit Bi".affen *esch7Nigt# die ihrerseits una*seh*are !"nseUuenzen ha, *en kOnnten# treten hinzu. Es mag B*erraschen# dass die Filme der In+asi"n aus dem -eltraum, der unk"ntr"llierten ?u, tati"n +"n Eieren und ?enschen# einer -issenschaN# die aus dem @"riz"nt +"n !"ntr"lle und Eth"s des -issenschaNlichen austriA# in einer Skizze der Ent.icklung der Stere"t5pen der Epide, mien,Darstellung genannt .erden ' tatsächlich sind in den 1$4&er Cahren kaum Filme entstanden# die die Seuche explizit thematisierten. Die sich seit den 1$0&ern rasant ent.ickelnde ?ikro*i"l"gie *lie* als ;ieferant QBr die 8eschichten des !in"s e*enso uninteressant .ie die 8rippe.ellen der sp7ten 1$4&er. Das 1irus z"g als 6gent +"n Dramen und 8eschichten erst sp7ter ins !in" ein ' die Stere"t5pen des :aran"iden *lie*en a*er erhalten# .anderten in neue Filmwellen ein# die die In, fekti"n als EintriAspunkt in ihre h"rri*len 8eschichten nutzten. Derartige 6malgamierungen +"n Erz7hlf"rmaten und <"N der Gealit7t a*gelauschten= St"ffen sind in der 8eschichte des p"pulären !in"s nicht selten: 6us der 1erschmelzung entstehen neue -ellen +"n Filmen# die manchmal eigenst7ndig .erden und ein Eigenle*en ent.ickeln# ins p"pu, läre 8ed7chtnis ein.andern und d"rt n"ch Cahrzehnte sp7ter akti+ sind. Knd die manchmal .ie, derum .eitere Lemen und dramatische F"rmeln +"n Nach*argenres aufsaugen und sich zu eigen machen. Das 1irus .ird erst nach dem :aran"ia,!in" zum 6uslöser +"n grundlegenden 1erände, rungen der ;e*enswelt <und steht in der gleichen dramaturgischen Funkti"n .ie at"mare Strah, lung "der die ;andung 6uTerirdischer=. J* sie zur )"mbiisierung +"n ?enschen QBhren "der zu einer allgemeinen sozialen !atastr"phe# ist auf einer f"rmalen Stufe durchaus +ergleich*ar. FBr die ?"ti+geschichte muss interessant sein# dass sch"n die :hantasmag"rien des 1irus in SF,G"manen der 1$4&er# a*er auch in Epidemie,Szenarien .issenschaNlicher @erkunN immer als 8efahren*ringer angesehen .ird# als zerstOrerischer EingriR in den indi+iduellen !Orper .ie auch in die soziale ;e*enswelt. Die Kmkehrung ' dass also 1iren zu einer 1erbesserung des ?enschen und seiner ;e*enswelt QBhren ' ist nie durchgespielt ."rden. Insofern ist das 1irus in der Sicht des :"pul7ren immer assoziiert ge.esen mit 6ffekten der 6ngst und der 6*.ehr. ' ! Die )e#en#*andler Nach dem @Ohepunkt des :aran"ia,!in"s der 1$4&er triA ein neues Lema der 6ngstauslösung auf: das Szenari" des -esenswandels. Die 8eschichte des 8estalt.andlers ' +"m -er."lf *is zur Selkie ' .eist in die -elt der ;egenden# Sagen und ?7rchen zurück. ?eist ist es ein Einzelner# der als -esen einer anderen 8aAung auNreten kann. Es entsteht das 8enre des )"mbie lms. In den 1$9&ern traten zum ersten ?al in gr"Ten 8ruppen die ;e*enden anfallende )"m*ies auf# QBr die kein stillsch.eigendes moralisches "der gar juristisches 8e*"t des )usammenle*ens mehr galt# die "N auf das einzige intenti"nale )iel des EOtens "der gar Ein+erlei*ens reduziert schienen. 1"r al, lem in den Filmen 8e"rge 6. G"mer"s *ildeten sich Schemata heraus, die nicht nur die Vualit7t der Figuren ' die aus der 8aAung der ?enschen austreten# auch .enn sie 7uTerlich .eiterhin ?en, schen 7hneln ' modi zieren# sondern auch "nt"logisch diese erz7hlten -elten in rein kti+,imagi, nierte 6lptraum-Gealit7ten transf"rmieren. <BOse= 1iren# deren Befall ?enschen zu <*Osen= )"mbies macht <und manchmal auch zu rasen, den 6mokl7ufern=# die jeder 6rt *Brgerlicher Gealit7t sp"Aen und jeder Er.artung nach 7uTerer Sicherheit der ?enschen in diesen ?7rchen.elten sp"Aen: Die 8aAung derartiger rein kti+er 3*elt7ter ist *is heute im Figurenarsenal des !in"s erhalten ge*lie*en. Knd# .ie sch"n gesagt# sie ist "N mit dem Epidemie,E"p"s <*z.. mit ihren +ir"logischen 1"raussetzungen= +erbunden ."rden ' ."*ei die Infekti"n allerdings nur ein dramaturgischer !niR ist# den 3*ergang +"m ;e*enden zum le*enden E"ten zu moti+ieren.
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