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Histotainment Histotainment Geschichte im Fernsehen als populäre Erinnerungspraxis am Beispiel der Historischen Dokusoap „Die Bräuteschule 1958“ Magisterarbeit zur Erlangung der Würde des Magister Artium der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Christa Klein aus Copşa Mica WS 2007/2008 Neuere und Neueste Geschichte Inhaltsverzeichnis I Einleitung.............................................................................................................................1 II Theoretische Grundlagen.............................................................................................10 II.1 Geschichtsdarstellungen und Geschichtswissenschaft................................................10 II.1.1 Die formative Dimension der Analyse.................................................................10 II.1.2 Die memoriale Dimension der Analyse...............................................................15 II.2 Geschichtsdarstellungen in Film und Fernsehen.........................................................19 II.2.1 Film als „Fenster zur Welt/Vergangenheit“..........................................................22 II.2.2 Film und Fernsehsendungen als „Gedächtnisraum“............................................26 III Methodik.........................................................................................................................30 III.1 Formative Dimension der Analyse audio-visueller Geschichtsformate.....................30 III.2 Szientifische und memoriale Dimension der Analyse geschichtsvermittelnder Präsentationsformen............................................................35 III.3 Memoriale und szientifische Dimension der Analyse geschichtsreflektierender Präsentationsformen..........................................................37 III.4 Zusammenfassung......................................................................................................39 IV Analyse der Historischen Dokusoap „Die Bräuteschule 1958“..........................42 IV.1 Das Format Historische Dokusoap.............................................................................42 IV.2 Forschungsgegenstand: „Die Bräuteschule 1958“......................................................47 IV.3 Formative Analyse......................................................................................................50 IV.3.1 Analyse der Einstiegssequenz.............................................................................50 IV.3.2 Analyse der 16 Folgen........................................................................................57 IV.4 „Die Bräuteschule 1958“ als geschichtsvermittelndes Medium.................................61 IV.4.1 Szientifische Analyse: Der historische Hintergrund der „Bräuteschule 1958“..61 IV.4.1.1 Hauswirtschaftsschulen der 50er Jahre.......................................................62 IV.4.1.2 Mütterschulung............................................................................................66 IV.4.2 Memoriale Analyse: Rückbezug zum Produktions- und Rezeptionskontext......72 IV.4.3 Diskussion: „Die Bräuteschule 1958“ als Histotainment?..................................74 IV.5 „Die Bräuteschule 1958“ als gedächtnisreflektierendes Medium..............................79 IV.5.1 Memoriale Analyse I: Der Bezug zur Erinnerungskultur...................................80 IV.5.1.1 Idee und Anspruch der „Bräuteschule 1958“..............................................80 IV.5.1.2 Inhalt der Recherche: Quellen des sozialen Gedächtnisses.........................84 IV.5.1.3 Die Form der Recherche: Das Konzept „Bräuteschule“.............................87 IV.5.2 Memoriale Analyse II: Wirkungen in der Erinnerungskultur.............................90 IV.5.2.1 Der plurimediale Zusammenhang: Tie-In-Medien und Presse...................91 IV.5.2.2 Quantitative Analyse der Rezeption............................................................94 IV.5.2.3 Qualitative Analyse der Rezeption..............................................................99 IV.5.3 Zusammenfassung und szientifische Reflexion................................................107 V Fazit.................................................................................................................................110 VI Quellen- und Literaturverzeichnis..........................................................................115 VI.1 Nicht publizierte Quellen und Quellensammlungen................................................115 VI.1.1 Experteninterviews...........................................................................................115 VI.1.2 Archivmaterial und Quellensammlungen.........................................................115 VI.2 Publizierte Quellen und Quellensammlungen..........................................................116 VI.2.1 Internet (Auswahl)............................................................................................116 VI.2.2 Filme.................................................................................................................117 VI.2.3 Literatur............................................................................................................118 Abkürzungsverzeichnis ARD Arbeitsgemeinschaft der öffentlich-rechtlichen Rundfunkanstalten der Bundesrepublik Art. Artikel ARTE Association Relative à la Télévision Européenne BGB Bürgerliches Gesetzbuch BRD Bundesrepublik Deutschland DDR Deutsche Demokratische Republik FR Frankfurter Rundschau Frz. Französisch GG Grundgesetz GmbH Gesellschaft mit beschränkter Haftung Ital. Italienisch Kap. Kapitel MDR Mitteldeutscher Rundfunk NDR Norddeutscher Rundfunk NS Nationalsozialismus/ nationalsozialistisch SWR Südwestrundfunk SZ Süddeutsche Zeitung taz Tageszeitung UK United Kingdoms, Vereinigte Königreiche vs. versus WDR Westdeutscher Rundfunk ZDF Zweites Deutsches Fernsehen Tabellenverzeichnis Tabelle 1: Formative Dimension der Analyse: Unterscheidung Geschichtspräsentationen als „Fenster zur Vergangenheit“ oder als „Gedächtnisräume“......................................34 Tabelle 2: Szientifische und memoriale Dimension der Analyse: Unterscheidung der Potentiale und Defizite in der Geschichtsvermittlung und in der Geschichtsreflexion..................................................................................................39 Tabelle 3: „Die Bräuteschule 1958“: Inhaltsanalyse differenziert nach Gegenwarts- und Vergangenheitsaspekten tabellarisch........................................................................56 Tabelle 4: Themenübersicht Rezeption: Internetforum und Zuschriften..................................95 Tabelle 5: Themenübersicht Rezeption Geschichte: Internetforum und Zuschriften...............97 Abbildungsverzeichnis Abbildung 1: Rezeption1: ARD-Internetforum (1544 Beiträge von 239 Personen)................96 Abbildung 2: Rezeption2: Zuschriften (von 80 Personen an die SWR-Redaktion).................96 Abbildung 3: Internetforumsdiskussionen Thema Geschichte.................................................98 Abbildung 4: Zuschriften Thema Geschichte...........................................................................98 I Einleitung „...it is both tempting and easy to exaggerate the antagonisms between professional historians on the one side, and media people on the other. Here is one such version: academics are reclusive scholars of exemplary integrity, painstakingly uncovering and accumulating knowledge, disinterestedly searching for the truth and constantly aware of the complexities of the past; while media people, be they newspaper editors, radio and television producers, or Hollywood moguls, have scant regard for evidence or accuracy, want simplified and sensational stories, and are only interested in circulation, audience and profits. Here is another: academics are dry-as-dust-Casaubons, self-importantly immersed in their esoteric researches, with no real sense of human reality, public purpose or broader audience; whereas many who work in the media are passionate about the past, know a great deal about it, and care deeply about bringing the best history to the most people.“ 1 Die Auseinandersetzungen um anschauliche und populäre Geschichtsdarstellungen sind so alt wie die Geschichtsschreibung selbst. Nicht erst seit es Film und Fernsehen gibt, sondern schon in der Antike, im Mittelalter, in der Frühen Neuzeit, im 19. Jahrhundert ebenso wie in der Gegenwart wurde und wird der Wert unterhaltsamer historisierender Darstellungen von Geschichtsforschern kritisiert, in die Literatur verbannt, zur Kunst oder aber zur Un-Kultur erklärt.2 Erst im Zuge dieser Auseinandersetzungen, die von Begriffsoppositionen wie historische Fakten vs. künstlerische Fiktion, professionelle Erkenntnis vs. laienhafte Kenntnis, Authentizität vs. Inszenierung und nicht zuletzt auch Aufklärung vs. Unterhaltung bestimmt wurden, konstituierte sich die Geschichtsschreibung als autonome wissenschaftliche Universitätsdisziplin. Mit der fachlichen Verselbstständigung der Geschichtswissenschaft zu Beginn und der Entwicklung eines historischen Positivismus gegen Ende des 19. Jahrhunderts wurden populäre Geschichtsdarstellungen, deren Hauptträger vor allem gebildete Laien waren, zunehmend ignoriert und abgewehrt.3 Im Gegensatz zu anderen Geschichtsdarstellungen sollte es wissenschaftlicher Geschichtsschreibung durch ihre systematische Quellenkritik und ein streng methodisches, intersubjektiv nachprüfbares
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