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I. Mittelalter Im Film Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2006 Mittelalter im Film Kiening, Christian ; Adolf, Heinrich Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-91320 Monograph Published Version Originally published at: Kiening, Christian; Adolf, Heinrich (2006). Mittelalter im Film. Berlin: Walter de Gruyter. I. Mittelalter im Film von CHRISTIAN KIENING /. Das Genre, das k eines ist Kein anderes Medium bestimmt das allgemeine Bild des Mittelalters im 20. und 21. Jahrhundert mehr als der Film. Allein in Deutschland sahen fast sechs Millionen Kinobesucher die Filmversion von Oer Name der Rose, fast fünf Millionen die neuerliche Adaptation des Robin-Hood-Stoffs (Robin Hood: Prince of Thieves). Zwei der letzten monumentalen Mittelalterstreifen, King A rthur und Kingdom of Heaven, erreichten in den ersten Monaten jeweils die Grenze der zwei Millionen. Dazukommen die Ausstrahlungen im Fernsehen sowie der Verkauf und Verleih von Videos und DVDs. Die Filme gehören damit nicht zur Spitze der Kassenschlager der letzten Jahrzehnte, doch zu einem guten Mittelfeld. Sie haben teil an einem allge- meinen Mittelalter-Boom, der sich in Ritterspielen, Kostümfesten und dokumentarischen Zeitreise-Soaps ebenso manifestiert wie in Gesell- schaftsspielen und Videogames, Ausstellungen und Musikaufführungen. Das Mittelalter, das hier aufgerufen wird, ist häufig ein unscharfes, an der Grenze zur Fantasy. Es ist ein stereotypes, bestehend aus wenigen Ele- menten: Burgen, Ritter und edle Damen, Turniere, Rüstungen und Waffen. Und es ist ein sinnliches: farbenprächtig und aktionsgeladen, dynamisch und klangvoll. Dieses Mittelalter der Populärkultur steht seinerseits der Wissenschaft nicht völlig fern: Kaum zufällig erfolgt die analytische Auseinandersetzung mit den Filmen bevorzugt in jenen Ländern, in denen die meisten entstehen — USA, Großbritannien und Frankreich.1 Die umfassendste und gehaltvollste Aufarbeitung bietet das 1276 Seiten starke Buch vonYVUTSRQONMLKJIFEDCBA FRANCOIS AMY DE LA BRETF.QUE: L'knaginaire medieval dans le ci- nema occidental. Paris 2004 (Nouvelle bibliotheque du moyen age 70). Die um- fangreichste Filmographie und Bibliographie findet sich bei KEVIN J. ΗΛΙΠΎ: vutsrponmlihgfedcbaWTRNMLJFECA The Reel Middle Ages. American, Western and Eastern European, Middle East- ern and Asian Films about Medieval Europe. Jefferson, N. C., and London 1999. Weitere Übersichtswerke: FRANCOIS DE LA BRE'I'EQUE (Hg.): Le Moyen Age au Cinema, in: Les Cahiers de la Cinematheque 42/43 (1985), S. 3-182; VlTO Bereitgestellt von | UZH Hauptbibliothek / Zentralbibliothek Zürich Angemeldet Heruntergeladen am | 01.12.17 15:56 4 CTSRNIHGEAHRISTIAN KIENING Allerdings erschöpfen sich die Filme, die seit dem Beginn der Kine- matographie mittelalterliche Stoffe, Themen und Aspekte aufnehmen, nicht in den genannten Stereotypien. Sie spannen ein weites Spektrum inhaltlicher und formaler Möglichkeiten auf, die ihrerseits alles andere als einheitliche Epoche einzufangen. Zugespitzt gesagt: So viele Mittelalter- filme, so viele Mittelalterbilder. Das macht es fraglich, ob vonyxutsrponmlihfedcbaTRLJIEDCBA dem Mittel- alterfilm als Genre überhaupt gesprochen werden kann. Filmgeschichtlich geläufig sind Bezeichnungen wie Abenteuerfilm, Ritterfilm oder Mantel- und-Degen-Film, Kostümfilm, Monumentalfilm oder Historienfilm, >epic film< oder >period film<.2 Sie beziehen sich mehr auf Momente der Hand- lung oder der Ausstattung als auf solche der zeitlichen Situierung. Das ist insofern berechtigt, als bestimmte Merkmale in ihrer filmischen Repräsen- tation nicht zwingend auf einen bestimmten Zeitraum festgelegt sind und Mittelalterfilme ihrerseits häufig Bestandteile verschiedener Jahrhunderte vereinen. Während Genres wie die Screwball-Comedy oder der Film noir zwar unscharfe Ränder und breit gestreute Wirkungen haben, aber sich immerhin durch klare Zentren bestimmen, sind die auf das Mittelalter bezogenen Filme schon quantitativ nicht zahlreich genug, um klare Nor- men setzen zu können. Am ehesten tun sie dies im Rahmen der Holly- wood-Produktionen, die aber den Gesetzen einer Unterhaltungsindustrie folgen, welche sich mehr an Effekten als an Inhalten ausrichtet: Boormans E xcalibur (1981) etwa steht im Umfeld jener Action-Fantasy-Blockbuster, die zum obligatorischen Jahresprogramm der Studios gehören (Raiders of the L ost A rc, 1981; Conan the Barbarian, 1982; Conan the Destroyer.; 1984, Indiana Jones and the Temple of Doom, 1984). ATI­GLINT: Immagini del Medioevo nel cinema. Bari 1993; MARTHA DRIVER (Hg.): The Medieval Period in Film, in: Film & History 29/1-2 (1999), S. 5-70; 29/3-4 (1999), S. 5-65; Le Moyen Age vu par le cinema europeen. [Conques] 2001 (Les Cahiers de Conques 3); JOHN ABEHTII: A Knight at the Movies. Me- dieval History on Film. New York, London 2003. 2 JAMES ROBERT PARISH and DON E. STANKE: The Swashbucklers. New Rochelle, Ν. Υ. 1976;YWVUTSRPONMLKJIHGFEDCBA JEFFREY RICHARDS: Swordsmen of the Screen. From Douglas Fair- banks to Michael York. LONDON 1977; DF.REK FJ,I.F.Y: Epic Films. Myth and History. London 1984; GARY A. SMITH: Epic Films. Casts, Credits and Com- mentary on over 250 Historical Spectacle Movies. Jefferson, London 1991; BRIAN TAVES: The Romance of Adventure. The Genre of Historical Adventure Movies. Jackson 1993; LEGER GRINDON: Shadows on the Past. Studies in the Historical Fiction Film. Philadelphia 1994; GF.ORG SEESSLEN: Abenteuer. Ge- schichte und Mythologie des Abenteuerfilms. Marburg 31996; C. S. TASHIRO: Pretty Pictures. Production Design and the History Film. Austin 1998; MARCIA LANDY (Hg.): The Historical Film. History and Memory in Media. New Bruns- wick, New Jersey 2000; FRANK THOMPSON: The Alamo. The Illustrated Story of the Epic Film. New York 2004; BODO TRABER und HANS J. WULFF (Hg.): Film- genres. Abenteuerfilm. Stuttgart 2004 (Reclam UB 18404). Bereitgestellt von | UZH Hauptbibliothek / Zentralbibliothek Zürich Angemeldet Heruntergeladen am | 01.12.17 15:56 I. Mittelalter im Film 5 Noch uneinheitlicher wird das Bild, wenn man den Blick auf die euro- päischen und asiatischen Produktionen ausweitet. Lässt man die Namen einiger Regisseure Revue passieren, die sich mit dem Mittelalter beschäftigt haben: Melles, Lang, Dreyer, Eisenstein, Carne, Rossellini, Kurosawa, Bergman, Bresson, Tarkowskij, Wajda, Fassbinder, Pasolini, Rohmer, Jar- man, Rivette — so liest sich diese Reihe als Längsschnitt durch ein Jahrhun- dert der Geschichte des Autorenfilms. Entsprechend vielfältig sind die jeweiligen Werke und ihre Kontexte. Manche von ihnen gelten bis heute als Meisterwerke:wutsrponmljihgedcbaRNLJDA Die N ibelungen, La passion de Jeanne d'A rc, Rashomon, Det sjunde inseglet, A ndrej Rubljow oder "L ancelot du L ac haben zwar nicht allesamt ein riesiges, aber ein weltweites Publikum gefunden. Sie zeigen, dass immer wieder Ubergänge zwischen populärem Film und Kunstfilm stattfinden. Und sie werden zusammengehalten dadurch, dass für Regisseure ganz unterschiedlicher Provenienz das Mittelalter offensichtlich die Möglichkeit filmästhetischer Entfaltung bot: ein Hinweis darauf, dass die Wahl der Epoche aus nicht bloß geschmäcklerischen oder effekthascherischen Gründen erfolgt. Doch was ist es, was am Mittelalter anzieht? Gemeinsam ist dem populären Film wie dem Kunstfilm die Faszination, die den Histo- rienfilm generell prägt: Vergangenes sinnlich gegenwärtig zu machen.3 Das, was Texte nur sagen und Bilder nur statisch zeigen können, wird filmisch in Bewegung versetzt und schließlich auch hörbar gemacht. Seit den drei- ßiger Jahren ermöglicht das Technicolorverfahren in Melodramen, Musi- cals und Kostümfilmen einen exzessiven Farbeinsatz, der die dreidimen- sionale Wirkung des Films unterstützt und sowohl Bedeutung stiftet wie Emotionalität fördert. Zwar gab es vor allem in der Anfangszeit des >I<i- nematographen< Stimmen, die aus medizinischer oder psychologischer Warte den sensationsweckenden Aspekt des filmischen Spektakels kriti- sierten: »Bei der Vorführung historischer und politischer Ereignisse wer- Generell zum Verhδltnis von Film und Geschichte: PLKRRE SORLIN: The Film in History. Restaging the Past. Oxford 1980; RAINER ROTHKR (Hg.): Bilder schrei­ ben Geschichte. Der Historiker im Kino. Berlin 1991; PEPPINO ORTOI.EVA: Ci­ nema e storia. Scene dal passato. Turin 1991; HANS-ARTHUR MARSISKJ·; (Hg.): Zeitmaschine Kino. Darstellungen von Geschichte im Film. Marburg 1992; JEAN-LOUP BOURGF.T: L'Histoire au cinema. Le passe retrouve. Paris 1992; GLANERANCO MIRO GOR! (Hg.): La storia al cinema. Ricostruzione del passato, interpretazione del presente. Rom 1994; TED MlCO, JOHN MlLLER­MONZON, and DAVID RUBEL (Hg.): Past Imperfect. History According to the Movies. New York 1995; ROBERTA. ROSENSTONE: Visions of the Past. The Challenge of Film to Our Idea of History. Cambridge, Mass. 1995; MARCIA LANDY: Cinematic Uses of the Past. Minneapolis 1996; TONY BARTA: Screening the Past. Film and the Representation of History. Westport, Conn. 1998; PHIUP ROSEN: Change Mummified. Cinema, History, Theory. Minneapolis, London 2001;ytsronmlihgedcaSPONMLKC ΡMA AM COOK: Screening the Past. Memory and Nostalgia in Cinema. London 2005. Bereitgestellt von | UZH Hauptbibliothek / Zentralbibliothek Zürich Angemeldet Heruntergeladen am | 01.12.17 15:56 6 CHRISTIAN KIENING den grausige, die Nerven erschütternde Stoffe bevorzugt. So bekommt man die Schrecken der Bartholomäusnacht, die Folter der Inquisition, die Grausamkeiten
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