DOCSLIB.ORG

Luis Trenker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luis Trenker Studies in German Literature, Linguistics, and Culture Edited by James Hardin (South Carolina) o Cultural History through p c a National Socialist Lens b ,I M ESSAYS ON THE CINEMA OF THE THIRD REICH of in b EDITED BY Es ROBERT C. REIMER of Th J dir ge fir film indi one the Ueb Naz thr KJei an aG past adap Hob see cont (conti CAMDEN HOUSE j 36. CULTURAL HISTORY THROUGH A NATIONAL SOCIALIST LENS 33 Notes FRANZA.FRANZA. BIRGELBIRGEL I See Viktor Reimann's views on these events in Goebbels (Garden City, N]: Doubleday, 1976) 74-77. Goebbels probably planned coining "unknown SA LuisLuis Trenker:Trenker: AA RebelRebel inin thethe ThirdThird Reich?Reich? man" during a riot-provoking talk in 1927 for a real SA man, who was DerDer Rebell,Rebell, DerDer verloreneveriorene Sohn,Sohn, DerDer KaiserKaiser vonvon wounded in the course ofthar talk in a struggle possibly staged by Goebbels's supporters. Kalifornien,Kalifornien, Condottieri,Condottieri, andand DerDerFeuerteufelFeuerteufel , It should be noted that thc proto-Nazi film Der Rebell is also echoed in SA­ Mann Braud but only subliminally in the theme of rebellion and self-sacrifice; HE TENTHTENTH ANNUAL TELLURIDETELLURIDE FILMFILM FESTrvALFESTIVAL of 19831983 may bebe the other tWO films of the trilogy realize the imagery of Der Rebell more radi­ rememberedremembered forfor threethree significantsignificant events. The firstfirst waswas Andrei cally. TT Tarkovsky'sTarkoysky's comment thatthat cinema "was not and should not be an en­ 3 For an overview of the premiere with its long lines of Hitler Youth and Bal­ tertainment,tertainment, only an art,"art)n whereupon he invitedinvited all thosethose present who dur von Schirach's eulogy ofthe sacrifice ofNockus, see Jay W. Baird. To Die to for Germany: Heroes in the Nazi Pantheon (Bloomington: U of Indiana P, wanted toto bebc entertained by his new fiJmfilm NostalghiaNortalghia to leave.leavc. The sec­sec­ 1990) 125-26, and David Welch, Propaganda mId the German Cimma ond was Richard Widmark'sWidmark's rejoinderrejoinder that films had room for both art (Oxford: Oxford UP, 1983) 61. and entertainment,entertainment) and the thirdthird was a retrospective of Luis Trcnkcr'sTrenker's films with the then almost ninety-one-year-oldninety-one-yea.r-old fiJmmakerfilmmaker present 4 Also see Linda Schulte-Sasse who notes that rebirth is implied by the scene's unusual filmic style: " ... the frame begins to 'swim,' transporting Heini be­ (Everson 1983b, 6). Trenker, who died in 1990, is known in Germany yond reality, erasing time and the existing symbolic order." Entertaining the and Austria as skief,skier, mountain climber, director,director) producer,prOducer, actor, and Third Reich: Illusions ofWholeness in Nazi Cine'fna (Durham, NC: Duke UP) writer of filmscripts, memoirs, novels, and books on mountaineering. 266. He is further associated with environmentalenvirol1Jnental issues, guest spots on chil­ 5The lyrics of the refrain afC germane to the theme ofsacrifice in the "March dren's and talk shows, and promotions for Fiat automobiles and a line of the Hitler Youth" written especially for Hitln"jtmge Qpex: «OUf banner of organic health-catehealth-care products. Like LeniLen! RiefenstaW, Trenker began flU[tcrs before us. /Into the future we proceed man for man. /We march for his film career in the mountain films of Arnold FanckFanek and went on to Hitler through night and through need. /With the banner of youth for free­ direct his own filmsfUms during the Third ReichReich, but unlike RiefenstahlRiefenstahl, dom and bread. lOur banner flutters before us. lOur banner is the new TrenkerTrcnker was able to work again in the film il~dustryindustry after the Second time. lAnd the banner leads us into eternity. /yes, the banner is beyond World War. Trenker's appearance at Telluride and the screenings of his death!" (Arnold, et al. 253). Both the above match and the Horst Wessel films at numcrousnumerous Goethe Institutes in the United States for the 1983 song, the anthem ofthe Nazis, are the two major songs ofthe Nazi party. tricentennial celebration of German immigration to America were partpan 6 Sec Martin Loiperdinger, Ei1utellmtgsprotokolt, who maintains in the intro­ ofan unsuccessful effort to rehabilitate thethe controversial filmmaker and duction that one cannot compare Hans Westmar at the present time with the to introduceintroduce him to a largerlarger audience. In spite of these events and Wil­Wil~ original script ofthe film about Horst Wessel because it has been lost (ii). liam(iam K. Everson's work on his behaJf,behalf, mOstmost American film historians havchave forgonen Luis TrenkerTrenker or atat best relegated him inin aa few short paragraphs toto thethe categorycategory ofNazi filmmaker.fiJrnmalcer. HisHis films deserve greatergreater attention not onlyonly because some ofof them are well made, combiningcombining entertainmententertainment and art,art, but also because ofoftheirtheir historical significance)significance, whicbwhich arisesarises fromfrom theirtheir problematicproblematic interplayinterplay betweenbetween politics,politics, ideol­ideol­ ogy,ogy, andand cinema.cinema. Today therethere areare twotwo conflictingconflicting narratives concerningconcerning thethe lifelife and careercareer ofofLuisLuis Trenker,Trenker, eacheach assertingasserting historiographichistoriographic certainty.certainty. OnOn thethe 38.38 • CULTURAL HISTORY THROUGHTHROUGH AA NATIONAL SOCIALISTSOCIALIST LENS LUIS TRENKER: A REBEL ININ THETHE THIRD REICH? •• 3939 one side, Trenker argues thatthat he was a loyalloyal South Tyrolean,Tyrolean, a Pan­ made between 1930 and 1932 aboutabour thethe GermanGcrman war of liberationliberation 2 German patriot 'whowho smuggled anti-Nazi statements intointo his filmsftlms and against Napoleon,Napoleon,' Der Rebell was toto become a protorypcprototypc forfor Hitler­Hitle,.­ who was firstfirst used and thenthen oppressedoppresscd by thethe National Socialists. As isis jungeJunge QJ'ex (Hitler(Hitler YOUtllYouth Quex, 1933), HamHans Westmar (1933),(1933), and thethe case with most filmmakersfilmmakers who worked inin Germany during thethe SA-MannSA-Mann BrandBl'and (1933),(1933), threethree filmsfilms about sacrificing one's lifelife forfor Na­ Third Reich, Trenker's own accounts must be viewed with a degree of tional Socialism. skepticism since they constitute more of a self-justification thanthan a con­ In his famous speech before representatives of thethe German mmfIlm in­in­ fession.fession. Among Trenker'sTrcnkcr's defendersdefendcrs are EversonEvcrson and David Stewart dustry on 28 March 1933, GoebbelsGoebbcls praised four filmsfilms as artistic mas­ Hull. RecentRccent critics include Jan-Christopher Horak and Eric Rentsch­ terpieces: Sergei Eisenstein's PotemkinPoteml,in (The(The Battleship Potemkin,Potcmkin, ler, who focus on the anti-modernist tendeneiestendencies and Nazi aesthetics of 1925), Edmund Goulding's Love (1927, based on Tolstoy's A"'laAnna Trenker's films, viewing him as a blood-and-soil ideologueideologuc and chau­ Karmina),Karenina), Fritz Lang's Die NibelungmNibelu'tgen (1924) and Trenker's Der Re­Re­ vinistic anti-American agitator who benefited from Hitler'sHitlcr's support. bell. RegarelingRegarding Trenker's film, Goebbels stated that it "could even Placed within thethc context of Third Reich ideology and history, overwhelm a non-National Socialist." Der RebellRebelt shows that "the Trenker's ftlmsfilms reflect Nazi ideology, lending themselves to interpreta­ proper attitude is not enough,enough) great ability is also necessary" to create a tions as fascist works. cinematic work of art (Albrecht 1979, 27). Goebbels, who watched the The question remains: What was Trcnker?Trenker? A rather naive Natttr~Natur­ film tlucethree times (at least twicetwiee with Hitler), realized that tllisthis was how bursche (nature-boy)(naturc-boy) as he presented himself in public? A Catholic fas­ the film of the future should be: "revolutionary, with very large mass cist? An opportunist? Amidst the opposing statements and views, the scenes, created with an inlmenseiyimmensely vital energy" (1934, 244; 1987,2: Trenker case will remain ambiguous and problematic. Florian Leim­ 342). Hitler even informed Trenker that he had seen Der Rebell four gruber'sgrubcr's eelitionedition of Trenker's file in the Berlin Document Center ex­ times and each time derived new pleasure from it (Wulf 371). poses a person who, even in difficult situations, looked out for his own Since the National Socialists liked to represent the rise of the Nazi financial interests, maneuvering like an acrobat between the National movement as an uprising by the people, this filmmm about thcthe Tyrolean Socialists and thcthe Italian Fascists to his own benefit, and e1isplayingdisplaying all revolt against Napoleon's troops became the prototype of the Third the traits of a "political chameleon" (4). The documents also reveal a Reich's filmsftlms about national uprisings. Like Fritz Lang)sLang's Nibetungen,Nibelungen, non-conformist who,who) according to his denouncers in early 1934}1934, wore a the film was intended to evoke myths of the past and create a sense of swastil'"swastika pin and boasted of being Hitler's friend,fi'iend, but who also criti­ pride among the Germans and Austrians after the Treaty of Versailles. cized thcthe book burnings and treatment ofofJewsJews (13,16-18,173-74).(13, 16-18, 173-74). According to Trenker, altilOughalthough he set thistllis filmfilm inin 1809, it was directed Scholars and critics today follow the
Load more

Recommended publications
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • GLOBUS-FILM Hanns-Braun-Str
    DerDer RRebellebell Ein Film von Luis Trenker Darsteller Stab Luise Ullrich - Fritz Kampers - Victor Varconi - Regie ...............................................................Luis Trenker Erika Dannhoff - Ludwig Stoessel - Reinhold Bernt Kamera ................................... Sepp Allgeier, Albert Benitz, - Albert Schultes und vielen Südtiroler und Tiroler ...................................Willy Goldberg und Reimar Kuntze Bergführern und Bergbauern Musik .........................................................Giuseppe Becce Schlagzeilen Technische Daten Der junge Luis Trenker in der Titelrolle, ein listiger, drauf- Länge ...............................................................2530 Meter gängerischer Rebell, ein Patriot für Tirol! Laufzeit........................................................... 91 Minuten Aktuell wie nie zuvor! Format..................................................................... 35 mm Ein junger Student führt seine Landsleute in den Kampf ge- Bild.............................................................................. S/W gen Besatzungssoldaten für Freiheit und Gerechtigkeit! Produktionsjahr .......................................................... 1932 Männern wie „Der Rebell“ ist die Freiheit mehr wert als das Herstellungsland............................................. Deutschland Leben! FSK .............................................................. ab 12 Jahren Inhalt Werbematerial Luis Trenker, der Südtiroler Naturbursche, der Dank der Weitsicht Aushangfotos der von ihm so geliebten
    [Show full text]
  • Eastern Europe
    NAZI PLANS for EASTE RN EUR OPE A Study of Lebensraum Policies SECRET NAZI PLANS for EASTERN EUROPE A Study of Lebensraum Policies hy Ihor Kamenetsky ---- BOOKMAN ASSOCIATES :: New York Copyright © 1961 by Ihor Kamenetsky Library of Congress Catalog Card Number 61-9850 MANUFACTURED IN THE UNITED STATES OF AMERICA BY UNITED PRINTING SERVICES, INC. NEW HAVEN, CONN. TO MY PARENTS Preface The dawn of the twentieth century witnessed the climax of imperialistic competition in Europe among the Great Pow­ ers. Entrenched in two opposing camps, they glared at each other over mountainous stockpiles of weapons gathered in feverish armament races. In the one camp was situated the Triple Entente, in the other the Triple Alliance of the Central Powers under Germany's leadership. The final and tragic re­ sult of this rivalry was World War I, during which Germany attempted to realize her imperialistic conception of M itteleuropa with the Berlin-Baghdad-Basra railway project to the Near East. Thus there would have been established a transcontinental highway for German industrial and commercial expansion through the Persian Gull to the Asian market. The security of this highway required that the pressure of Russian imperi­ alism on the Middle East be eliminated by the fragmentation of the Russian colonial empire into its ethnic components. Germany· planned the formation of a belt of buffer states ( asso­ ciated with the Central Powers and Turkey) from Finland, Beloruthenia ( Belorussia), Lithuania, Poland to Ukraine, the Caucasus, and even to Turkestan. The outbreak and nature of the Russian Revolution in 1917 offered an opportunity for Imperial Germany to realize this plan.
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
    This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman.
    [Show full text]
  • Guides to German Records Microfilmed at Alexandria, Va
    GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA. No. 32. Records of the Reich Leader of the SS and Chief of the German Police (Part I) The National Archives National Archives and Records Service General Services Administration Washington: 1961 This finding aid has been prepared by the National Archives as part of its program of facilitating the use of records in its custody. The microfilm described in this guide may be consulted at the National Archives, where it is identified as RG 242, Microfilm Publication T175. To order microfilm, write to the Publications Sales Branch (NEPS), National Archives and Records Service (GSA), Washington, DC 20408. Some of the papers reproduced on the microfilm referred to in this and other guides of the same series may have been of private origin. The fact of their seizure is not believed to divest their original owners of any literary property rights in them. Anyone, therefore, who publishes them in whole or in part without permission of their authors may be held liable for infringement of such literary property rights. Library of Congress Catalog Card No. 58-9982 AMERICA! HISTORICAL ASSOCIATION COMMITTEE fOR THE STUDY OP WAR DOCUMENTS GUIDES TO GERMAN RECOBDS MICROFILMED AT ALEXAM)RIA, VA. No* 32» Records of the Reich Leader of the SS aad Chief of the German Police (HeiehsMhrer SS und Chef der Deutschen Polizei) 1) THE AMERICAN HISTORICAL ASSOCIATION (AHA) COMMITTEE FOR THE STUDY OF WAE DOCUMENTS GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA* This is part of a series of Guides prepared
    [Show full text]
  • Ein Film Um Mozart
    Ein Film um Mozart Autor(en): Betschon, Alfred Objekttyp: Article Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): 8 (1943) Heft 117 PDF erstellt am: 01.10.2021 Persistenter Link: http://doi.org/10.5169/seals-733400 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Meyendorff mit. Die Aufnahmen in Babels- So kehrt Prof. Karl Ritter, der Regisseur zarte Innigkeit MozarFscher Musik mag in berg stehen kurz vor dem Abschluß. des Ufa-Filmes «Besatzung Dora», dieser uns ein Bild von Mozart formen, das in Hingegen befindet sich das zweite Harlan- Tage aus dem Süden zurück, wo er zum starkem Kontrast zu dem Mozart steht, Farbenprojekt noch mitten in der Teil selbst in Nordafrika Szenen des Filmes dessen Leben uns Regisseur Karl Hartl in Dreharbeit.
    [Show full text]
  • Sinn Und Geschichte Die Filmische Selbstvergegenwärtigung Der Nationalsozialistischen „Volksgemeinschaft„
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Regensburg Publication Server Sinn und Geschichte Die filmische Selbstvergegenwärtigung der nationalsozialistischen „Volksgemeinschaft„ von Matthias Weiß Regensburger Skripten zur Literaturwissenschaft 1999 Regensburger Skripten zur Literaturwissenschaft Herausgeben von Hans Peter Neureuter µ Redaktion Christine Bühler Band 15 Gedruckt als Manuskript © beim Autor 1999 Diese Arbeit wurde im Sommersemester 1998 von der Philosophischen Fakultät III (Geschichte, Gesellschaft und Geographie) der Universität Regensburg als Magisterarbeit angenommen. Erstgutachter: Prof. Dr. Franz J. Bauer (Neuere und Neueste Geschichte) Zweitgutachter: Prof. Dr. Georg Braungart (Neuere deutsche Literaturwissenschaft) INHALT Einleitung: Der Sinn der Geschichte 5 1. Der Film als ‚sozio-semiotisches‘ System 5 2. Der Film als ‚Aufschreibsystem‘ der modernen Gesellschaft 19 3. Der Mythos des „Dritten Reiches„ 27 A: Der autochthone Sinn der „Volksgemeinschaft„ 38 1. Die Filmgeschichte als Gründungsmythos der „Volksgemeinschaft„ 38 2. „Propaganda„ als Schließung des Sinns 41 a) „Volksaufklärung und Propaganda„ als Ministerium 41 - b) Die Si- cherung der Produktion 45 - c) Die Sicherung von Form und Inhalt 53 - d) Die Präsentation des Sinns 61 3. Die Grenzen des Konsenses 68 B: Aufführungen des autochthonen Sinns 71 1. Das Modell der „Volksgemeinschaft„: Robert Koch. Der Bekämpfer des Todes (1939) 71 a) Intertext: Medizin und Sozialhygiene im „Dritten Reich„ 73 - b) Pro- duktion 77 - c) Text 80 - d) Filmsprache 90 - e) Vergegenwärtigung 92 - f) Exkurs: Zur diachronen Metaphorologie eines Filmbildes 93 - g) Würdigung 97 2. Der Feind der „Volksgemeinschaft„: Jud Süss (1940) 100 a) Intertext: Der Antisemitismus als Staatsdoktrin 102 - b) Produktion 106 - c) Text 114 - d) Filmsprache 127 - e) Vergegenwärtigung 130 - f) Exkurs: Die Inversion der Bilder im NS-Film 135 - g) Würdigung 139 3.
    [Show full text]
  • Luis Trenker Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    Luis Trenker 电影 串行 (大全) The Challenge https://zh.listvote.com/lists/film/movies/the-challenge-7722011/actors Doomed Battalion https://zh.listvote.com/lists/film/movies/doomed-battalion-22000188/actors I Condottieri, Giovanni delle bande nere https://zh.listvote.com/lists/film/movies/i-condottieri%2C-giovanni-delle-bande-nere-996184/actors The Stars Shine https://zh.listvote.com/lists/film/movies/the-stars-shine-3236613/actors The Son of the White Mountain https://zh.listvote.com/lists/film/movies/the-son-of-the-white-mountain-3790608/actors The Call of the North https://zh.listvote.com/lists/film/movies/the-call-of-the-north-28196173/actors The Great Longing https://zh.listvote.com/lists/film/movies/the-great-longing-7737830/actors The Fire Devil https://zh.listvote.com/lists/film/movies/the-fire-devil-15275271/actors Messner https://zh.listvote.com/lists/film/movies/messner-1777589/actors Barrier to the North https://zh.listvote.com/lists/film/movies/barrier-to-the-north-1263890/actors The Great Leap https://zh.listvote.com/lists/film/movies/the-great-leap-3223321/actors The Rebel https://zh.listvote.com/lists/film/movies/the-rebel-1196407/actors Mountains on Fire https://zh.listvote.com/lists/film/movies/mountains-on-fire-819485/actors Struggle for the Matterhorn https://zh.listvote.com/lists/film/movies/struggle-for-the-matterhorn-14949933/actors The Mountain Calls https://zh.listvote.com/lists/film/movies/the-mountain-calls-834269/actors https://zh.listvote.com/lists/film/movies/1514164/actors His Best Friend https://zh.listvote.com/lists/film/movies/his-best-friend-1543008/actors
    [Show full text]
  • Film Propaganda: Triumph of the Willas a Case Study
    Film Propaganda: Triumph of the Will as a Case Study Author(s): Alan Sennett Source: Framework: The Journal of Cinema and Media, Vol. 55, No. 1 (2014), pp. 45-65 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/10.13110/framework.55.1.0045 . Accessed: 10/07/2014 11:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Framework: The Journal of Cinema and Media. http://www.jstor.org This content downloaded from 68.191.205.73 on Thu, 10 Jul 2014 11:40:03 AM All use subject to JSTOR Terms and Conditions Film Propaganda: Triumph of the Will as a Case Study Alan Sennett Until a reassessment by historians and film critics in the 1990s, Leni Riefenstahl’s cinematic “record” of the September 1934 Nazi party rally had generally been regarded as the quintessential example of the art of political film propaganda. Susan Sontag argued in a seminal article for the New York Review of Books that Riefenstahl’s “superb” films of the 1930s were powerful propaganda as well as important documentary art made by “a film-maker of genius.”1 She concluded that Triumph des Willens/Triumph of the Will (DE, 1935) was “a film whose very conception negates the possibility of the filmmaker’s having an aesthetic concep- tion independent of propaganda.”2 Although still an important source, Sontag’s assessment has been seriously challenged on a number of counts.
    [Show full text]
  • Chapter 1. Jews in Viennese Popular Culture Around 1900 As Research
    Chapter 1 JEWS IN VIENNESE POPULAR CULTURE AROUND 1900 AS RESEARCH TOPIC d opular culture represents a paradigmatic arena for exploring the interwove- ness and interactions between Jews and non-Jews.1 When considering the Ptopic of Jews in the realm of Viennese popular culture at the end of the nine- teenth and turn of the twentieth centuries, we must realize that this was an as- pect of history not predominantly characterized by antisemitism. To be sure, antisemitism has represented one aspect characterizing the many and various re- lationships between Jews and non-Jews. But there was also cooperation between the two that was at times more pronounced than anti-Jewish hostility. We see evidence of the juxtaposition between Judeophobia and multifaceted forms of Jewish and non-Jewish coexistence in a brief newspaper quotation from 1904. Th e topic of this quotation is the Viennese folk song, and the anonymous author states that after a long time “an authentic, sentimental song, infused with folk hu- mor, that is, an authentic Viennese folk song [Wiener Volkslied]” had fi nally once again been written. Th e song in question was “Everything Will Be Fine Again” (“Es wird ja alles wieder gut”). Martin Schenk (1860–1919) wrote the song’s lyrics, and Karl Hartl composed the tune.2 Th e quotation continues, “After . the prevalence of Yiddish and Jewish anecdotes on the Viennese stage, following the unnatural fashions that have been grafted onto Viennese folk culture and which, as fashion always does, are thoughtlessly imitated, it does one good to hear once again something authentically Viennese.”3 Th e article in which this quotation appeared indicates that the song appeared in Joseph Blaha’s publishing house.
    [Show full text]
  • The Film Music of Edmund Meisel (1894–1930)
    The Film Music of Edmund Meisel (1894–1930) FIONA FORD, MA Thesis submitted to The University of Nottingham for the degree of Doctor of Philosophy DECEMBER 2011 Abstract This thesis discusses the film scores of Edmund Meisel (1894–1930), composed in Berlin and London during the period 1926–1930. In the main, these scores were written for feature-length films, some for live performance with silent films and some recorded for post-synchronized sound films. The genesis and contemporaneous reception of each score is discussed within a broadly chronological framework. Meisel‘s scores are evaluated largely outside their normal left-wing proletarian and avant-garde backgrounds, drawing comparisons instead with narrative scoring techniques found in mainstream commercial practices in Hollywood during the early sound era. The narrative scoring techniques in Meisel‘s scores are demonstrated through analyses of his extant scores and soundtracks, in conjunction with a review of surviving documentation and modern reconstructions where available. ii Acknowledgements I would like to thank the Arts and Humanities Research Council (AHRC) for funding my research, including a trip to the Deutsches Filminstitut, Frankfurt. The Department of Music at The University of Nottingham also generously agreed to fund a further trip to the Deutsche Kinemathek, Berlin, and purchased several books for the Denis Arnold Music Library on my behalf. The goodwill of librarians and archivists has been crucial to this project and I would like to thank the staff at the following institutions: The University of Nottingham (Hallward and Denis Arnold libraries); the Deutsches Filminstitut, Frankfurt; the Deutsche Kinemathek, Berlin; the BFI Library and Special Collections; and the Music Librarian of the Het Brabants Orkest, Eindhoven.
    [Show full text]