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Copyright by Christelle Georgette Le Faucheur 2012 Copyright by Christelle Georgette Le Faucheur 2012 The Dissertation Committee for Christelle Georgette Le Faucheur Certifies that this is the approved version of the following dissertation: Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 Committee: David Crew, Supervisor Sabine Hake, Co-Supervisor Judith Coffin Joan Neuberger Janet Staiger Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 by Christelle Georgette Le Faucheur, Magister Artium Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Acknowledgements Though the writing of the dissertation is often a solitary endeavor, I could not have completed it without the support of a number of institutions and individuals. I am grateful to the Department of History at the University of Texas at Austin, for its consistent support of my graduate studies. Years of Teaching Assistantships followed by Assistant Instructor positions have allowed me to remain financially afloat, a vital condition for the completion of any dissertation. Grants from the Dora Bonham Memorial Fund and the Centennial Graduate Student Support Fund enabled me to travel to conferences and present the preliminary results of my work, leading to fruitful discussions and great improvements. The Continuing Fellowship supported a year of dissertation writing. Without the help of Marilyn Lehman, Graduate Coordinator, most of this would not have been possible and I am grateful for her help. I must also thank the German Academic Exchange Service, DAAD, for granting me two extensive scholarships which allowed me to travel to Germany. I am indebted to the work of a number of Berlin archivists at the Bundesarchiv in Lichterfelde and the Film Archiv in Wilmersdorf. I am especially thankful to the warm welcome and personal collaboration with the Deutsche Kinemathek, Cordula Döhrer and Regina Hoffmann in particular, who made the many hours I spent there browsing through artifacts, books, and microfilms a pleasure. iv I would like to thank my doctoral committee for their work on my behalf. Thanks to Professors Janet Staiger and Joan Neuberger for their willingness to give generously of their time and take on this project. Professor Judith Coffin helped me navigate the American university and academic system and has gracefully devoted time and energy to discuss and edit my work. I am especially indebted to my supervisors Professors David Crew and Sabine Hake who have inspired me and have made important contributions to this project, pushing me to greatly improve my work. Since the summer of 2011, the Sanger Learning and Career Center at the University of Texas at Austin, Darcy Barrick and Alan Constant in particular, have provided me with an intellectual home and institutional support, without which the completion of this project would hardly have been possible. I also wish to thank my fellow graduate students and colleagues in the Departments of History and Germanic Studies for being such loyal friends and co-travelers on this journey, reading through drafts and helping me prepare for presentations: Emily Hillhouse and Brooke Iglehart, Eric Bush and Erica Whittington, Shannon Nagy, Michael Schmidt, and Mariana Ivanova. I am especially thankful for the friendship and collegiality of Bradley Boovy, who has been the best possible friend, roommate, and intellectual partner, in addition to being a great cook. Many great ideas came out of our early morning discussions. Many colleagues have generously helped in the making of this project. I would like to thank Susan Morrison from Texas State, San Marcos, and Tracie Matysik from the University of Texas at Austin for taking the time to read drafts of chapters and sharing v their thoughts with me. Dr. Susan Boettcher has played an important role in my growth as a scholar and teacher and I would like to address a special thank you for the many hours she spent talking with me about German and European culture and historiography. I am lucky to have a handful of “famillies” that helped me along the way. From France, I need to thank my brother Benjamin for being who he is and for putting much efforts into keeping the connection alive. My German familly, the Hundgeburths, has provided me with moral and emotional support for the last 20 years and I have had no greater pleasure than watching my goddaughter Phillis turn into a beautiful and smart young woman. Working with the Almazan children here in Austin (Isabel, Martha, Andres, and hopefully soon Raphael) is a constant reminder of the value, beauty, and fullfilment of teaching and learning. Thanks for being such great pupils. Finally, I am grateful to my colleague and partner Victoria Smith who stood by me from beginning to end. She has read every word, and that more than once, and responded with insightful criticisms. Thank you for your unwavering support, your love and for inspiring me. I am looking forward to sharing the rest of my life with you. vi Defining Nazi Film: The Film Press and the German Cinematic Project, 1933-1945 Christelle Georgette Le Faucheur, Ph.D. The University of Texas at Austin, 2012 Supervisor: David Crew Co-Supervisor: Sabine Hake This dissertation analyses the roles and functions of the German film press during the Third Reich and explores the changes and tensions that characterized German cinema and, by extension, German society during that time period. A close reading of three major publications – a trade journal, Film-Kurier, a popular magazine, Filmwelt, and the regime’s official publication, Der deutsche Film – first challenges the traditional view of a monolithic, top down control by the Nazi regime. I show the extent and the limits of the regime’s utilization of culture and media and demonstrate how different parties used the film press to pursue different, but not mutually exclusive goals. By delineating the film press as a more dynamic public forum than previously assumed, this study secondly informs us about the multifaceted uses and functions of the vii film publications, and about the changing relationships between the film industry and the regime, as well as the theater, the music, and the press industries. I combine a media specific approach –demonstrating the central role of film publications in articulating the contradictions within film culture–with an exploration of the media convergence in place at the time. I thus firmly position the film press at the nexus of politics, business, film professionals, and the audience, and uncover a lively, albeit restricted, discursive system, with theoretical and practical discussions about film, its achievements under the new regime, its weaknesses and the need for improvement. I focus on the three most discussed issues: the relationship between film and theater, between film and music, and, as a correlation of the two previous topics, the need to train a new generation of film professionals, the Nachwuchs. This dissertation thus traces an important moment in German film history characterized by sustained debates about political, technical, aesthetic, and social aspects of film. More importantly, it uses the film press as a mirror to some of the tensions that characterized German society along several divides such as the masses and the elite, the past and the present, as well as the contradictions in its treatment and representation of gender and sexuality. viii Table of Contents List of Illustrations ...................................................................................................x INTRODUCTION ........................................................................................................1 PART I: FILM AND PRESS ......................................................................................20 Chapter 1: Controlling the German Press ..............................................................25 Chapter 2 : All About Film? The German Film Press during the Third Reich ......59 PART II: FILM AND THEATER .............................................................................115 Chapter 3 : The Stage-Screen Debates and the Emancipation of Film ................122 Chapter 4 : Gustaf Gründgens: Tightrope Walk Between Theater and Film ......150 PART III: FILM AND MUSIC ..............................................................................205 Chapter 5 : The Use of Music and Songs in Film ................................................213 Chapter 6 : Kora Terry (Georg Jacoby, 1940) and the German Revue Film......267 PART IV: FILM AND ITS NACHWUCHS .................................................................306 Chapter 7 : Calls for a Systematic Nachwuchs Training .....................................309 Chapter 8 : Between Ideology and Pragmatism: The German Film Academy....347 Chapter 9 : The Continuing Search for the Film Nachwuchs ..............................394 CONCLUSION .......................................................................................................453 Appendix A: Incomplete list of lectures offered at the Lessing Hochschule ......456 Appendix B: List of Foreign Films shown at the German Film Academy ..........458 Bibliography .......................................................................................................459 ix List of Illustrations Figure 1.1: Zeitschriften-Dienst, Directives 718-723, September 1, 1939. ...........39 Figure
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