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Dissertation DISSERTATION Titel der Dissertation „Das Ende der römischen Republik im Historienfilm“ Verfasser Mag. Alexander Juraske angestrebter akademischer Grad Doktor der Philosophie (Dr.phil.) Wien, im Januar 2011 Studienkennzahl lt. Studienblatt: A 092 310 Dissertationsgebiet lt. Studienblatt: 310 Alte Geschichte und Altertumskunde Betreuer: emer. Univ.-Prof. Mag. Dr. Ekkehard Weber Gewidmet Dkfm. Heinz Juraske (1942-1998) Danksagung Die kontinuierliche Arbeit an einer Dissertation ist mitunter ein einsamer, von Rückschlägen und Krisen gekennzeichneter Arbeitsprozess. Im Laufe der Textproduktion kristallisiert sich eine Gruppe von Personen heraus, die in unterschiedlichster Weise dazu beitragen, dass das Ziel schlussendlich erreicht werden kann. In größter Dankbarkeit bin ich meinen beiden Betreuern emer. Univ. Prof. Mag. Dr. Ekkehard Weber und ao. Univ. Prof. Mag. Dr. Herbert Heftner verbunden, die mit ihrer Unterstützung das Entstehen dieser Arbeit ermöglichten. Prägend für meine wissenschaftliche Entwicklung waren einige Lehrer und Lehrerinnen, die mich an unterschiedlichen Stadien meiner wissenschaftlichen Initiation begleiteten, unter ihnen möchte ich Ass. Prof. Wolfgang Hameter hervorheben. Wie wichtig der Blick über den Tellerrand Österreichs hinaus ist, lehrten mich Dr. Martin Andreas Lindner und Dr. Anja Wieber, die als Rezeptionsspezialisten entscheidende Hilfestellungen gaben. Mein Dank gilt auch meiner Chefin Mag. Andrea Ramharter-Hanel sowie den beiden „Stützen“ des Instituts für Alte Geschichte und Altertumskunde, Papyrologie und Epigraphik, AR Hertha Netuschill und Werner Niedermaier. Abschließend sei meiner Partnerin Katharina Krenn auf das herzlichste gedankt, die mit großer Leidenschaft und Kraft die Realisierung dieser Arbeit erst möglich machte und mir dabei half, die Hindernisse, die sich mir in den Weg stellten, zu überwinden. Ich hoffe sie in gleicher Weise bei zukünftigen Forschungen unterstützen zu können. Inhaltsverzeichnis Einleitung…………………………………………………………………………………………………………... 1 1. Historiengenre und Antikfilm…………………………………………………………………………………. 5 1.1 Teaching history in lightning…………………………………………………………………………………… 5 1.2 Der Historienfilm………………………………………………………………………………………….….... 6 1.3 Der Antik(en)film……………………………………………………………………………………….……… 9 2. Die Fachliteratur zum Forschungsgebiet Antike und Film………………………………………………...... 21 3. Genreüberblick von den Anfängen bis zu den Produktionen nach 2000…………………………………... 31 3.1 Die Anfänge des Mediums Film……………………………………………………………..………………… 31 3.2 Die filmische Adaption der Shakespeareklassiker……………………………………………………..……….. 34 3.3 Der italienische Historienfilm von den Anfängen bis zum Ersten Weltkrieg………………………………...... 35 3.4 Der Aufstieg der US-amerikanischen Historienproduktionen……………………………………………..…… 40 3.5 Der internationale Antikfilm der 1920er Jahre………………………………………………………..………… 42 3.6 Die kurze Blütezeit des österreichischen Antikfilms…………………………………………………..……….. 42 3.7 Die Entwicklung des italienischen Antikfilms…………………………………………………………..……… 44 3.8 Die Einführung des Tonfilms…………………………………………………………..……………………….. 46 3.9 Das Ende des Antikfilms vor dem Zweiten Weltkrieg……………………………………………………..…… 49 3.10 Der US-amerikanische Antikfilm der 1950er und 1960er Jahre………………………………………...…….. 49 3.11 Der italienische Antikfilm nach 1945…………………………………………………………………………. 56 3.12 Der Antikfilm und die Parodie………………………………………………………………………………… 58 3.13 Das Genre und die Literaturadaption………………………………………………………………………….. 60 3.14 Der Antikfilm im Fernsehen………………………………………………………………………………...... 62 3.15 Die Rückkehr des Genres……………………………………………………………………………………… 64 4. Die römische Republik im Historienfilm………………………………………………………………………. 71 4.1 Vorbemerkung…………………………………………………………………………………………..………. 71 4.2 Zeitliche Verteilung……………………………………………………………………..………………………. 71 4.3 Römische Frühzeit–Frühe Römische Republik………………………………………………………..………. 75 4.4 Mittlere Republik…………………………………………………………………………………………..…… 76 4.5 Späte Republik…………………………………………………………………………………………..……… 79 5. Spartacus………………………………………………………………………………………………………… 88 5.1 Die historische Figur……………………………………………………………………..…………………...... 88 5.2 Die Entwicklung der nachantiken Figur……………………………………………………………….……….. 93 5.3 Der literarische Spartacus–Von Porsile bis Giovagnoli……………………………………………….……..… 94 5.4 Der cineastische Spartacus der Frühzeit–eine italienische Angelegenheit…………………………….……...... 98 5.5 Spartacus in Hollywood………………………………………………………………………………….…….. 100 5.6 The Wars of Spartacus–Howard Fast versus Arthur Koestler………………………………………………….. 108 5.7 Large Spartacus versus Small Spartacus………………………………………………………………….......... 109 5.8 Der beschnittene Spartacus–die Szenenkürzungen………………………………………………..………..….. 111 5.9 Das Ende der schwarzen Liste………………………………………………………………………..………… 113 5.10 Der Erfolg der Produktion……………………………………………………………………………………... 114 5.11 Die Titelmontage…………………………………………………………………………………….……....... 116 5.12 Handlungsort: Steinbruch……………………………………………………………………………………… 117 5.13 Handlungsort: Gladiatorenschule……………………………………………………………………………… 120 5.14 Handlungsort: Rom………………………………………………………………………………………........ 133 5.15 Handlungsort: Das Lager der Aufständischen…………………………………………………………………. 139 5.16 Handlungsort: Entscheidungsschlacht…………………………………………………………………………. 144 5.17 Die Nachfolgeproduktionen…………………………………………………………………………………… 147 6. Caesar……………………………………………………………………………………………………………. 150 6.1 Die historische Person…………………………………………………………..………………………………. 150 6.2 Die Wurzeln des Caesarbildes in der Antike………………………………………………..…………………. 155 6.3 Das Nachleben Caesars in Kunst, Politik und Wissenschaft vom Mittelalter bis ins 20. Jahrhundert…...……. 156 6.4 Caesars erste Auftritte im Film und seine Vereinnahmung durch den Faschismus…………….…………........ 162 6.5 Caesar im Kalten Krieg…………………………………………………………………………..……………... 166 6.6 Variationen des Stoffes durch Bertolt Brecht und Walter Jens………………………………………..……….. 169 6.7 Die Figur Caesar im Antikfilmgenre…………………………………………………………………..……….. 173 6.8 Der junge Caesar im Film…………………………………………………………………..………………….. 178 6.9 Caesar der Eroberer………………………………………………………..………………….……………....... 186 6.10 Der Bruch mit der Republik…………………………………………………………………………………… 190 6.11 Die Iden des März…………………………………………………………………………………………….. 202 7. Kleopatra……………………………………………………………………………………………………….. 208 7.1 Die historische Kleopatra…………………………………………….…………………………………………. 208 7.2 Das Bild der letzten Ptolemäerin bei den antiken Autoren……………………………….………………......... 212 7.3 Das Nachleben Kleopatras in Kunst und Kultur……………………………………………………..……........ 217 7.4 Der Kleopatrastoff in der Stummfilmperiode……………………………………………..………………........ 224 7.5 Die Transformation des Frauentyps–Kleopatra im Tonfilm………………………..………………………....... 226 7.6 Die Figur in der Blütezeit des Genres in Hollywood–Cleopatra (1963)…………………………..……........... 234 7.7 „Lizpatra“–Die Darstellung der Kleopatra durch Elizabeth Taylor……………………………..……..………. 238 7.8 Der Kleopatrastoff nach dem Rückzug des Genres aus Hollywood………………………………..….………. 250 7.9 Kleopatra nach der Rückkehr des Genres ins Kino……………………………………………..…………....... 255 8. Augustus……………………………………………………………………………………………………........ 267 8.1 Die historische Figur …………………………………………………………………………………………… 267 8.2 Aussehen und Persönlichkeit…………………………………………………………………………………… 275 8.3 Das Nachleben der Figur von der Antike bis zur Gegenwart………………………………………………….. 277 8.4 Die filmischen Anfänge und Augustus‘ Verwendung als Nebenfigur………………….……………………… 286 8.5 Die Verwendung im TV-Film Imperium: Augustus (2003)…………………….…………………………........ 289 8.6 Die Darstellung in den TV-Serien Empire (2005) und Rome (2005-2007)…………………..………………... 301 9. Zusammenfassung……………………………………………………………….…………………….……….. 328 10. Bibliographie……………………………………………………………………………………………..…….. 337 10.1 Quellen………………………………………………………………………………………………………… 337 10.2 Literatur………………………………………………………………………………………………………... 338 Einleitung Die wissenschaftliche Beschäftigung mit der filmischen Darstellung von historischen Ereignissen steht noch am Anfang und blickt gerade in Bezug auf den antiken Bereich auf eine noch kurze Forschungsgeschichte zurück. Im Laufe der letzten zehn Jahre ist ein stetiger Anstieg an Publikationen und Beiträgen zu bemerken, die in dieses neue Forschungsfeld einzuordnen sind.1 Die hier vorliegende Dissertation Die römische Republik im Historienfilm fühlt sich diesen Erzeugnissen verbunden und setzt einen bestimmten historischen Zeitabschnitt und seine Darstellung im Spielfilm in den Mittelpunkt der Untersuchung. Ausgangspunkt der wissenschaftlichen Auseinandersetzung waren die beiden Grundfragen, die den Themenbereich der Rezeptionsgeschichte fundamentieren: Wie werden historische Ereignisse in einem Spielfilm visuell umgesetzt? und Wie beeinflusst die Entstehungszeit der Produktionen die filmische Darstellung? Dabei erweist sich das Medium Film aufgrund seiner ausgeprägten technologischen Seite als schwierige, sehr heterogene Quelle. Nur wer über die spezielle technische Beschaffenheit des Mediums Bescheid weiß, ist in der Lage die Bildsprache zu entschlüsseln. Gleichzeitig handelt es sich beim Spielfilm um ein auf Gewinnmaximierung abzielendes Produkt der Populärkultur, welches eine akkurate Darstellung historischer Ereignisse nicht im Sinn hat. Diese beiden Grundvoraussetzungen des Spielfilms machen einen interdisziplinären Ansatz an der Schnittstelle zwischen Filmwissenschaften und Historischen Fächern nötig, um der speziellen Beschaffenheit des Mediums gerecht zu werden. Grundsätzlich hat der Forschende die Möglichkeit, sich dem
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