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Italienischer Faschismus Und Deutscher Nationalsozialismus Im Italienischen Genrefilm Peter Scheinpflug Washington University in St

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Italienischer Faschismus Und Deutscher Nationalsozialismus Im Italienischen Genrefilm Peter Scheinpflug Washington University in St Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2010 Italienischer Faschismus und deutscher Nationalsozialismus im italienischen Genrefilm Peter Scheinpflug Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Scheinpflug, Peter, "Italienischer Faschismus und deutscher Nationalsozialismus im italienischen Genrefilm" (2010). All Theses and Dissertations (ETDs). 494. https://openscholarship.wustl.edu/etd/494 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department for Germanic Languages and Literatures ITALIENISCHER FASCHISMUS UND DEUTSCHER NATIONALSOZIALISMUS IM ITALIENISCHEN GENREFILM by Peter Scheinpflug A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements of the degree of Master of Arts May 2010 Saint Louis, Missouri INHALTSVERZEICHNIS: Kapitel Seite 1 Was die Deutschen schauten, als ihre neuen Klassiker filmten..................... 1 1.1 Papas Kino vs. Gramsci’s Cinema: populäre Genres in Deutschland und Italien..................................................................................9 1.2 Die historische Signifikanz von Genrezyklen................................................ 15 1.3 Produktions- und Rezeptionskontexte italienischer Genres...........................22 1.4 Die Methode / der Code................................................................................. 27 2 Der peplum – 10er bis 60er Jahre...................................................................32 2.1 Genre der imaginären Einheit........................................................................ 33 2.2 Wiederaneignung eines Genres: Faschismus des im peplum........................ 36 2.3 Ikonische Rüstungen...................................................................................... 42 2.4 Serielle Rekonstruktion der Männlichkeit und der nationalen Identität........ 47 2.5 Die historische Signifikanz der Ambivalenz und Genrehybridität des peplum........................................................ ............58 3 Der italienische gothic horror........................................................................ 65 3.1 Faschismus als privilegierte Leerstelle.......................................................... 69 ii 3.2 Zensur in Deutschland als Unterdrückung der Rückkehr des Verdrängten............................................................................................. 79 4 Der Italowestern als transitional genre..........................................................90 4.1 Historical trauma und Genreaustausch..........................................................92 4.2 Faschismus und Kapitalismus........................................................................ 98 4.3 Faschismus und Sexualität............................................................................. 103 4.4 Zensierte Katharsis in der BRD..................................................................... 111 5 Faschismus in den italienischen Genres der 70er Jahre................................. 118 5.1 Ermittlungen über die Rückkehr des Verdrängten: die historische Signifikanz der Genrehybridität des giallo............................ 120 5.2 Experimente an mit der Grenze der Repräsentierbarkeit des Holocausts im Sadiconazista....................................................................126 6 Abschlussbemerkung: Holocaust als floating signifier in italienischen Genres der 80er Jahre............................................................135 7 Materialien 7.1 Literaturverzeichnis........................................................................................140 7.2 Filmverzeichnis...............................................................................................150 iii 1 Was die Deutschen schauten, als ihre neuen Klassiker filmten Elsaesser wies kürzlich darauf hin, dass in der jüngsten Vergangenheit eine große historische Spurensuche eingesetzt hat, als deren Resultat die Abwesenheit von Spuren eines Traumas des Holocausts kritisiert wurde. Diese Argumentation wendete Elsaesser hingegen und las sie als Symptome der gestiegenen Aktualität des Themas der historischen Traumata in der jüngsten bundesrepublikanischen Geschichte, durch die erst die vermeintliche Abwesenheit der Spuren nachträglich als Symptom konstituiert wurde.1 Elsaessers Diagnose der vermehrten populärkulturellen Verarbeitung bundes- republikanischer Geschichte ist im Angesicht der Popularität der erneuten Debatten über Mahnmale, Gedenkstätten, die Revolution von ‟68, die RAF und insbesondere in Anbetracht ihrer populärkulturellen Kulminationspunkte der Großproduktionen von Bernd Eichinger zwar unbestreitbar, doch Elsaessers Argumentation ist ebenso wenig ein kritischer Unterton des Vorwurfs der retrospektiven Bewertung abzusprechen. Implizit wird darin der Appell zu einer Diagnose des kulturellen Umgangs mit aktuellen Traumata lesbar.2 Diese Position ist kaum angreifbar, da jede Geschichtsschreibung – und im Kontext einer Diskussion der Geschichtsschreibung durch moderne Mythen in populären Diskursen3 kann jeder Film als Diskursbeitrag zu diesen Mythen betrachtet werden – 1 Vgl. Elsaesser, Thomas: Terror und Trauma. Zur Gewalt des Vergangenen in der BRD. Kulturverlag Kadmos. Berlin 2006/2007. 2 Elsaesser bezieht sich in diesem Text wie in anderen auf Baudrillards berühmten Aufsatz “History: A Retro Scenario”, um die Popularität von historischen Themen in Filmen als Symptom eines Traumas der Gegenwart dieser Filme, der Abwesenheit von Geschichte selbst zu lesen. Vgl. Baudrillard, Jean: History: A Retro Scenario. In: ders.: Simulacra and Simulation. Univeristy of Michigan Press. Ann Arbor 1994. S. 31 – 34. 3 In Anlehnung an Foucault – Foucault hat sein Konzept des Diskurses im Laufe seiner Studien permanent verändert, weshalb es sich bei der folgenden Definition um eine Annäherung handeln wird, 1 immer ihre Verortung in ihrem eigenen historischen Kontext, ihre eigene Historizität der Analysemodelle, Prämissen, Interessen und Verhandlungsfiguren diskutieren sollte. Jedoch schwingt in Elsaessers Ausführungen auch ein gewisser Überdruss hinsichtlich der deutschen Vergegenwärtigung der Vergangenheit mit, als sei die Agenda der Aufarbeitung der deutschen Geschichte im zwanzigsten Jahrhundert tatsächlich an ein befriedigendes Ende der Spuren-Suche gelangt. Gegen diese implizite Vorstellung ist insbesondere hinsichtlich einer komparatistisch perspektivierten Filmgeschichts- Schreibung Kritik zu richten. 4 in der möglichst viele basale Eigenschaften berücksichtigt werden sollen – und solche, die versuch(t)en seine Konzepte für die Medienkulturwissenschaften produktiv zu machen, sei ein Diskurs eine dynamische Ordnung von Aussagen zu einem bestimmten Thema/Objekt, die nach diskursspezifischen Bedingungen und Regeln getroffen werden, diskursspezifische Funktionen erfüllen, in die gewisse Machtformationen eingeschrieben sind und denen gewisse historisch spezifische Episteme zugrunde liegen. Forschungsschwerpunkt der Diskursanalyse ist also in (post-)strukturalistischer Tradition weniger der Inhalt der Aussagen als vielmehr die Prozesse, durch die die Aussagen unter spezifischen Bedingungen regelhaft entstehen, die Kontexte, in denen sie stehen, welche Funktionen sie erfüllen und wie die Produktion von Wissen mit der Macht verwoben ist. Siehe: Foucault, Michel: Archäologie des Wissens. Suhrkamp. Frankfurt aM 1981. S. 31 – 112. Und: Foucault, Michel: Der Wille zum Wissen. Sexualität und Wahrheit 1. Suhrkamp. Frankfurt aM 1983. S. 9 – 53. Und: Foucault, Michel: Die Geburt der Klinik. Eine Archäologie des ärztlichen Blicks. Fischer. Frankfurt aM 2008, [8. Auflage]. S. 15. Und: Foucault, Michel: Die Ordnung des Diskurses. (Mit einem Essay von Ralf Konersmann). Fischer. Frankfurt aM 2007, [10. Auflage]. S. 9 – 49. Und: Ruoff, Michael: Foucault-Lexikon. Wilhelm Fink Verlag. Paderborn 2007. S. 91 – 101. Fuery, Patrick: New Developments in Film Theory. St. Martin‟s Press. New York 2000. S. 46 – 70. 4 Dieser Vergleich von italienischer und deutscher Filmgeschichte folgt derselben Forschungsperspektive, die Mason bereits 1988 für die Faschismustheorien einforderte. Er analysierte den damaligen Stand der Theoretisierung des historischen Faschismus und diagnostizierte diverse Leerstellen, deren analytisches Potenzial unerforscht geblieben wäre. Von diesen betonte er insbesondere die Differenzierung von italienischem Faschismus und Nationalsozialismus als Grundlage einer interkulturellen Analyse des Faschismus zum besseren Verständnis beider, während bis dahin beide faschistische Formen zumeist radikal getrennt oder radikal fusioniert diskutiert wurden. Diese Forderung wurde jüngst von Reichardt und Nolzen aktualisiert und zwar mit einem Aufsatzband im Ansatz erfüllt, doch stellen die Autoren in ihrem Vorwort ebenso fest, dass der interkulturelle Vergleich noch immer vernachlässigt werde. Vgl. Mason, Tim: Whatever Happened to „Fascism‟? In: Kaplan, Jane [Hg.]: Nazism, Fascism and the Working Class. Essays by Tim Mason. Cambridge University Press. Cambridge et al. 1995. S. 323 – 331. Und das Vorwort in: Reichardt, Sven/ Nolzen, Armin [Hg.]:
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