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Journalismus Und Presse Im Film: Eine Filmographie 2003 Repositorium für die Medienwissenschaft Hans Jürgen Wulff Journalismus und Presse im Film: Eine Filmographie 2003 https://doi.org/10.25969/mediarep/12817 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Journalismus und Presse im Film: Eine Filmographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 19). DOI: https://doi.org/10.25969/mediarep/12817. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0019_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 19, 2003: Journalismus und Presse im Film. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21. Februar 2012. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0019_03.pdf Journalismus und Presse im Film: Eine Filmographie Zusammengestellt von Hans J. Wulff Das Genre der Medienfilme zeichnet eine Geschich- Gerade in der 1930er Jahren haben zahlreiche pro- te der Öffentlichkeitsverständnisse des 20. Jahrhun- fessionelle Zeitungsleute den Wechsel ins Drehbuch- derts nach – in mehrfacher Hinsicht: das Selbstver- gewerbe vollzogen. Damit mag zusammenhängen, ständnis von Journalisten betreffend, die oft implizi- daß der Zeitungsfilm eine Fülle von berufsspezifi- ten Vorstellungen über journalistische Ethik, über schen Problemen aufnahm und reflektierte. Insbe- soziale Funktionen des Journalisten, über seine poli- sondere die problematische Rolle, die Medienkon- tischen Bindungen; im Hinblick auf die sich verän- zerne im Gefüge ökonomischer, sozialer, politischer dernde Medienlandschaft und ihre Organisationsfor- und symbolischer Macht spielen können, wurde men, im Hinblick auf soziale und kulturelle Einflüs- schon früh angesprochen. Neben die Nachrichten- se, die Medien und journalistische Arbeit haben; im genres, an denen sich die journalistischen Tugenden Hinblick auf die Schichtungen von „Macht“ schließ- insbesondere beweisen konnten, sind später die Un- lich (als ökonomische oder politische Macht, als terhaltungsgenres getreten. Am Beginn steht die ein- Meinungs- und Bedeutungsmacht, als Mediator oder zelne Redaktion, der Verleger ist Besitzer der Zei- Gegenpol von Macht usw.). tung, die Zeitung ist der Betrieb. Zeitungskonzerne, die unter Umständen in einzelnen Städten Monopol- status anstreben, bilden eine erste Komplexionsstufe. Im Verlauf des 20. Jahrhunderts hat es drei große Das Anstreben politischen Einflusses oder gar politi- Wellen von Medienfilmen gegeben: In den 1930er scher Herrschaft erweitert den Fokus noch einmal. Jahren formierte sich der Zeitungsfilm, der zu Be- In Citizen Kane (1941) ist es die Zeitungs- und in ginn der 1940er Jahre zurückging; in seinem Zen- Anfängen die Radioindustrie, die die ökonomische trum steht der Zeitungsmann – ein Akteur in diver- Basis des politischen Interesses bildet. Heute ist sen sozialen und professionellen Verflechtungen. In meist das Fernsehen das Medium, das nationalen den 1970ern kam es zu einer neuen Welle von Re- oder sogar weltweiten Einfluß sichert. Das Journalis- porterfilmen, in denen der Reporter meist investiga- tische tritt in diesen neuen Bedingungen immer mehr tive Aufgaben übernahm; diese Filme knüpfen an die zurück. Eine journalistische Ethik wird durch eine Zeit des Zeitungsfilms an, bestimmen aber die Rolle allgemeinere Medienethik abgelöst. Die moralischen des Journalisten neu – er ist gezwungen, sich partei- und politischen Gefährdungen und Verpflichtungen lich zu verhalten, weil er dem sozialen und politi- aber, in denen der Journalist und die Presse allge- schen System nicht mehr nur entgegengestellt ist, mein bestimmt wird, sind Mitte der 1940er Jahre sondern sich als handelnder Teil desselben heraus- vollkommen entfaltet. stellt. Seit den frühen 1990er Jahren bildet sich die Gattung des Medienfilms heraus, in der das ur- sprüngliche Interesse am Journalisten zurückging und die Medienfigur als ein ganz neuer, dem Journa- listischen nur noch marginal verbundener Akteur sich herausbildet. Journalismus im Film // Medienwissenschaft/Hamburg, 19, 2003 /// 2 Chronologische Filmographie 1919 Die feindlichen Reporter (aka: Prinzessin Incognito); Deutschland 1919, Franz Hofer. 1903 I’ll Get Him Yet; USA 1919, Elmer Clifton. – 5 Rol- Delivering Newspapers; USA 1903. len. 1907 The Woman Undercover; USA 1919, George Seig- mann. John D___ and the Reporter; USA 1907. – Kurzfilm. Drama. President of Rancid Oil tries to escape justi- 1920 ce, but a reporter serves him with a summons. In the Deadline at Eleven; USA 1920, George Fawcett. end he has to pay a $29 million fine. 1921 1910 The Star Reporter; USA 1921, Duke Worne. The New Reporter; USA 1910, Lewin Fitzhamon. – Komödie, Kurzfilm. 1922 1911 The Cub Reporter; USA 1922, John Francis [Jack] Dillon. The Derelict Reporter; USA 1911. – D: Ralph Ince. A Front Page Story; USA 1922, Jesse Robbins. – 6 The Reform Candidate; USA 1911, Thomas Edison. Rollen. The Reporter; USA 1911. The Masquerader; USA 1922, James Young. 1912 The Reporter; USA 1922. – Komödie. Kurzfilm. The Cub Reporter’s Big Scoop; USA 1912. – Kurz- 1923 film. Komödie. A Front Page Story; USA 1923, Jess Robbins. The Girl Reporter’s Big Scoop; USA 1912. – Kurz- film. The Kid Reporter; USA 1923, Alfred J. Golding. The Old Reporter; USA 1912. – Kurzfilm. The Nervous Reporter; USA 1923. The Star Reporter; USA 1912. 1924 1913 The Average Woman; USA 1924, Christy Cabanne. – Journalist besucht junge Frau, um sie zur „moder- The Cub Reporter’s Temptation; USA 1913. – Kurz- nen Frau“ aufzubauen, und verliebt sich in sie. film. Komödie. Midnight Secrets; USA 1924, Jack Nelson. The Girl Reporter; USA 1913. – Kurzfilm. 1925 1914 The Last Edition; USA 1925, Emory Johnson. Cub Reporter’s Assignment; USA 1914. Salome of the Tenement; USA 1925, Sidney Olcott. Making a Living; USA 1914, Charles Chaplin. – In Chaplin’s first film appearance, in Making a Living, 1926 he is a con man who takes a job as a reporter, and steals and passes off a rival reporter’s photos of an The Hollywood Reporter; USA 1926, Bruce M. Mit- accident as his own. chell. 1916 Lightning Reporter; USA 1926, John W. Noble. The Fourth Estate; USA 1916, Frank Powell. 1927 Otto the Reporter; USA 1916, Edwin McKim. – Ko- The Final Extra; USA 1927. – Reporter wird darauf mödie. Kurzfilm. angesetzt, den Mord an einem Rivalen aufzuklären. Journalismus im Film // Medienwissenschaft/Hamburg, 19, 2003 /// 3 1928 The Finger Points; USA 1931, W.R. Burnett (Buch). – Kriminalfilm. Journalist wird von Gangster nieder- The Cameraman (Buster Keaton: Der Kameramann); geschossen. USA 1928, Edward Sedgewick. Five Star Final (Spätausgabe); USA 1931, Mervyn Hot News; USA 1928, Clarence Badger. LeRoy. – Remake: Two Against the World; USA Let ’er Go Gallegher; USA 1928, Elmer Clifton. 1936. Dieses nicht als Zeitungs-, sondern als Radio- Geschichte. The News Parade; USA 1928, David Butler. The Front Page; USA 1931, Lewis Milestone. – Police Reporter; USA 1928. – Serie mit zehn Episo- Screenplay: Charles Lederer and Bartlett Cormack, den. based on the play of the same name by Ben Hecht Power of the Press; USA 1928, Frank Capra. – Re- and Charles MacArthur. Hecht and MacArthur were porter deckt Schiebereien bei der Bürgermeisterwahl former reporters, after all, and knew all about jour- auf. nalists hanging out in a press room at a prison, wai- ting for an execution. Literatur: Hecht, Ben / Charles 1929 MacArthur: The Front Page [1928]. New York: Co- Big News; USA 1929, Gregory LaCava. – Nach dem vici-Friede 1933. Stück „For Two Cents“ von George S. Brooks. Mord Die Koffer des Herrn O.F.; Deutschland 1931, Ale- und schwere Körperverletzung im Presseraum (city xis Granowsky. – Reporter setzt ein Gerücht in die room). Mit Carole Lombard als erster Leinwandre- Welt. Satire. porterin. Platinum Blone (Vor Blondinen wird gewarnt); USA Copy; USA 1929. 1931, Frank Capra. – An heiress plans to marry a Gentlemen of the Press; USA 1929, Millard Webb. – newspaperman and turn him into a gentleman, but Zeitungsmann ist so mit Arbeit überhäuft, daß er von he’s not suited for that. der Geburt, dem Aufwachsen und dem Tod der eige- Scandal Sheet; USA 1931, John Cromwell. nen Tochter kaum etwas mitbekommt. Scareheads (aka: The Speed Reporter); USA 1931, The Office Scandal; USA 1929, Paul Stein. Noel M. Smith. 1930 The Secret Six; USA 1931, George Hill. The Czar of Broadway; USA 1930, William James Sob Sister (aka: The Blonde Reporter); USA 1931, Craft. Alfred Santell. Night Ride; USA 1930, John S. Robertson. – Junger X Marks the Spot; USA 1931, Erle C. Kenton. Reporter stellt einen Gangster bloß und wird mit dem Leben bedroht. 1932 Roadhouse Nights; USA 1930, Hobart Henley. – B: Big Town; USA 1932, Arthur Hoerl. Ben Hecht. Reporter entdeckt, daß eine Polizeichef Blessed Event; USA 1932, Roy Del Ruth. – Screen- gemeinsame Sache mit den Gangstern machte. play: Howard J. Green, based on a play by the same Young Man of Manhattan; USA 1930, Monta Bell. – name by Manuel Seff and Forrest Wilson. Tracy is a
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