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Martin Scorsese Im Dialog: Psychoanalyse Und Filmtheorie Peter Bär, Gerhard Schneider

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Martin Scorsese Im Dialog: Psychoanalyse Und Filmtheorie Peter Bär, Gerhard Schneider Peter Bär, Gerhard Schneider Martin Scorsese Im Dialog: Psychoanalyse und Filmtheorie Peter Bär, Gerhard Schneider Martin Scorsese Im Dialog: Psychoanalyse und Filmtheorie Band 13 Mit Beiträgen von Peter Bär, Gerhard Bliersbach, Isolde Böhme, Martin Bölle, Helmut Däuker, Jochen Hörisch, Hannes König, Katharina Leube-Sonnleitner, Kai Naumann, Gerhard Schneider, Georg Seeßlen, Dietrich Stern, Marcus Stiglegger und Ralf Zwiebel Psychosozial-Verlag Herausgeber: Cinema Quadrat e. V., Mannheim Institut für Psychoanalyse und Psychotherapie Heidelberg-Mannheim Psychoanalytisches Institut Heidelberg-Karlsruhe der Deutschen Psychoanalytischen Vereinigung Heidelberger Institut für Tiefenpsychologie Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Originalausgabe © 2017 Psychosozial-Verlag Walltorstr. 10, D-35390 Gießen Fon: 06 41 - 96 99 78 - 18; Fax: 06 41 - 96 99 78 - 19 E-Mail: [email protected] www.psychosozial-verlag.de Alle Rechte vorbehalten. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mik- rofilm oder andere Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Umschlagabbildung: Martin Scorsese beim Film- dreh ZEIT DER UNSCHULD. © Columbia Tristar, Quelle: Filmbild Fundus Umschlaggestaltung & Innenlayout: nach Entwürfen von Hanspeter Ludwig, Wetzlar Printed in Germany ISSN 2367-2412 ISBN 978-3-8379-2598-2 Inhalt Einleitung und Überblick 7 Die Farbe des Geldes (1986) 81 Jochen Hörisch Martin Scorsese 13 Beschreibung der Arbeit Ein Gangsterleben im Zeitraffer 91 eines Filmemachers Über die Inszenierung von Rasanz Georg Seeßlen in Martin Scorseses GoodFellas (1990) Von der Gewalt zum Heiligen 29 Kai Naumann René Girards Opfertheorie und das Kino Martin Scorseses Gewalt als Erlösung 103 Marcus Stiglegger Kap der Angst (1991) Hannes König Musik als Inspirationsquelle und 41 Resümee des Films Melancholie und Sehnsucht 115 Zur Bedeutung des »Soundtracks« The Age of Innocence (1993) bei Martin Scorsese Katharina Leube-Sonnleitner Dietrich Stern The Departed (2006) 131 Gewalt als Selbstheilungsversuch 53 Isolde Böhme Zu Martin Scorseses Taxi Driver (1976) Von inneren und äußeren Orten 147 Helmut Däuker des Grauens Filmpsychoanalytische Anmerkungen The King of Comedy (1982) und 65 zu Martin Scorseses The Color of Money (1986) Shutter Island (2010) »One for me and one for them« Ralf Zwiebel Gerhard Bliersbach 5 Anmerkungen zu 161 Autorinnen und Autoren 189 Shutter Island (2010) Martin Bölle Programm des 193 14. Mannheimer Filmseminars Der verlorene und 167 Martin Scorsese der wiedergewonnene Vater Eine psychoanalytische Perspektive Bisher in der Reihe erschienen 195 auf Hugo (Hugo Cabret, 2011) Im Dialog: Psychoanalyse und Gerhard Schneider Filmtheorie Bild-Entsprechungen 175 Entdeckungen und Aufdeckungen zu Hugo Cabret (2011) Peter Bär 6 Einleitung und Überblick Martin Scorsese (*1942), der am 17. Novem- schichte betrachtet und analysiert werden, das ber 2017 75 Jahre alt wird, ist einer der prof- heißt, sie liefern genügend Material für einen liertesten Regisseure der USA. Aufgewachsen in den flmwissenschaftlichen wie flmpsychoana- einem katholisch geprägten italienischen Um- lytischen Diskurs und die entsprechende Dis- feld in Little Italy in New York wurde er früh kussion über die Fachgrenzen hinweg. ein Mitglied des vom europäischen Kino der Aus den bis zum Abschluss der Arbeit an die- 1950er und 60er Jahren geprägten New Hol- sem Buch erschienenen 24 Spielflmen Scorse- lywood, einer Gruppe von Filmemachern, die ses insgesamt sechs Filme für das Programm des nicht im damals zusammenbrechenden Stu- 14. Mannheimer Filmseminars Im Dialog: Psy- diosystem Hollywoods, sondern an den aka- choanalyse und Filmtheorie (2016) auszuwählen demischen Filmhochschulen ihre Ausbildung (siehe Anhang), die dann um drei weitere für erfahren hatten. Mit den Filmen Mean Streets das Buch ergänzt wurden, war kein leichtes Un- (Hexenkessel, 1973) und Taxi Driver (1976) terfangen. Wie in den Jahren zuvor haben die schon früh bekannt geworden, umfasst seine Herausgeber versucht, aus den verschiedenen Filmografe inzwischen alle Genres – vom Schaffensperioden solche Beispiele auszuwäh- Gangsterdrama über Komödie und Melodrama len, die für Scorseses Œuvre repräsentativ sind. bis hin zum Musical – sowie eine ganze Reihe Dabei werden The Color of Money (Die Farbe bemerkenswerter Dokumentarflme. Obwohl des Geldes, 1986) und Shutter Island (2010) je- er den flmischen Stil immer wieder dem Sujet weils von zwei Autoren interpretiert, sodass an anpasst und selbst erklärt, aus jeder Filmarbeit diesen Beispielen ein die jeweiligen Perspekti- zu lernen, was auch immer wieder bedeutet, ven vergleichendes Lesen möglich wird; Hugo etwas Neues auszuprobieren, ist er ein klassi- (Hugo Cabret, 2011) schließlich wird einerseits scher »auteur« in dem Sinne, dass er selbst seine psychoanalytisch interpretiert, andererseits in Filme maßgeblich gestaltet und prägt, sie von einer Bildcollage quasi-flmisch in seiner bildli- der Stoffauswahl bis zum Endschnitt kontrol- chen Intensität, soweit dies das Medium »Buch« liert. Scorseses Filme können sowohl einzeln zulässt, vorgestellt. wie im Kontext miteinander und in Einbettung Den Einzelinterpretationen sind drei Über- in die amerikanische und europäische Filmge- blicksarbeiten über zentrale Dimensionen von 7 Einleitung und Überblick Scorseses Schaffen, die Bedeutung des Opfers in der Kreuzigung) und des Selbstopfers in diesen seinen Filmen und seine Verwendung von Mu- Filmen, beginnend mit Who’s That Knocking at sik vorangestellt. – Der nachfolgende Überblick My Door? (Wer klopft denn da an meine Tür?, über die einzelnen Beiträge greift auf die ihnen 1967) über Boxcar Bertha (Die Faust des Rebel- beigegebenen Zusammenfassungen zurück. len, 1972) und The Last Temptation of Christ Die Überblicksarbeit von Georg Seeßlen, Do- (Die letzte Versuchung Christi, 1988) bis hin zu yen der deutschen Scorsese-Forschung, hat zum The Wolf of Wall Street (2013). Er zeigt, dass Ziel, zentrale Aspekte der Arbeit des Filmema- Opfermythen ein Schlüssel zum Verständnis chers Martin Scorsese zu beschreiben, eine Ar- des katholisch geprägten Regisseurs sind. Das beit, die Seeßlen als eine Koproduktion mit für Scorsese zentrale Thema der Gewalt wird der der Fangemeinde versteht. Kino ist in un- auch in einen Bezug zum Heiligen gestellt, wie terschiedlicher Weise eine zusammengesetzte ihn Georges Bataille in seiner Philosophie der Kunst, wobei die Auseinandersetzung des Re- Grenzüberschreitung thematisiert hat. gisseurs mit der Produktionsmaschinerie des Wie Dietrich Stern darlegt, hat Scorsese der Films eine zentrale Rolle spielt. Damit ist ein Musik im Film eine bedeutende Rolle zugewie- wesentlicher Punkt berührt: die Auseinander- sen, die weit über die emotionale Begleitung setzung Scorseses mit der Traumfabrik Holly- der Handlung hinausgeht. Er sieht in Musik wood und die Schaffung eines künstlerischen das Dokument einer Zeit oder eines Lebensge- Kosmos aus seinen eigenen sozio-biografschen fühls, ja sogar sozialer Verhältnisse. Besonders Bedingungen heraus. In diesem Kosmos werden Rock- und Popmusik schienen ihm geeignet, die bestimmte Themen wie Gewalt und Sünde in Filmerzählung zu einem größeren Realismus hin immer wieder anderen Blickwinkeln untersucht. zu erweitern. Ihr gezielter Einsatz kann über die Die charakteristischen Elemente der flmischen psychosoziale Disposition der Filmprotagonisten Handschrift des Regisseurs sind der Blick, das aufklären. Der Autor geht dem Weg der Inspira- Bild und die mit ihnen verbundenen Verbote. tion nach, wie Scorsese aus seiner Musikbegeis- Im Team-up mit langjährigen Weggefährten terung, die durchaus auch fanartige Züge hat, wie Thelma Schoonmaker (Cutterin), Michael die flmische Darstellung erweitert. Dabei wird Ballhaus (Kamera) und den Schauspielern Ro- gezeigt, dass die Vorliebe für die Popmusik nur bert De Niro und Leonardo DiCaprio ist so ein einen Teil des Einsatzes von Musik ausmacht. Werk entstanden, das dem Publikum in viel- Musikalische Möglichkeiten werden von Scor- fältiger Weise im Kino Lebenserfahrungen zu sese sehr umfassend bis hin zum Musical, zur machen erlaubt. Klassik und Avantgarde ausgelotet. Jeder seiner Marcus Stiglegger geht von einem engen Be- Filme bekommt so seine spezifsche musikalische zug zwischen Mythos und narrativen Medien »Ausstattung«, die gleichwertig neben Dreh- aus. Dabei ist im Hinblick auf Scorsese die Op- buch, Kameraführung und Handlung steht. fertheorie René Girards das leitende theoreti- Die Reihe der Einzelanalysen beginnt mit sche Dispositiv. Im Sinne von Girard ist die Taxi Driver (1976), dargestellt von Helmut Theorie des Blutopfers Teil der Mythologie und Däuker. Der von chronischer Schlafosigkeit somit indirekt auch Teil populärer Mediennar- und quälender Einsamkeit verfolgte Vietnam- rative, wie man sie speziell in Scorseses Filmen veteran Travis Bickle durchstreift Nacht für fndet. Auf dem Boden einer Skizze der hier re- Nacht mit seinem Taxi New York. Seine Ver- levanten Theorieelemente untersucht der Au- suche, Kontakt zu Frauen aufzunehmen, stoßen tor mythologische Motive des Blutopfers (etwa auf Abweisung, was ihn kränkt und demütigt. 8 Einleitung und Überblick Travis gerät zusehends in den Bann der Obses- des Hollywoodkinos.
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