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The Fiddler of Florence Contents Introduction 2 Greetings 4 The Movie Overview 6 Short bios 8 Contemporary Press Reviews 18 The Revival The Restoration 22 The Music 30 The Background Historical Background 36 The Publishers 42 Publishing Credits, Legal Notice, Footnotes and Picture Credits 45 3 Fortunately, Tucholsky’s last critics (apart from Bergner’s scenes, “Bergner! Bergner! cheered wish didn’t come true. The following the critics were especially taken with the gallery. And those of year, the celebrated theater actress ap- the original landscape shots from Tus- peared in front of the camera for the cany, which was still so far away at us who were there bowed first time in a movie by her future the time), was shortened enormously husband Paul Czinner, followed in by its U.S. distributor. Thanks to the our heads, and blessed her, 1925/26 by THE FIDDLER OF FLORENCE, elaborate restoration and reconstruc- and wished her all the best. the opening movie of this year’s UFA tion by the Friedrich Wilhelm Mur- Film Nights, which is able to be shown nau Foundation, however, the movie Praying that God would in full again for the first time. is now available again in a complete Elisabeth Bergner was an icon and digitized version, almost one preserve her, so young, of her time. The actress, born in 1897 hundred years after its creation. in Drohobycz in present-day Ukraine Digitization currently poses the so beautiful, so fair. and raised in Vienna, embodied an greatest challenge. Anything that isn’t And that film would stay ideal of beauty of the 1920s. “Boy- transferred from analog film material ishly slim, wide-eyed, with an Eton to digital media in the next few years away from her…” crop, naive and coquette with a se- threatens to vanish in the media age of ductive, singing voice, half elf, half the 21st century. The aim is not only angel, hardly a woman,” wrote Der to make movies available on new stor- Kurt Tucholsky Spiegel in an obituary. age media, but also in the best quality THE FIDDLER OF FLORENCE, and, if possible, in their original form. Die Weltbühne, May 10, 1923 in which the celebrated theater star The Friedrich Wilhelm Murnau Foun- Bergner appeared again alongside the dation and its partners worked on the great Conrad Veidt (after their first movie for over a year. The project was joint film NJU), was just one of many made possible by the support of Ber- movies that Paul Czinner and Eli- telsmann as the main sponsor. sabeth Bergner made together. In 1933 Bergner and Czinner, Now you can look forward with who were both Jewish, first fled to us to the premiere of the reconstruct- Vienna and from there to London, ed version, for which ZDF/ARTE com- where they married and found a new missioned Uwe Dierksen to compose home. They also celebrated great suc- a new score. cess abroad; in 1935, Bergner was even nominated for an Oscar. THE FIDDLER OF FLORENCE, however, did not fare so well. The movie, celebrated by contemporary 4 5 few theaters still have analog projec- years, and is traditionally engaged in Dear tion technology. Foundations and Dear silent the restoration and new composition/ film fans, movie archives face the mammoth movie fans, re-recording of film scores that cele- task of elaborately restoring our at-risk brate their splendid premieres as live silent movie heritage and digitizing it events in festival or concert halls at Silent movies exert an endur- for posterity; a task that they can hard- This is the eighth time Bertels- the Berlinale and elsewhere. ing fascination: They enable us to ly cope with alone. mann and UFA are presenting the UFA The digitization of this movie travel back in time to the early days This is where Bertelsmann can Film Nights in Berlin against a spectac- was made possible with funds from of cinema. Without sound, actors and wants to help. As a company with ular backdrop – a wonderful tribute to the Federal Government Commis- and directors had to develop their its own tradition in the movie busi- German film heritage. Putting silent sioner for Culture and the Media, an own language and find new forms of ness and extensive digital expertise, film at the center of Berlin’s cultural essential and now enduring basis for artistic expression. Their works re- we feel we are practically predestined life and showing it to an enthusiastic our key mandate of preserving Ger- flect this pioneering spirit and draw to do this. Bertelsmann organizes si- public is the best possible way to pro- many’s film heritage. people to movie theaters and silent lent movie festivals in European cit- mote the preservation and digitization In particular, I would like to movie festivals to this day. ies and sponsors major restoration of our cinematic heritage. highlight the enduring commitment of No less fascinating is the cul- projects, as when we digitally re- With Paul Czinner’s THE FID- our main sponsor Bertelsmann, which tural-historical significance of this stored THE CABINET OF DR. CALIGARI DLER OF FLORENCE – in a version has close connections to the history art form, which is now nearly a cen- together with the Friedrich Wilhelm digitally and painstakingly restored of German cinema – and thus also to tury old. Silent movies are the start- Murnau Foundation in 2014. We by the Friedrich Wilhelm Murnau our foundation – through the historic ing point of all cinematic genres. largely financed the restoration of Foundation over recent months – company, Ufa. This year, once again, They are the bedrock of the creative an early masterpiece by the director we have once again succeeded in pre- Bertelsmann is sending out a visible sig- diversity of the movie industry as we of METROPOLIS, Fritz Lang: DESTINY senting the world premiere of a mo- nal for the preservation of this world- know it today. As a company that has from 1921. Now we have supported mentous work of film history, in its wide unique, historical cultural asset by been living off the creative achieve- the Friedrich Wilhelm Murnau Foun- complete version and in new splen- hosting the UFA Film Nights in Berlin. ments of its filmmakers, authors, dation in the restoration of another dor, to an audience of cinephiles. Our audiovisual legacy is a living musicians and journalists for over classic silent film: THE FIDDLER OF The tragicomedy, which tells the memory bank that is at threat of dis- 180 years, we know the high value of FLORENCE by Paul Czinner (1925/26). romantic adventures of a young wom- appearing in this age of digitalization. such inspiring and timeless works. I hope you are as delighted as I am an dressed as a man who travels to Italy, Keeping this special European cultural For some time now, Bertels- that this silent movie classic can now where she acts as a model to a painter, asset alive is our shared motivation. mann has been committed to the pres- be shown again in its complete state shows Elisabeth Bergner in one of her ervation of important cultural assets – and in digital cinematic quality! pivotal roles. The film also captivates Yours sincerely, including cinematic heritage – at a viewers with its extraordinary camer- Ernst Szebedits European level. This is especially nec- Yours sincerely, awork, and takes them on a journey Chairman of the Friedrich Wilhelm essary in the case of silent movies, Thomas Rabe through Italy’s beautiful countryside. Murnau Foundation because the copies that still exist are Chairman & CEO of Bertelsmann My thanks go out to the cultur- not only getting old, but will soon no al broadcaster ZDF/ARTE, which has longer even be accessible. Only very been our premium partner for many 6 7 The Fiddler of Florence Premiere (GER 1925/1926, 82 min.) Original March 10, 1926 Until now, young Renée has en- Renée to a Swiss boarding school. But Gloria-Palast, Berlin joyed the undivided attention of her she flees across the border into Italy, Restored Version August 22, 2018 beloved father. But after his wedding, disguised as a shepherd boy. During at the UFA Film Nights in Berlin their domestic circumstances change. her journey through the country, and via live stream: Driven by jealousy, the girl begins to Renée’s violin playing attracts the cinema.arte.tv/de compete bitterly with her stepmother. attention of a painter. He takes the Television premiere September 24, 2018 on ARTE When an attempt at reconciliation supposed young man into his home – fails, the father finally sends the fiery and soon finds his muse in Renée… Restoration (2018) Production Restoration Friedrich Wilhelm Murnau Foundation Funding Bertelsmann SE & Co. KGaA Director Paul Czinner Federal Government Commissioner Screenplay Paul Czinner for Culture and the Media Set construction Erich Czerwonski Material Federal Archive Film Archive Cinematography Otto Kanturek Editing Anke Wilkening Adolf Schlasy Scan & digital mastering 2K ARRI Media Arpad Viragh Color correction Andreas Lautil Producer Erich Pommer Digital image restoration Markus Kappelmeier Production company Universum-Film AG, Berlin Music (2018) Cast Music The father Conrad Veidt (commissioned by ZDF/ARTE) Uwe Dierksen His daughter Renée Elisabeth Bergner Recording Diego Ramos (violin and mandolin), His second wife Nora Gregor Hugo Rannou (cello), Neus Estarellas The painter Walter Rilla (piano), Miguel Casas (trombone) His sister Grete Mosheim Executive Producer 2eleven || zeitgenössische musik projekte (contemporary music projects) Thomas Schmölz Editing Nina Goslar 8 9 Biographies THE CABINET OF DR. CALIGARI (1920) Elisabeth remains unforgotten. Veidt only rare- Bergner ly played positive roles such as that of the loving father in THE FIDDLER * 22 Aug 1897 Drohobycz, Gali- OF FLORENCE.
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  • Sound: Eine Arbeitsbibliographie 2003

    Sound: Eine Arbeitsbibliographie 2003

    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_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 / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.