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Pressefotografie Im Spanischen Bürgerkrieg Robert Capa Und Sein

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Pressefotografie Im Spanischen Bürgerkrieg Robert Capa Und Sein DIPLOMARBEIT Titel der Diplomarbeit „Pressefotografie im Spanischen Bürgerkrieg Robert Capa und sein Fallender Soldat “ verfasst von Andrea Latschbacher angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. A 236 352 Studienblatt: Studienrichtung lt. Diplomstudium Romanistik Spanisch Studienblatt: Betreuer: Univ.-Prof. Dr. Jörg Türschmann Danksagung Zu Beginn meiner Arbeit möchte ich mich bei jenen Personen bedanken, die mich während der Zeit des Schreibens immer unterstützt haben. Hier soll natürlich meine Familie an erster Stelle stehen. Meine Eltern, die geduldig mit mir waren und mir während des Schreibprozesses genügend Freiraum gaben mich entfalten zu können. Auch mein Bruder Peter trug seinen Teil zu meiner Arbeit bei, indem er mich immer wieder anspornte schneller zu sein als er. Den wichtigsten Part trägt jedoch meine Schwester Verena, die mich und meine Launen ertrug und mich immer wieder ermutigte weiterzumachen. Weiters möchte ich meinen Freunden Dani, Karina, Karl, Marlene und Max danken, die mir mit Rat und Tat zur Seite standen, wo sie nur konnten. Auch möchte ich Univ.-Prof. Dr. Jörg Türschmann danken, der sich trotz seiner bereits hohen Anzahl an zu betreuenden Studenten, noch dazu bereit erklärte mich zu betreuen. Inhaltsverzeichnis 1. Einleitung 1 2. Pressefotografie 4 2.1. Definition des Begriffs Pressefotografie .................................................................4 2.2. Die Entwicklung der Printmedien...........................................................................6 2.3. Kriegsfotografie ......................................................................................................6 2.4. Die Ausrüstung der Pressefotografen: die Kleinbildkameras .................................8 3. Biografisches 10 3.1. Endre Ernö Friedmann ..........................................................................................10 3.2. Politische Einstellung............................................................................................12 3.3. Exil in Deutschland ...............................................................................................12 3.4. Flucht nach Paris ...................................................................................................14 3.5. Die Geburt einer Legende .....................................................................................15 3.6. Aufbruch nach Spanien .........................................................................................17 3.7. Gerda Taro – Liebe und Arbeit .............................................................................17 3.8. Flucht nach Amerika .............................................................................................18 3.9. Das Ende des Kriegsfotografen.............................................................................19 3.10. Farbfotografie........................................................................................................20 3.11. Capa – ein Mann der gute Gesellschaft schätzte...................................................20 3.12. Der Blick für das Besondere .................................................................................23 3.13. Magnum………………………………………………………………………….23 4. Der Spanische Bürgerkrieg 26 4.1. Aufbruch nach Spanien .........................................................................................26 4.2. Zweite Reise nach Spanien für Regards ................................................................27 4.3. Taros Tod ..............................................................................................................30 4.4. Vorkommnisse in Spanien während Capas Arbeitszeit in China..........................31 4.5. Rückkehr an die spanische Front ..........................................................................32 4.6. Freundschaften im Majestic Hotel ........................................................................33 4.7. Schlacht am Río Segre ..........................................................................................33 4.8. Selbst verfasste Texte zu seinen Reportagen ........................................................34 4.9. Ein Kriegsfotograf am Ende seiner Kraft..............................................................35 4.10. Ein Abschied auf immer........................................................................................36 4.11. Bildbände als Propagandamittel............................................................................37 4.11.1. Death in the making ...............................................................................37 4.11.2. La lucha del pueblo español por su libertad ..........................................38 4.11.3. Madrid ....................................................................................................39 5. Der Fallende Soldat 41 5.1. Bildbeschreibung...................................................................................................41 5.2. Formatbeschreibung..............................................................................................43 5.3. Der zweite Fallende Soldat ...................................................................................44 5.4. Die Identität des Fallenden Soldaten ....................................................................45 5.5. Entstehungsort.......................................................................................................46 5.6. Die Veröffentlichung des Fallenden Soldaten ......................................................47 5.7. Zweifel an der Authentizität des Bildes ................................................................48 5.8. Der Fallende Soldat unter forensischer Betrachtung ............................................50 5.9. Selbstinszenierung oder schlechtes Gewissen.......................................................51 6. Gerda Taro 53 6.1. Biografie................................................................................................................53 6.2. Das Paar Robert Capa und Gerda Taro .................................................................54 6.3. Kampf gegen den Faschismus – Aufbruch nach Spanien .....................................55 6.4. Gerda Taros Tod....................................................................................................57 7. Der mexikanische Koffer 60 7.1. Die Zusammenführung Capas Arbeiten................................................................60 7.2. Der Inhalt des mexikanischen Koffers ...................................................................62 8. Conclusio 65 9. Resumen en español 68 BIBLIOGRAPHIE 78 ABBILDUNGSNACHWEIS 82 ABSTRACT 91 LEBENSLAUF 93 1. Einleitung If your picture isn´t good enough, you´re not close enough. 1 Dieser Satz stammt von Robert Capa, jenem Mann der als „Greatest War - Photographer in the World“ 2 in die Geschichte eingegangen ist. Wie kein anderer hat er die Pressefotografie während des Spanischen Bürgerkrieges geprägt. Pressefotografie begegnet uns alltäglich und ermöglicht uns an den Geschehnissen der Welt teilzunehmen. Durch die illustrierten Artikel, vermögen wir Anteil an den Schicksalen anderer Menschen zu nehmen. Diese Informationsquelle, wäre ohne die Pressefotografen nicht das Gleiche. Ihre Arbeit dient uns nicht nur als Verständnishilfe, sondern stellt einen gewissen Bezug zur Realität her. Denn ohne Bildmaterial, erscheint es uns oft schwierig sich vorzustellen was wirklich passiert. Die Kriegsberichterstattung im Spanischen Bürgerkrieg war besonders wichtig. Nicht nur, weil es zu dieser Zeit technische Erneuerungen in der Fotografie gab. Die Kriegsfotografen hatten sich zum Ziel gesetzt, alle Länder aufzurütteln, um ihren Fokus auf Spanien zu lenken. Sie wollten auf die Lage in Spanien aufmerksam machen und die Welt vor der drohenden Gefahr des Faschismus warnen. Dieses Ziel verfolgte auch Robert Capa. Ihm war nicht nur wichtig ein gutes Bild zu schießen, sondern eine Botschaft weiterzugeben die etwas bewirkt. Dabei zählte für ihn nicht das Prestige eines Pressefotografen sondern, dass er etwas mit seiner Arbeit erreichen konnte. So schrieb Capa in einem Brief an einen Freund: „…mehr und mehr hab ich den Eindruck, zum Aasgeier zu werden… Der größte Wunsch eines Kriegsreporters ist es, arbeitslos zu sein.“ 3 Als das Bild des Spanischen Bürgerkriegs wird Robert Capas Fotografie der Fallende Soldat gehandhabt. Keine Abbildung vermag die Vorkommnisse in Spanien besser zu verdeutlichen, als Capas Werk. Es wird, seit der ersten Veröffentlichung dieser Fotografie, über die Authentizität des Entstehungsmomentes diskutiert. Des Weiteren wird nach der Identität und dem Ort, an welchem der Soldat zu Boden ging, gesucht. Es gibt viele Hinweise und Thesen, welche jedoch alle in eine verschiedene Richtung weisen. 1 Schaber et al. 2008, S. 24. 2 Whelan 2007, S. 162. 3 Lebrun/Lefebvre 2011, S. 179. 1 Deshalb möchte ich in mich, diesem Mythos zuwenden und anhand von verschiedenen wissenschaftlichen Thesen untersuchen, ob die Frage heutzutage geklärt werden kann. Wurde der Fallende Soldat gestellt oder handelt es sich um eine Momentaufnahme, welche in einem tragischen Augenblick entstanden ist. Dabei werde ich mich auf die Aussagen und Kommentare von Capa – Experten stützen. Diese Zusammenführung von verschiedenen Ansichten, soll dazu beitragen sich ein eigenes Urteil bilden zu können, ob das Foto gestellt wurde oder nicht. Zu Beginn werde ich auf die Definition der Pressefotografie eingehen. Auch
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