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5 Die Entstehung Eines Stils Hauke Lehmann Affektpoetiken des New Hollywood Cinepoetics Poetologien audiovisueller Bilder Herausgegeben von Hermann Kappelhoff und Michael Wedel Band 2 Hauke Lehmann Affektpoetiken des New Hollywood Suspense, Paranoia und Melancholie D 188: Dissertation der Freien Universität Berlin, 2013 ISBN 978-3-11-048011-5 e-ISBN (PDF) 978-3-11-048873-9 e-ISBN (EPUB) 978-3-11-048876-0 ISSN 2509-4351 Dieses Werk ist lizenziert unter der Creative Commons Attribution-NonCommercial- NoDerivatives 3.0 Lizenz. Weitere Informationen finden Sie unter http://creativecommons.org/licenses/by-nc-nd/3.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2017 Hauke Lehmann, publiziert von Walter de Gruyter GmbH, Berlin/Boston Dieses Buch ist als Open-Access-Publikation verfügbar über www.degruyter.com. Einbandabbildung: Still aus „A Safe Place“, Regie: Henry Jaglom, USA 1971, BBS Productions. Criterion DVD Satz: fidus Publikations-Service GmbH, Nördlingen Druck und Bindung: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com Inhalt Danksagung IX 1 Die Aufspaltung des Zuschauers 1 1.1 Einleitung 1 Eine Geschichte des Fühlens 1 Ein Riss im Fühlen 5 Der Schock der Freiheit 9 1.2 Filmische Expressivität 13 Emotion in der Filmtheorie 13 Filmische Bewegung und der Zuschauer 17 Das Ganze und die Dauer 20 Ausdruck und Erfahrung 22 Filmische Bewegung und Emotion 24 1.3 Zur Affektpoetik des New Hollywood 30 Der Begriff des New Hollywood 30 Der inkohärente Text 40 Das Neue am New Hollywood 44 Schock und Freiheit: Modi von Affektivität 47 2 Suspense: Formen filmischen Denkens 54 2.1 Theoretische Herleitung 54 Forschungsstand zum Suspense 57 Das Paradox des Suspense 62 Etymologie und erste Schlussfolgerungen 65 Suspense und filmische Bewegung 69 Suspendieren: Aufschieben 73 2.2 Analyse 76 Carrie 76 Die Prom Night-Sequenz 77 Die Fahrt 80 Rhythmus und Perspektive 86 Krönung und Demütigung 89 Aufschaukeln 96 Die Zeit der Imagination 98 Gesicht und Fratze 103 2.3 Schlussfolgerungen und historischer Ausblick 108 Telekinese und Emotion: Schock und Suspense 108 Suspense im New Hollywood: Subversion der Genres 115 VI Inhalt 3 Paranoia: Formen der Mediatisierung 119 3.1 Ideengeschichtlicher Kontext und theoretische Herleitung 119 Schwierigkeiten der Definition 122 Paranoider Stil und intellektuelle Gefühle 125 Paranoia und postklassisches Kino 128 3.2 Analyse 132 The Parallax View 132 Die Eingangssequenz 134 Die Bodenlosigkeit der Geschichte 141 Flächigkeit und Exponiertheit 144 Zapruder und der gespaltene Zuschauer 149 Ironische Zeitlichkeit 154 Wahrnehmung zwischen Fernsehen und Kino 157 Kombinatorik der Elemente 162 3.3 Historischer Ausblick 171 Paranoia im New Hollywood 171 Jenseits des New Hollywood: Paranoid Cinema of Action 180 4 Melancholie: Formen des Geschichtsempfindens 184 4.1 Genealogische Herleitung 184 Die Gefräßigkeit des Kinos 188 Der Spiegel und der unmittelbare Moment 191 Film als Todesspiegel 197 Kracauer, Anger und die Hinwendung zum Zuschauer 201 Melancholie und Kannibalismus 207 4.2 Analyse 209 Electra Glide in Blue 209 Das Ende des Films 213 Anklage und paradoxe Zeitlichkeit 219 Die Kamera als Engel der (Film-)Geschichte 223 Atomisierte Zeit 229 Tonalität und Pathos 232 Stimmung und Ver-Stimmung: Landschaft und Textur 235 Die Selbstentfremdung der Bewegung 241 4.3 Historischer Ausblick 244 Melancholie im New Hollywood 244 Das Spektrum der Stimmungen und die Suche nach Balance 250 Inhalt VII 5 Die Entstehung eines Stils: Zur Theorie und Poetik der Figur 255 5.1 Problemstellung und Analyse 255 David Holzman’s Diary 257 Point of View 263 Die Einstellung als abstrakte Struktur 266 Die Wandlung des Blicks 267 Zeitlupe und Ton: Das Bild als relationales Gefüge 272 Mikro-Suspense 280 5.2 Zum Zusammenhang von Figur und Stil: Modi von Affektivität 285 Die Metamorphose der Körper 285 Zeit, Perspektive und Figur 289 Vor und hinter der Kamera 296 Suspense, Paranoia und Melancholie 300 6 Schluss 307 6.1 Die neuen Formen im Spannungsfeld der affektiven Modi 307 Systematik der affektiven Modi 307 Kannibalismus: Das Ende der Welt im Horrorfilm 310 Der suspendierte Suspense im Road Movie 316 Paranoia und Melancholie im Neo-Noir 321 6.2 Eine Geschichte des Fühlens: Kino nach 9/11 325 Abbildungsverzeichnis 335 Literaturverzeichnis 337 Namenregister 350 Filmregister 352 Sachregister 357 Farbabbildungen 361 Danksagung An dieser Stelle möchte ich mich bei allen bedanken, die mir die Abfassung und Fertigstellung dieser Arbeit ermöglicht und erleichtert haben. Der erste Dank gilt meinem Doktorvater, Prof. Hermann Kappelhoff, der mir bei der Themenfindung behilflich war, mir über die Jahre immer wieder konzeptionelle und theoretische Orientierung gegeben und mich auf vielfältige Weise und in vielerlei Hinsicht unterstützt hat – von der ersten Idee bis zur Veröffentlichung. Des Weiteren danke ich meiner Zweitbetreuerin, Prof. Gertrud Koch, die mir zahlreiche wertvolle Rat- schläge und Hinweise hat zukommen lassen, sowohl auf thematisch/inhaltlicher als auch auf methodischer Ebene. Allgemein meinen Dank aussprechen möchte ich den Colloquien von Prof. Kappelhoff, von Prof. Koch und der Graduierten- schule des Clusters Languages of Emotion für eine ganze Reihe anregender, moti- vierender und fruchtbarer Diskussionen über meine Arbeit. Speziell möchte ich mich bedanken bei Sarah Greifenstein (fürs Korrekturlesen und für viele hilfrei- che Anregungen, besonders zum Thema Suspense), bei Sarah-Mai Dang (fürs Kor- rekturlesen), bei David Gaertner (für seine großzügige Starthilfe bei der Sichtung des Korpus), sowie bei Jan-Hendrik Bakels und Hye-Jeung Chung für Gedanken, die diese Arbeit weitergebracht haben. Schließlich möchte ich mich beim Cluster Languages of Emotion bedanken – zum einen für die finanzielle Förderung, ohne die diese Arbeit nicht möglich gewesen wäre; und zum anderen bei der Leitung der Graduiertenschule, namentlich Prof. Gisela Klann-Delius und Dr. Markus Edler, die die Entstehung dieser Arbeit wohlwollend begleitet und nach Kräften gefördert haben. Dem De Gruyter Verlag möchte ich für die kompetente Hilfe bei der Publikation dieses Buches danken. Diese Publikation verdankt sich der groß- zügigen finanziellen Unterstützung durch die Kolleg-Forschergruppe Cinepoetics. Zudem möchte ich meinen Eltern für alle Unterstützung während des Studi- ums und der Promotionszeit danken. Der abschließende Dank gilt meiner Frau Judith, die mich in den vergange- nen fünf Jahren nicht nur bei der Arbeit an dieser Dissertation unterstützt hat und die mein Leben jeden Tag reicher macht. DOI 10.1515/9783110488739-003, © 2017 Hauke Lehmann, publiziert von De Gruyter. Dieses Werk ist lizenziert unter der Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Lizenz. 1 Die Aufspaltung des Zuschauers 1.1 Einleitung Eine Geschichte des Fühlens Dieses Buch stellt zwei Fragen, die miteinander zusammenhängen. Erstens: Wie konstituiert sich affektives Erleben im Kino? Worauf beziehen sich Zuschauer, wenn sie emotional reagieren, wenn sie sich empören, wenn sie es vor Spannung kaum aushalten, wenn sie in Tränen ausbrechen? Werden sie angerührt vom Schicksal der Figuren, von moralischen und psychologischen Konflikten? Ist das Spektrum ihres Gefühlslebens durch die Narration des Films vorstrukturiert? Oder sind diesen Dimensionen möglicherweise Prozesse vorgelagert, welche die Verbindung zwischen Film und Zuschauer subtiler und zugleich tiefgreifender bestimmen? Und zweitens: Auf welcher Grundlage lässt sich eine Geschichte des damit implizierten Verhältnisses schreiben? Wie kann eine Geschichte aussehen, die sich die Bedingungen affektiven Erlebens im Kino zum Gegenstand nimmt, und worauf muss sie zuvorderst ihr Augenmerk richten? Die Antwort auf beide Fragen, so meine Hypothese, liegt in der Analyse filmischer Bewegung – Bewe- gung in ihrem ganzen Facettenreichtum, von der feinen Abstufung ihrer Nuancen bis zur Möglichkeit überwältigender Emphase. Die folgenden Seiten entfalten das Panorama des New Hollywood als einer distinkten filmhistorischen Periode, die sich in zweifacher Weise auszeichnet: zum einen durch eine gänzlich neue Art und Weise, filmische Bewegung zu denken und einzusetzen, und zum anderen durch eine radikale Neubestimmung des affektiven Verhältnisses zwischen Film und Zuschauer. Die den Ausfüh- rungen zugrundeliegende These lautet, dass diese beiden Charakteristika aufs engste miteinander verschränkt sind. Als theoretische Behauptung ist das nicht neu; der Gewinn dieses Ansatzes besteht vielmehr darin, die erste Frage mit der zweiten Frage zu verbinden, und das heißt: Filmgeschichte als eine Geschichte des Fühlens zu schreiben. Unter dieser Devise beabsichtige ich, die programmatisch fast bis zum Über- druss postulierte Verschränkung zwischen Bewegung und Emotion analytisch nachzuweisen und in ihrer Konkretion nachvollziehbar werden zu lassen. Eine solche Geschichte ist weder angelegt als psychologische Geschichte des amerika- nischen Films, noch als eine Rekonstruktion historischer Kinoerfahrung. Es geht also weder darum, in den Filmen des New Hollywood den Niederschlag histori- scher Ereignisse und Entwicklungen aufzuspüren, noch darum, herauszufinden, wie tatsächliche, historische
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