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Ed Wood. Trash Und Ironie 2012 Repositorium für die Medienwissenschaft Daniel Kulle Ed Wood. Trash und Ironie 2012 https://doi.org/10.25969/mediarep/13828 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kulle, Daniel: Ed Wood. Trash und Ironie. Berlin: Bertz + Fischer 2012 (Deep Focus 14). DOI: https://doi.org/10.25969/mediarep/13828. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.17192/ep2012.3.931 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ Ed Wood Trash & Ironie Deep Focus 14 Danksagung: Das vorliegende Buch ist eine überarbeitete Fassung einer Dissertation, die von der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelm-Universität zu Bonn im Juni 2011 angenommen wurde. Ein solches Buch lässt sich nicht ohne die Unterstützung durch Freunde und Kollegen schreiben. Danken möchte ich daher denjenigen, die durch ihre großzügige Unterstützung die Arbeit an diesem Werk und den Druck dieses Buches möglich gemacht haben, allen voran Einhard und Jutta Kulle, die mir schon das Studium finanziell erleichtert haben, Ingeborg Wick sowie meinen Eltern Margot und Volker Kulle und meinen Brüdern Christoph und Philipp Kulle. Danken möchte ich auch meinen beiden Betreuerinnen, Ursula von Keitz und Margrit Tröhler, die mir mit Rat und Kritik zur Seite standen. Und danken möchte ich nicht zuletzt dem Verlag Bertz + Fischer für die editorische Arbeit sowie der Geschwister Boehringer Ingelheim Stiftung für Geisteswissenschaften für den Druckkostenzuschuss zu diesem Buch. Über den Autor: Daniel Kulle hat Biologie und Geografie in Kiel studiert und, nach mehreren Forschungsreisen in Namibia, Honduras und der Antarktis, seine Diplomarbeit im Bereich der Polarökologie und Fotosyntheseforschung geschrieben. Einen radikalen Fachwechsel vollzog er, indem er in Zürich ein Zusatzstudium der Filmwissenschaft absolvierte. Als wissenschaftlicher Mitarbeiter der Film- und Medienwissenschaft in Zürich und Bonn forschte er zu Trash und Exploitation, Raumtheorie, Queer Cinema und transmedialem Erzählen. Das Buch über Ed Wood basiert auf seiner Dissertation. Derzeit bereitet er in Hamburg ein Forschungsprojekt zur Kinästhetik des Actionfilms vor. Daniel Kulle Ed Wood Trash & Ironie 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. Gedruckt mit Hilfe der Geschwister Boehringer Ingelheim Stiftung für Geisteswissenschaften in Ingelheim am Rhein Redaktionelle Mitarbeit: Deborah Bischofberger, Barbara Heitkämper, Josefine Löser Fotonachweis: Umschlag vorne: Archiv des Verlages: PLAN 9 FROM OUTER SPACE (oben), BRIDE OF THE MONSTER. Umschlag hinten: Screenshots aus GLEN OR GLENDA, ORGY OF THE DEAD, PLAN 9 FROM OUTER SPACE, TAKE IT OUT IN TRADE (von oben nach unten). Innenteil: siehe S. 186. Alle Rechte vorbehalten © 2012 by Bertz + Fischer GbR, Berlin Wrangelstr. 67, 10997 Berlin Druck und Bindung: druckhaus köthen, Köthen Printed in Germany ISBN 978-3-86505-315-2 Inhalt Einleitung 9 Theorie 15 Erste Annäherungen an das Phänomen des Trash 15 Die fragile Konstruktion eines Trashkorpus 16 Trash, B-Movies oder Exploitation? 18 Trash zwischen Obszönität, Kult und Camp 20 Trash und Individual-Listen 24 Schlechter Geschmack als soziale Distinktion 25 Trash als Abfall der Filmkritik? 26 Trash als subversives Produkt des Fandom? 28 Trash und die Entwertung als Müll 31 Müll als Nutzlosigkeit 33 Müll als Eigenschaftslosigkeit und als Zeitlichkeit 34 Müll und Recycling 36 Hybridität als Bedrohung 38 Jogurtbecher und Trashfilm 39 Die Paradoxa des Trashfilms 40 Trash und die ironische Aufwertung 41 Vier Arten des Umgangs mit schlechten Filmen 43 Absurdismus und romantische Ironie 46 Trashrezeption als Suche nach Widersprüchlichkeiten 48 Geschichte 50 Die Hollywoodindustrie in den 1950ern 51 Das Paramount-Urteil öffnet den Kinomarkt 51 Billigfilme werden zur Mangelware 53 Unit-Producer-Modell flexibilisiert den Arbeitsmarkt 53 Hollywood und das Fernsehen 54 Der Anfang vom Ende des Production Codes 56 Die Strategien der Verleiher und Kinobetreiber 58 Das Phänomen der billigen Filme 61 Die B-Movies des Klassischen Hollywoods 61 Die Quickies am untersten Rande Hollywoods 63 Classical Exploitation 63 Teenploitation 66 Sexploitation 68 Edward D. Wood jr. im historischen Kontext 69 Ed Wood als Regisseur und Drehbuchautor 70 Das Team Wood zwischen altem und neuem Hollywood 74 Erratische und fragmentarische Arbeitsweise 76 Die Produktionsfirmen von Woods Filmen 77 Die Finanzierung von Woods Filmen 79 Ed Wood im Kontext der 1950er 82 Verleih und Vertrieb in Kino und Fernsehen 83 Genre 88 Vom klassischen Horror zum Weirdie 89 Der klassische Horrorfilm und seine Wurzeln 89 BRIDE OF THE MONSTER und der verrückte Wissenschaftler 91 Der Sciencefictionfilm der 1950er 94 NIGHT OF THE GHOULS und die An biederung an 97 das Teenagerkino THE BRIDE AND THE BEAST und das Jungle Picture 99 PLAN 9 zwischen Horror und Sciencefiction 101 Woods Horrorfilme und ihre Zeitlichkeit 102 Sex and Crime 102 GLEN OR GLENDA und der Aufklärungsfilm 103 JAIL BAIT als Krimi 108 THE VIOLENT YEARS und die weiblichen Halbstarken 110 THE SINISTER URGE und der Pornoring 112 Das Spätwerk: Sexploitation und Porno 114 Wood, Trash und Genre 115 Ästhetik 116 Spuren des Billigen 117 Filmpannen 119 Sichtbar schlechte Kulissen 121 Spezialeffekte 124 Laienspiel 125 Künstlichkeit und Pathos 128 Ein Arbeitsbegriff des Pathos 129 Das Pathos des Sprachlichen 131 Posen 133 Intertextualität der Figuren 135 Ansteckende Künstlichkeit 137 Sinnlosigkeit und Sinnhaftigkeit 141 PLAN 9 als ein sinnloser Film 142 Kausalität und Plausibilität 143 Die Handlungsmotivation der Figuren 145 Kaleidoskop-Räume 146 Die unsichere Positionierung des delegierten Erzählers 147 Found-Footage, Archivmaterial und Recycling 149 Nächtliche Räume 152 Ceci n’est pas un lieu 153 Dilettantismus 160 Eine Ästhetik des Scheiterns 160 If you can’t make it there ... 161 Die ironische Aufwertung des Dilettanten 162 Goethes und Schillers Dilettantismuskonzept 162 Der französische Dilettantismusbegriff 163 Schwärmer, Schelm, Sisyphos 164 Die Konstruktion von Wood im Fandom der 1980er 165 Das Biopic ED WOOD als Trivialisierung 168 Schlusswort 171 Anhang Kurzglossar 174 Bibliografie 175 Archivquellen und Urteile 185 Fotonachweis 186 Index 188 Einleitung Einleitung Oft bei Laternenschein, im roten Licht, / Souvent à la clarté rouge d’un réverbère / Wenn Wind die Flamme zaust und fast das Dont le vent bat la flamme et tourmen- Glas zerbricht, / In schlammig alten Gas- te le verre, / Au cœur d’un vieux fau- sen mit winkeligem Lauf / Dort, wo die bourg, labyrinthe fangeux / Où l’humanité Menschheit brodelt, als zög Gewitter auf, grouille en ferments orageux, Sieht man den Lumpensammler übers On voit un chiffonnier qui vient, hochant Pflaster holpern, / Kopfschüttelnd wie la tête, / Butant, et se cognant aux murs ein Dichter gegen Mauern stolpern; / Ihn comme un poète, / Et, sans prendre souci kümmern nicht die Lauscher, die sich um des mouchards, ses sujets, / Epanche tout ihn scharen, / Er muß sein Herz in kühnen son cœur en glorieux projets. Plänen offenbaren. Charles Baudelaire – Der Wein der Lumpen- Charles Baudelaire – Le Vin de chiffonniers sammler (In: Baudelaire 2008: 112) (In: Baudelaire 1861: 247) m Dezember 1978 eröffnete das Thalia- Besonders begeistert von Film und Fil- ITheater in Manhattan mit der Wieder- memacher war der 24-jährige Cineast Ru- aufführung eines Films, der längst in Ver- dolph Grey, der sich in den folgenden 14 gessenheit geraten war: GLEN OR GLENDA. Jahren der Aufgabe widmen sollte, Fotos, Der Film war 1953 von dem damals 28-jäh- Dokumente und Interviews zu einer Biografie rigen Edward D. Wood jr. gedreht worden. des Unbekannten zu formen. Ganz anders, Er war ein Mix aus Autobiografie und Do- mit geringfügigerer Akribie und doch eben- kumentarfilm, aus Horror und Pornografie, so wirkungsmächtig für das Fandom um Ed ein wirres Werk voller Inkonsistenzen und Wood war eine Publikation, die die beiden Absurditäten, das sich zum Ziel setzte, über Brüder Harry und Michael Medved 1980 he- das Thema Cross-Dressing und Transsexu- rausgaben. Nur wenige Monate nach Greys alität zu informieren, an diesem Anspruch Kinobesuch in Manhattan veröffentlichten aber grandios scheiterte. Auf Ed Wood wa- sie unter dem Titel Turkey Awards eine Pa- ren die meisten der Zuschauer allenfalls rodie auf die Oscarverleihung, in welcher einmal im Nachtprogramm des Fernsehens sie neben anderen die Auszeichnung für den gestoßen. Doch in einer Stimmungslage von schlechtesten Regisseur aller Zeiten verlie- subkultureller Hipness, Mitternachtskinos hen: an Ed Wood. und postmoderner Ironie war dieser seltsa- Die Lobpreisung der Medveds an den me Regisseur mit seinen noch seltsameren schlechtesten Regisseur aller Zeiten bildete Filmen ein geeigneter Magnet, um das New die Initialzündung des Wood-Fandoms. Der Yorker Publikum zu reizen. längst verstorbene Filmemacher der 1950er 9 Einleitung konnte in den folgenden Jahrzehnten eine soziologischen
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