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Der Sowjetische Märchenfilm Zwischen Folkloretradition Und

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Der Sowjetische Märchenfilm Zwischen Folkloretradition Und Von Helden, Bösewichten und Herrschern: Der sowjetische Märchenfilm zwischen Folkloretradition und Entstehungswirklichkeit Mit einer umfangreichen Materialdokumentation sämtlicher in der Sowjetunion von 1938-1989 entstandenen Märchenlangspielfilme Inaugural-Dissertation zur Erlangung der Doktorwürde der Philologischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. vorgelegt von Sebastian Hoferer aus Straubenhardt SS 2015 Erstgutachterin: Prof. Prof. h.c. Dr. Dr. h.c. Elisabeth Cheauré Zweitgutachter: JunProf. Dr. Stephan Packard Vorsitzender des Promotionsausschusses der Gemeinsamen Kommission der Philologischen, Philosophischen und Wirtschafts- und Verhaltenswissenschaftlichen Fakultät: Prof. Dr. Hans-Helmuth Gander Datum der Disputation: 07. 03. 2016 INHALTSVERZEICHNIS EINLEITUNG...................................................................................................................................1 A. THEORETISCHE UND PRAKTISCHE VORARBEITEN........................................................4 I. Allgemeines zum Märchen.............................................................................................................4 I.1. Das Volksmärchen: Erkenntnisse der Märchenforschung...............................................5 I.2. Das Kunstmärchen: Versuch einer Definition...............................................................17 I.3. Das Märchen und sein Bezug zur Wirklichkeit............................................................24 II. Märchen und Märchenfilm..........................................................................................................25 II.1. Der Märchenfilm und seine Besonderheiten...............................................................25 II.2. Pro und Contra des Märchenfilms...............................................................................30 II.3. Forschungsstand zum Thema Märchenfilm, Märchen und Film.................................33 III. Zielsetzung, Untersuchungsgegenstand und Arbeitsvorgehen..................................................45 III.1. Fragestellung..............................................................................................................45 III.2. Zur Erstellung und Zusammensetzung des Filmkorpus.............................................47 III.2. Arbeitsschritte bei der Korpusauswertung.................................................................50 B. DER SOWJETISCHE MÄRCHENFILM UND SEIN BEZUG ZUR FOLKLORE: VERSUCH EINER GENRETYPOLOGIE.........................................................................52 I. Methodische Überlegungen..........................................................................................................52 I.1. Zum Genrebegriff..........................................................................................................52 I.2. Syntaktik vs. Semantik in Märchen und Märchenfilm.................................................53 II. Die Spielarten des sowjetischen Märchenfilms in ihrem Verhältnis zur Folklore......................56 II.1. ,Erzähltypenadaptionen’..............................................................................................57 II.2. ,Neue Erzähltypenvarianten’.......................................................................................61 II.3. ,Erzähltypenmutationen’..............................................................................................64 II.4. ,Neue Erzähltypen’......................................................................................................69 II.5. ,Folkloremutationen’...................................................................................................70 II.6. ,Sagenhafte Märchenfilme’..........................................................................................73 II.7. Grenzfälle, fließende Übergänge und Probleme bei der Klassifizierung....................74 II.8. Sonderfälle...................................................................................................................79 II.8.1. Das Phänomen Crossover-Märchen.............................................................79 II.8.2. Die Sonderstellung von Hans-Christian-Andersen-Adaptionen..................82 C. DER SOWJETISCHE MÄRCHENFILM UND SEIN BEZUG ZUR WIRKLICHKEIT: EXEMPLARISCHE FALLSTUDIEN................................................................................84 I. Zum Verhältnis von Märchen und Sozialistischem Realismus....................................................85 I.1. Märchen in der Zeit des Sozialistischen Realismus......................................................85 I.2. Märchen und Sozialistischer Realismus – ein ungleiches Begriffspaar?......................87 I.3. Märchenheld und positiver Held des Sozialistischen Realismus – Brüder im Geiste?.....................................................................................................................91 II. Methodische Überlegungen........................................................................................................92 II.1. Die Figuren des Märchens und ihr semantisches Potential.........................................92 II.2. Zur Transmedialität und zur Medienspezifik des Films..............................................97 II.3. Allgemeines zu den exemplarischen Fallstudien.......................................................102 III. S a m p l e 1 : Kaščej Bessmertnyj – Die verschiedenen Gesichter eines Bösewichts..........104 III.1. Zum Hintergrund......................................................................................................104 III.1.1. Kaščej Bessmertnyj und sein Tod im Ei im russischen Volksmärchen …..............................................................................................................104 III.1.2. Kaščej Bessmertnyj im sowjetischen Märchenfilm..................................107 III.2. Kaščej Bessmertnyj (Der unsterbliche Kaschtschai, 1944).....................................108 III.2.1. Entstehungs- und Rezeptionskontext und genrespezifische Einordnung …..............................................................................................................108 III.2.2. Analyse unter Berücksichtigung der narrativen Ordnung der Geschichte und der Figurensemantik...........................................................................110 III.2.3. Zusammenfassung der Ergebnisse und Schlussfolgerung........................124 III.3. Kontextualisierung und Bezug zum Gesamtkorpus: Der Märchenfilm der Stalinzeit................................................................................................................126 III.4. Ogon’, voda i... mednye truby (Feuer, Wasser und Posaunen, 1968)......................130 III.4.1. Entstehungs- und Rezeptionskontext und genrespezifische Einordnung …..............................................................................................................130 III.4.2. Analyse unter Berücksichtigung der narrativen Ordnung der Geschichte und der Figurensemantik..........................................................................132 III.4.3. Zusammenfassung der Ergebnisse und Schlussfolgerung........................147 IV. S a m p l e 2 : Fürsten, Könige und Zaren – Bilder von Herrschern und Herrschaft.............151 IV.1. Zum Hintergrund......................................................................................................151 IV.1.1. Der Herrscher im Märchen........................................................................151 IV.1.2. Herrscher und Herrschaftskritik................................................................153 IV.2. Iľja Muromec (Ilja Muromez/Der Kampf um das Goldene Tor, 1956).....................154 IV.2.1. Entstehungs- und Rezeptionskontext und genrespezifische Einordnung …..............................................................................................................154 IV.2.2. Analyse unter Berücksichtigung der narrativen Ordnung der Geschichte und der Figurensemantik..........................................................................156 IV.2.3. Zusammenfassung der Ergebnisse und Schlussfolgerung.........................175 IV.3. Kain XVIII ([Kain XVIII.], 1963)..............................................................................178 IV.3.1. Entstehungs- und Rezeptionskontext und genrespezifische Einordnung …..............................................................................................................178 IV.3.2. Analyse unter Berücksichtigung der narrativen Ordnung der Geschichte und der Figurensemantik..........................................................................181 IV.3.3. Zusammenfassung der Ergebnisse und Schlussfolgerung.........................199 IV.4. Ivan da Mar’ja (Iwan und Marja, 1974)..................................................................202 IV.4.1. Entstehungs- und Rezeptionskontext und genrespezifische Einordnung …..............................................................................................................202 IV.4.2. Analyse unter Berücksichtigung der narrativen Ordnung der Geschichte und der Figurensemantik..........................................................................204 IV.4.3. Zusammenfassung der Ergebnisse und Schlussfolgerung........................219 IV.5. Kontextualisierung und Bezug zum Gesamtkorpus: Der Märchenfilm im Poststalinismus......................................................................................................222 V. Perestrojka im Märchenfilm?....................................................................................................230
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