Bewegtbilder Vom Fliegen

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Bewegtbilder Vom Fliegen Als die ersten Flugzeuge aufbrachen, um am Himmel zu kreuzen, waren Kameras zugegen, um die Erfüllung des alten Traums vom Fliegen festzuhalten. Galt die technische Innovation anfangs als Spektakel, so sind Flugzeuge heute ein alltägliches Fortbewegungsmittel, das seine ursprüng- liche Faszinationskraft verloren zu haben scheint. Ungemindert wirkungs- mächtig aber ist die Verknüpfung von visuellem Spektakel und Fliegen. Von der Ubiquität von Darstellungen des Fliegens in Film, Fernsehen und auf Internetplattformen wie YouTube bis zur audiovisuellen Nach- und Hochrüstung der Ausstattung von Passagierflugzeugen bleiben Bewegt- bilder und die Bewegung des Fliegens aufs vielfältigste aufeinander Fliegen vom Bewegtbilder Seatbelt! your Fasten bezogen. Der visuellen Attraktivität des in Bewegung gesetzten Blicks gehen die Beiträge dieses Buches nach. Die Autorinnen und Autoren be- schäftigen sich mit unterschiedlichen Filmen und Genres über das Fliegen, Judith Keilbach / Alexandra Schneider (Hg.): befragen das ästhetische Potential und die epistemologischen Effekte von Flugbildern und Luftaufnahmen und gehen den Unterhaltungsprogram- Fasten your Seatbelt! men im Flugzeug nach. Bewegtbilder vom Fliegen ISBN 978-3-643-10053-5 Keilbach / SchneiderKeilbach Medien' Welten LIT Keilbach / Schneider Fasten your Seatbelt! Medien ’ Welten Braunschweiger Schriften zur Medienkultur, herausgegeben von Rolf F. Nohr Band 11 Lit Verlag Münster / Hamburg / Berlin / London Lit Judith Keilbach / Alexandra Schneider Fasten your Seatbelt! Bewegtbilder vom Fliegen Lit Bucheinbandgestaltung: Tonia Wiatrowski / Rolf F. Nohr unter Verwendung eines Screenshots aus Christopher Strong (Dorothy Arzner, USA 1933) © RKO Radio Pictures Buchgestaltung: © Roberta Bergmann, Anne-Luise Janßen, Tonia Wiatrowski http://www.tatendrang-design.de Satz: Rolf F. Nohr © Lit Verlag Münster 2009 Grevener Straße / Fresnostraße 2 D-48159 Münster Tel. 0251-23 50 91 Fax 0251-23 19 72 e-Mail: [email protected] http://www.lit-verlag.de Chausseestr. 128 / 129 D-10115 Berlin Tel. 030-280 40 880 Fax o30-280 40 882 e-Mail: [email protected] http://www.lit-verlag.de/berlin/ Die Onlineausgabe ist lizenziert unter einer Creative Commons: Namensnennung - Nicht-kommerziell - Weitergabe unter gleichen Bedingungen 3.0 Unported Lizenz.(http://creativecommons.org/licenses/by-nc-sa/3.0/deed.de) Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. ISBN 978-3-643-10053-5 Printed in Germany Inhaltsverzeichnis Einleitung: Flugbilder 7 Patrick Vonderau 11 »Hi, I’m Cheryl, Fly Me!« Hollywood, die Deregulierung des Luftverkehrs und das Lächeln einer Stewardess Christine Hanke 23 Im Bann der Concorde Flugzeugkatastrophenfilme und Flugbildforschung Simon Rothöhler 43 »Roger, Roger?« Notizen zu einer kleinen Taxonomie filmischer Flugbilder Pierre-Emmanuel Jaques 55 Die Schweiz überfliegen Oder: »wie man die beste Werbung für unser Land macht« Markus Stauff 67 Bewegungsexzesse / Raumtransformationen Flugbilder und die Mobilitätskonstellation der Tour de France Judith Keilbach 91 Kurve über Stammheim (Flugbild 1975) Sabine Nessel 107 Flugbilder in Katastrophenfilmen Oder: wie das Kino den Menschen den Traum vom Fliegen zurückgibt Inhaltsverzeichnis 5 119 Drehli Robnik This is an air front! Luftkrieg gegen Bodenziele, Erfahrungskrisen und postheroischer Urbanismus bei William Wyler 141 Alexandra Schneider Projektionen im Flugzeug, Videofilme im Aufzug Gebrauchsfilme außerhalb des Kinos 153 Ralf Adelmann Geschichten einfliegen? Dynamische Einstellungen in Film und Fernsehen 167 Natalie Lettenewitsch Absturz zu Boden Flugzeugkatastrophe, Terrorismus und Inflight Entertainment 187 Malte Hagener Propaganda auf hoher See Bordkinos und Reisebilder deutscher Reedereien, 1919–1939 200 Autorenverzeichnis 6 Einleitung: Flugbilder Von der Erde losgelöst am Himmel zu fliegen war bereits in der Antike ein Wunschtraum der Menschen. Es dauerte lange, bis dieser Traum mit der Erfin- dung des Flugzeugs seine Erfüllung finden sollte. Hatten zuvor bereits Fessel- ballons, Zeppeline und öffentlich angekündigte Flugversuche die Bilderpro- duktion in der illustrierten Presse angeregt, so wurde das Fliegen mit dem Flugzeug endgültig zu einem Gegenstand von Fotografie und Film. Die frühen Bildberichte und Wochenschauen begeistern sich für die technische Innovati- on, entwerfen zukünftige Nutzungsmöglichkeiten und berichten atemlos über das Gefühl zu fliegen und den Blick von oben auf die Welt. Inzwischen gehören Flugzeuge zu den alltäglichen Fortbewegungsmitteln. Berichten Flugreisende über ihre Flugerfahrungen, so geht es kaum noch um die Faszination des Flie- gens, sondern vor allem um Verspätungen, unangenehme Kontrollen oder ver- lorene Gepäckstücke. Dieses Buch resultiert ebenfalls aus einem Austausch über Flugerlebnisse. Aus- gehend von visuellen Erfahrungen im Flugzeug, wie Live-Bilder von Start und Landung, die mit einer schwenkbare Außenbordkamera aufgenommen und di- rekt auf die Bordbildschirme übertragen wurde, oder die Folgen einer ausge- fallenen Videoanlage, über die eigentlich die Instruktionen zur Flugsicherheit abgespielt werden sollte, haben wir zu einem Workshop an die Freie Universi- tät Berlin eingeladen, um dem spektakulären Charakter des Fliegens nachzuge- hen. Wir haben uns angesichts der visuellen Aufrüstung durch Bildschirme, Ka- meras und Inflight Entertainment Programme unter anderem gefragt, ob sich Flugzeuge und Flughäfen als Unterhaltungszentren beschreiben lassen und inwiefern sie mit Multiplex-Kinos vergleichbar sind. Sind Flugzeuge und Flug- häfen als Orte zu verstehen, am denen der Wechsel vom Alltag in ein touris- tisches Dispositiv stattfindet, das dominant visuell bestimmt ist? Oder stellen die Bildschirme vor allem eine Reaktion auf die Ängste dar, die mit dem Fliegen und dem Fehlen von festem Boden unter den Füßen einhergehen? Die visuelle Qualität des Fliegens resultiert jedoch nicht nur aus dem Einsatz von Bildmedien vor und während der Flugreise. Verschiedenste Flugbilder tra- gen dazu bei, den ohnehin spektakulären Charakter des Fliegens zu akzentu- Einleitung 7 ieren. Vor allem Filme setzen Flugzeuge und den Blick von oben imposant in Szene. Handeln Spielfilme zuerst noch von den Abenteuern wagemutiger Flug- pioniere, von Rettungen in letzter Minute aber auch vom Tod, wenn eine Ma- schine zu Boden geht, so gilt ihr Interesse seit den 1970er Jahren zunehmend den Flugzeugkatastrophen im zivilen Luftverkehr. Ihren jeweiligen Genrekon- ventionen entsprechend entwerfen die Filme damit ganz unterschiedliche Bil- der vom und Geschichten übers Fliegen: geht es in den Abenteuerfilmen um die Faszination des Fliegens, um Obsessionen und eine Leidenschaft, die nicht selten zu Beziehungskonflikten führt, so akzentuieren Katastrophenfilme die Gefahren und Bedrohungen, die sich aus der Loslösung vom Erboden und der Abgeschlossenheit der Kabine ergeben können. Bilder, die von fliegenden Kameras aufgenommen wurden, werden bevorzugt verwendet, um einen Überblick herzustellen. So lässt sich beispielsweise der Schaden, den ein Wirbelsturm angerichtet hat, am besten durch einen Über- flug verdeutlichen, die Länge eines Staus wird aus dem Hubschrauber ermittelt und selbst die Überwachung von Rüstungs- und Nuklearprogrammen findet mit Hilfe des (Satelliten-)Blicks von oben statt. Insbesondere das sicherheits- politische Monitoring vermittelt dabei den Eindruck, dass es die Übersicht aus der Vogelperspektive ermöglicht, die Wahrheit zu erblicken. In medientheore- tischen Überlegungen wird diese Positionierung, die mit dem (Satelliten-)Blick auf die Erde einhergeht, bisher erstaunlich wenig reflektiert. Obwohl zahlreiche Studien existieren, die sich mit der Beziehung von Eisen- bahn und Film sowie dem in Bewegung gesetzten Blick beschäftigen, finden Analogien zwischen Film und Fliegen bisher nur am Rande Erwähnung. Seit Paul Virilio wissen wir zwar, dass Film und Fliegen zeitgleich in Erscheinung traten und die Luftfahrt ein Mittel des Sehens ist. Doch Kino- und Flugdispo- sitiv sind vielleicht noch auf andere Weise zusammenzudenken: Lässt sich, so haben wir uns gefragt, die narrativ erzeugte Allwissenheit vieler Filme bei- spielsweise als ›ideologische Positionierung‹ mit dem Überblick von Oben ver- gleichen? Ist die Erzählinstanz damit der Pilot, der uns ›Filmpassagieren‹ zu einem Überblick über die Geschichte verhilft? Die Beiträge des vorliegenden Sammelbands sind aus diesem Workshop über Flugbilder hervorgegangen. Ein Großteil der Texte beschäftigt sich dabei mit filmischen Darstellungen des Fliegens. Dabei werden zum einen Einzelaspekte in den Blick genommen und zum anderen Klassifikationen filmischer Flug- bilder vorgeschlagen. So interessiert sich Patrick Vonderau in seinem Beitrag für die Figur der Stewardess im Hollywood-Film. Dabei zeichnet er nicht zu- letzt den (medien-)historischen Wandel einer Profession nach, die damit be- gann, dass eine Krankenschwester zur Betreuung der Passagiere in die Lüfte 8 Einleitung geschickt wurde, und die sich inzwischen über den zweideutigen Escortser- vice der Stewardess zur eindeutigen Mobilitätsdienstleistung mit der Bezeich- nung Flugbegleitung entwickelt hat. Christine Hanke beschäftigt sich hinge- gen mit Katastrophenfilmen, in denen die Concord eine zentrale Rolle spielt. Sie beschreibt die freie Zirkulation von Flugaufnahmen zwischen Spielfilmen, Fernsehdokumentationen und
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