Book Chapter by Wolfgang Fuhrmann
Menrath, Manuel. Afrika im Blick. Afrikabilder im deutschsprachigen Europa, 1870-1970. Zürich: Chronos Verlag, 237-254., 2012
Tarahumare films and others are most outstanding cultural documents. They do not only show us the... more Tarahumare films and others are most outstanding cultural documents. They do not only show us the physical habits of those peoples, their movements and behaviours, but also scenes from their cultural life, so that they are as valuable for ethnology as for anthropology [... ] We are convinced that films contain inestimable scientific values, and demands that these scientific treasures be continuously available. Temporary and occasional demonstrations are not sufficient for it [...] we must therefore demand that these films become continuously secured for science (Thilenius, 1929:67. Author"s translation). Krause"s statement refers to a period of ethnographic filmmaking that is usually underplayed in ethnographic film historiography. The range of reference, from commercial films like Flaherty"s Nanook to Rudolf Zabel"s amateur footage, indicates that the relationship between ethnography and film was more than experimental as suggested in traditional historiographic approaches (Böhl, 1985). Moreover, research films from German speaking anthropologists "are among the most extensive, as well as the best documented and preserved, ethnographic
Memorias: XIX Congreso Colombiano de Historia , 2021
in : A. Finger, G. Kathöfer, and C. Larkosh (eds), KulturConfusão: On German-Brazilian Interculturalities , 2015
In: Cinematic Settlers. The Settler Colonial World in Film , 2020
The article is published in: Janne Lahti and Rebecca Weaver-Hightower eds), Settler Colonial Wor... more The article is published in: Janne Lahti and Rebecca Weaver-Hightower eds), Settler Colonial World in Film, London: Routledge 2020, 87-98.
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
Anais do Textos Completos do XXII Encontro da SOCINE 2018, Saõ Paulo: Socine, 1084-1089., 2019
Muito pouco se sabe sobre a rede internacional de uma das mais famosas companhias cinematográfica... more Muito pouco se sabe sobre a rede internacional de uma das mais famosas companhias cinematográficas
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
Anais do Textos Completos do XXIII Encontro Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) 2019, Saõ Paulo: Socine 2020, 1043-1049., 2020
O objetivo principal deste artigo é apresentar a biografia do correspondente estrangeiro, cineast... more O objetivo principal deste artigo é apresentar a biografia do correspondente estrangeiro, cineasta e escritor alemão Klaus Manfred Eckstein. Investiga como Eckstein se envolveu em produções do Cinema Novo nos anos 60 e 70 como Macunaíma (Joaquim Pedro de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) ou Como era gostoso o meu francês (Nelson Pereira dos Santos 1971).
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
Die Erforschung des frühen nichtfiktionalen Films ist erst seit geraumer Zeit in das Interesse fi... more Die Erforschung des frühen nichtfiktionalen Films ist erst seit geraumer Zeit in das Interesse filmwissenschaftlicher Forschung gerückt.1 Im Gegensatz zum fiktionalen Film, der mit Hilfe von Modellen der Narration erschlossen werden kann, scheint sich der nichtfiktionale Film auf seine reine Abbildfunktion zu beschränken. In seiner Machart wirkt der frühe nichtfiktionale Film als banal, womit sich eine differenzierte Auseinandersetzung mit seiner Asthetik und gesellschaftlichen Bedeutung zu erübrigen scheint. Am Beispiel der Kinematographenkampagne der Deutschen Kolonialgesellschaft möchte ich im Folgenden zeigen, wie der frühe nichtfiktionale Film aus film-und zeithistorischer Perspektive als historische Quelle erschlossen werden kann.
SOCINE (ed.), Anais do Textos Completos do XXI Encontro da SOCINE 2017, Saõ Paulo: Socine 2018, 316-321., 2018
Resumo: O artigo visa discutir a imagem do Brasil no cinema alemão nos anos 50 e 60 tendo como pa... more Resumo: O artigo visa discutir a imagem do Brasil no cinema alemão nos anos 50 e 60 tendo como pano de fundo um pequeno grupo de produções cinematográficas alemães: Stefanie (Josef von Báky, 1958), Stefanie no Rio (Curtis Bernhardt, 1960) e Weit ist der Weg (Wolfgang Schleif, 1960). Todos os três filmes, como vou argumentar, estão interligados por um motivo comum que coloca diretamente o Brasil como um possível modelo de referência na agenda política cultural da Alemanha após a Segunda Guerra Mundial. Abstract: The article discusses the image of Brazil in three German films from the 1950s and the 1960s: Stefanie (Josef von Báky, D 1958), Stefanie no Rio (Curtis Bernhardt, D 1960), and Weit ist der Weg (Wolfgang Schleif, D 1960). All three films are, as I will argue, interconnected through one common motif that presents Brazil as a role model for Germany on the country's cultural poltical agenda after the Second World War.
Resumo: Neste artigo, discutimos a possibilidade de uma historiografia do cinema transnacional te... more Resumo: Neste artigo, discutimos a possibilidade de uma historiografia do cinema transnacional tendo como pano de fundo um conflito político-cultural entre o Brasil e a Alemanha. Apesar de diferenças estruturais entre os dois cinemas (p. ex. cronologia ou força econômica), vamos argumentar que escrever uma historiografia de uma perspectiva transnacional permite abrir não só novas áreas da pesquisa históricas do cinema como também entender melhor acontecimentos do cinema e da história nacional.
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
Cinema CH # 58, 93-100., 2013
I. Warnke (ed.), Deutsche Sprache und Kolonialismus. Aspekte der nationalen Kommunikation zwischen 1884 und 1919, Berlin, New York: de Gruyter, 349-364., 2009
M. Bechhaus-Gerst and S. Gieseke (eds), Koloniale und postkoloniale Konstruktionen von Afrika und Menschen afrikanischer Herkunft in der deutschen Alltagskultur, Frankfurt: Peter Lang Verlag, 251-268., 2007
R. Johler, C. Marchetti and M. Scheer (eds), Doing Anthropology in Wartime and War Zones. World War I and the Cultural Sciences in Europe, Bielefeld: Transcript, 337-351. , 2010
M. Braun, C. Keil, R. King, P. Moore and L. Pelletier (eds), Beyond the Screen: Institutions, Networks and Publics of Early Cinema, London: John Libbey & Company Ltd., 307-314., 2012
T he short, non-fiction film Jagd auf Silberreiher/Chasse á l'aigrette en afrique (Pathé Frères, ... more T he short, non-fiction film Jagd auf Silberreiher/Chasse á l'aigrette en afrique (Pathé Frères, 1911) starts with the shot of a European hunter and his African guides crawling through the African bushland. The hunter points to a tree, where an egret or heron colony rests. He takes aim and shoots. Successful in his hunt, the guides attach the egrets to sticks and carry them over their shoulders. Moving to a boat, two white men are plucking the kill; in a close-up, two hands hold a dead heron, show where to find the most valuable feathers, and suddenly pluck them out to show a little bunch. An intertitle then states that every year thousands of these beautiful birds are killed to adorn fashionable ladies' hats. The last shots are not filmed in Africa. A female hand presents a bunch of heron feathers to the camera; a chic young lady tries on a feathered hat. In medium close-up, the young lady smiles at the camera and moves her head to show the feathers in a flattering way. 1 The film is typical of non-fiction titles for its time: part colonial travelogue, part hunting adventure, with a twist of European fashion at the end. It is emblematic for the exploitative character of colonial ideology and an example of what Anne McClintock calls the metamorphosis of imperial time into domestic space. 2 The motif of hunting and fashion suggests that it addressed a European male and female audience. In Going to the Movies, Maltby, Stokes and Allen remark that audiences' "primary relationship with 'the cinema' has not been with individual movies-as-artefacts or as text, but with the social experience of cinemagoing". 3 Since a film's audience is not entirely determined by what appears onscreen, close textual analyses should be complemented with knowledge of films' circulation amongst stratified audiences in contexts outside commercial venues. The hunting film summarised above is a good starting point to demonstrate the importance of exhibition contexts in establishing audience stratification, and for my particular purposes of tracing film practices within voluntary associations such as social and fraternal clubs. Such associations kept minutes and records of their programmed events, and often their intentions in public education and entertainment, and their archives provide a wealth of neglected documentation of the non-theatrical use of moving pictures in a wider public sphere. In her pioneering work on the public sphere of early cinema, Miriam Hansen argued for a diversity of publics and subject positions for any film or genre. 4 This chapter, too, takes up the task of tracing alternative public spheres, in particular for audiences of non-fiction films. I argue against conceiving film reception through aesthetic structures alone, and seek an understanding of how alternative exhibition venues could produce different meanings for a single film. At the Amsterdam workshop "Nonfiction from the Teens", Ben Brewster remarked that early nonfiction film seems to exist apart from the aesthetic regimes of stylistic pressures and influences, making it difficult to tell
G. Alzamora, R. Rampazzo Gambarato and S. Malaguti (eds) Kulturdialog Brasilien - Deutschland. Design, Film, Literatur, Medien, Berlin: Tranvía, 321-334., 2008
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Book Chapter by Wolfgang Fuhrmann
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
último monográfico, dedicado al cine de
propaganda nazi en América Latina. Editado
por las investigadoras del CONICET María
Valeria Galván y Marina Moguillansky,