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The Ambitions of Hollywood and the Transformations of German National Cinema

好莱坞的野心与德国民族电影的转变

基本信息

批准号：
16520164
负责人：
TANAKA Yuji
金额：
$ 1.92万
依托单位：
Kumamoto University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2004
资助国家：
日本
起止时间：
2004 至 2005
项目状态：
已结题

项目摘要

The research in Bundesarchiv-Filmarchiv Berlin and Deutsches Institut fur Filmkunde in Frankfurt gave the head Investigator (TANAKA) several important suggestions of German National Cinema.The international success of The Cabinet of Dr.Caligari confirmed that films with 'typical' German Styles could be profitable and that only emphasis on the national would make German companies competitive internationally. Caligari was part of brief export wave that started in 1920 with Passion (the American title of Lubitsch's Duarry) and so forth. The positive reception of these films in the United States provoked fears of a 'German invasion' and prompeted several studios to eliminate the unwanted competition by inviting some of the major players to Hollywood : E.Lubitsch and P.Negri as early as 1922, and E.Pommer, F.W.Murnau and E.Jannings in 1926.While in 1925 production of Metropolis was in full swing, Ufa's board of directors had to admit that the Konzern was on the brisk of bankruptcy. Company … More assets no longer covered the enormous debts, Ufa enterd into partnership with Paramount and Metro-Goldwyn-Mayer known as Parufamet, become the cynosure of critical reaction against Hollywood's role in Germany. Parufamet represented the end of the golden age of the German cinema.The Podeneone Silent Film Festival gave the researcher (KATO) a full of range of corpus of films, which made it possible for him to grasp the whole context in which the emigrant film makers from Germany to the USA were situated. For instance, Fritz Lang, one of the most influential Jewish film directors through the film history, emigrated or exiled from Germany to the USA in 1933. Lang found in Hollywood a Jewish/German atmosphere in which he and other Jewish film makers felt at ease in making films. That atmosphere had been established throughout the 1920s, during which Hollywood gained a control over the European film market, especially Germany. Lots of excellent German film directors were incorporated into Hollywood in the 1920s. This phenomenon explains what the internationalization of the film industry went through. In those days Germany and the USA were considered the top of the Hollywood film industry meant incorporation of talented foreign film makers, since the USA was originally a nation state of immigrants. Therefore German film makers were needed in the USA throughout the 1920s. The similar phenomena take places at every stage of Hollywood film history : in the 1980s Dutch film makers were incorporated into Hollywood ; and in 1990s Chinese film makers were. Hollywood has been avid in incorporating talented foreign film makers in its own necessary development. Less

在柏林联邦电影档案馆和法兰克福德国电影研究所的研究给了首席调查员（田中）一些关于德国国家电影的重要建议。《卡利加里博士的内阁》在国际上的成功证实，具有“典型”德国风格的电影是可以盈利的，只有强调民族才能使德国公司在国际上具有竞争力。卡利加里是始于1920年的《激情》（Lubitsch的《Duarry》的美国标题）等短暂出口浪潮的一部分。这些电影在美国的积极反响引发了对“德国入侵”的担忧，并促使几家电影公司通过邀请一些主要演员到好莱坞来消除不必要的竞争：早在1922年就邀请了e .卢比奇和p .内格里，早在1926年就邀请了e .波默、f . w .默瑙和e .詹宁斯。1925年，《大都会》的制作正如火如荼地进行着，但乌法的董事会不得不承认，康泽恩剧院正处于破产的边缘。更多的资产再也无法支付巨额债务，乌法与派拉蒙和米高梅合作，成为反对好莱坞在德国角色的批评反应的焦点。帕鲁法梅代表了德国电影黄金时代的终结。波德内默片节给研究者（加藤）提供了一个完整的电影语料库，这使他有可能掌握从德国移民到美国的电影制作人所处的整个背景。例如，弗里茨·朗，电影史上最有影响力的犹太电影导演之一，1933年从德国移民或流亡到美国。朗在好莱坞发现了一种犹太/德国的氛围，在这种氛围中，他和其他犹太电影制片人在拍摄电影时感到很自在。这种氛围在整个20世纪20年代已经形成，在此期间，好莱坞控制了欧洲电影市场，尤其是德国。20世纪20年代，许多优秀的德国电影导演进入好莱坞。这一现象说明了电影产业国际化的历程。在那些日子里，德国和美国被认为是好莱坞电影业的顶尖，这意味着有才华的外国电影制片人的加入，因为美国最初是一个移民国家。因此，在整个20世纪20年代，美国都需要德国电影制作人。类似的现象在好莱坞电影史的每个阶段都发生过：20世纪80年代，荷兰电影制片人被纳入好莱坞；在20世纪90年代，中国电影制片人也是如此。好莱坞一直热衷于将有才华的外国电影制作人纳入自己的必要发展中。少