The Ambitions of Hollywood and the Transformations of German National Cinema

在柏林联邦档案馆和法兰克福的Deutsches Institut Fur Filmkunde进行的这项研究为首席调查员田中提出了几个关于德国国家电影公司的重要建议。卡利加里博士的《内阁》在国际上的成功证实了具有典型德国风格的电影可以盈利，只有强调民族风格才能使德国公司在国际上具有竞争力。Caligari是1920年开始的短暂出口浪潮的一部分，当时的出口浪潮始于Psisience(卢比奇的Duarry在美国的头衔)等等。这些电影在美国的积极反应引发了人们对德国入侵的担忧，并促使几家制片厂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，E.Lubitsch和P.Negri，以及E.Pommer，F.W.Murnau和E.Jannings在1926年，当1925年大都会的制作如火如荼地进行时，Ufa的董事会不得不承认康塞恩公司正处于破产的边缘。公司…更多的资产不再覆盖巨额债务，乌法与派拉蒙和被称为帕鲁法梅特的米高梅公司建立了合作伙伴关系，成为批评好莱坞在德国扮演的角色的核心。帕鲁法梅特代表了德国电影黄金时代的结束。波德涅无声电影节给了加藤一个全面的电影语料库，这使他有可能掌握从德国到美国的移民电影制作人所处的整个背景。例如，弗里茨·朗是电影史上最有影响力的犹太电影导演之一，他于1933年从德国移民或流亡到美国。郎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可以安心地制作电影。这种氛围是在整个20世纪20年代建立起来的，在此期间，好莱坞获得了对欧洲电影市场的控制，特别是德国。许多优秀的德国电影导演在20世纪20年代加入了好莱坞。这一现象解释了电影业国际化所经历的过程。在那些日子里，德国和美国被认为是好莱坞电影业的领头羊，这意味着吸收有才华的外国电影制片人，因为美国最初是一个移民的民族国家。因此，整个20世纪20年代，美国都需要德国电影制片人。类似的现象发生在好莱坞电影史的各个阶段：20世纪80年代，荷兰电影制片人被并入好莱坞；90年代，中国电影制片人被并入好莱坞。好莱坞一直热衷于将有才华的外国电影制片人纳入自己的必要发展。较少

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