The continental connection: German-speaking émigrés and British cinema, 1927-45, by Tobias Hochscherf
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The continental connection: German-speaking émigrés and British cinema, 1927-45, by Tobias Hochscherf
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This study is a major appraisal of the contributions of German-speaking émigrés to British cinema from the late 1920s to the end of World War II. Through a series of film analyses and case studies, it challenges notions of a self-sufficient British national cinema by advancing the assumption that filmmakers from Berlin, Munich and Vienna had a major influence on aesthetics, themes and narratives, technical innovation, the organisation of work and the introduction of apprenticeship schemes. Whether they came voluntarily or as refugees, their contributions and expertise helped to consolidate the studio system and ultimately made possible the establishment of a viable British film industry. Hochscherf talks about such figures as Ewald André Dupont, Alfred Junge, Oscar Werndorff, Mutz Greenbaum and Werner Brandes, and such companies as Korda's London Film Productions, Powell and Pressburger's The Archers and Michael Balcon's Gaumont-British.
The continental connection: German-speaking émigrés and British cinema, 1927-45, by Tobias Hochscherf- Amazon Sales Rank: #4612798 in Books
- Published on: 2015-06-01
- Original language: English
- Number of items: 1
- Dimensions: 5.40" h x .70" w x 8.40" l, .0 pounds
- Binding: Paperback
- 240 pages
About the Author Tobias Hochscherf is Professor of Audiovisual Media at the University of Applied Sciences Kiel in Germany
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1 of 1 people found the following review helpful. A Valuable Look at British Films By John Colaresi 'The Continental Connection: German-speaking émigrés and British cinema, 1927-45' by Tobias Hochscherf (2011) is an excellent companion piece to 'Destination London: German-speaking Emigrés and British Cinema, 1925-1950' which I previously reviewed: The similar self-explanatory titles cover pretty much the same material but Hochscherf's book gives us more of the historical/political background while filling in gaps in the other one. As I said in my other review, during the late 1920's there was a willing exchange of filmmakers between Weimar Germany and England such as E.A. Dupont making four English films and Hitchcock making his first two films in Germany. When Hitler took over in 1933, more German-speaking people from the film world escaped to England and sought work. Hochscherf's book goes into more detail about how these people were accepted with mixed results by their new country and their fellow craftsmen. The émigrés met resistance from the trade unions who resented their jobs being taking by foreigners Hochscherf explains the reason for this: "Since banks and insurance companies, enticed by Alexander Korda's [international] success with THE PRIVATE LIFE OF HENRY VIII (1933), invested large sums in the film industry expecting quick returns, the insufficient technical and human resources in Britain left no alternative to producers but to employ large numbers of foreign experts as the training of British workers would have taken years." Simply speaking, these masters filled the void due to not having enough homegrown technicians but their talents rubbed off on those who worked with them. If you look at the credits of the best films released during these years, you will most likely find German-speaking cinematographers, set designers, costumers, or composers listed but not every foreigner was employed because the industry wanted the best known craftsmen who worked in classic Weimar cinema. As for the look of these films. "a German influence is particularly obvious in the constant use of low-key and chiaroscuro lighting and the meticulously crafted sets.... typical of Weimar iconography.... and foreshadow key characteristics of American Film Noir."Actors and writers had a more difficult time breaking into the system because English was not their first language, but those actors who worked hard to speak their lines clearly like Conrad Veidt, Anton Walbrook, and Peter Lorre were successful, I would question the author about how Elizabeth Bergner became one of the most important stars because her "exceptionally good English allowed her to play a variety of British roles." Try listening to her mangled Shakespeare with a Teutonic accent as Rosalind in 1936's AS YOU LIKE IT. Her films were not great successes except for 1934's CATHERINE THE GREAT since the title character was a Prussian who became a Russian so her accent worked well here. Bergner performed a lot on stage and I'd be curious to hear how she sounded there. As long as she and others were playing foreign characters, their accents were accepted and they found steady employment as spies and saboteurs before and during WWII. Films with international settings also "allowed German-speaking actors with a noticeable accent to play the roles of foreigners appearing in the overseas settings of films." The early émigré films used German actresses portraying liberated or modern characters similar in Weimar films who "do not conform to the numerous conventional social definitions of woman as devoted wives and mothers usually associated with... the melodramas of the time." They eventually pay for their mistakes but their stories "suggest a great sympathy for the stricken female leads.... and anticipate the role of women in the Film Noir."In general, the émigrés were not so readily accepted in England as they faced the general consensus that if you were a foreigner you had one strike against you and two if you were also Jewish. However, "Given that anti-Semitism and anti-alienism was common in British society their absence in films is somewhat surprising... and films did not feature stereotyped Jews posing a threat to British society." In fact the industry produced two films in 1934 that were sympathetic to the plight of Jews, both starring Veidt: THE WANDERING JEW and JEW SUSS, the second one not to be confused with the infamous 1940 Nazi version which was made years later partially in response to the British one. Before WWII British films were devoid of anti-Nazi propaganda as not to provoke Germany but somehow these two Veidt films were allowed probably because they were set in the distant past. In Hitchcock's British films, his villains spoke with accents and you never knew their nationality but you knew what country he meant. British WWII films portrayed 'good' Germans and foreigners fighting the Nazis but rarely did you find a German Jew in one. Everyone living in Great Britain was lumped together: "In its endeavor to propagate the conflict with Nazi Germany as 'The People's War' in which all strands of British society are united in the fight against the common enemy, foreigners became valuable allies" as these films "served to emphasise similarities rather than differences."Some quibbles: Carl Mayer is referred to as a director on page 64 and correctly identified as a script writer on page 67. Paul Henreid is referred to as Paul von Herrenried on page 107 but his birth name was von Hernried. On page 162 he is listed as Paul Henreid in 1940's NIGHT TRAIN TO MUNICH but the film credits lists him as Paul von Hernried. According to Wikipedia: When he was contracted to RKO in 1942, the studio changed his surname, dropping the "von" and the first "r", and reversing the order of the "i" and "e." On page 45 the 1923 French novel 'La Garconne' is referred to as "disputed" but I think Hockscherf means 'disreputable' because according to Wiki, the novel's theme "is not particularly shocking in the present day, at the time it was considered quite scandalous; it even caused the author to lose his 'Legion of Honour.'" On page 125 Joseph von Sternberg is referred to as a "German director" but since he left Austria and not Germany at fourteen for America where he later made all his films except for THE BLUE ANGEL in Germany and one in Japan, I would label him an American or Hollywood director born in Austria.Hochscherf has a lapse in judgment in talking about how Jews were dismissed from their jobs in the German film industry when the Nazis took power: "Given the arguably fairly open-minded, liberal, and multi-cultural environment of Weimar cinema, it comes as a surprise that virtually no one within or without the film industry expressed disapproval or protested against this policy of segregation." Why does this "surprise" a German who should know his country's history? There's a simple explanation for his puzzlement: If people complained. they would face the wrath of the Nazis who at the very least would have them dismissed from their own jobs as when the cast and crew stood silent as Kurt Gerron, a famous character actor, was walked off a film he was directing and never again worked in German films. Even a bigger star like Lilian Harvey, who wasn't Jewish but helped them and homosexuals, was not safe and paid for her actions by being deported and having her possessions confiscated.'The Continental Connection' is highly informative and although it nicely compliments 'Destination London' Hochschert's book can stand alone. Highly recommended. One final quibble: Why is a picture of America's Anna May Wong in 1934's CHU CHIN CHOW on the cover? Wouldn't it make more sense to see Fritz Kortner, an Austrian who co-starred with Wong in that film, or show one with Veidt, a German, or Walbrook, another Austrian? A still from 1932's ROME EXPRESS starring Veidt is on the cover of 'Destination London.' Incidentally, both films were directed by Walter Forde, a forgotten English filmmaker who made two films with Veidt.
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