Erster Mai (LFS00242) : Différence entre versions
| (6 révisions intermédiaires par 2 utilisateurs non affichées) | |||
| Ligne 5 : | Ligne 5 : | ||
|idSupport=LFS00242 | |idSupport=LFS00242 | ||
|dateDebut=1938 | |dateDebut=1938 | ||
| + | |video=LFS_000242_Erster_Mai_1938_Lahr | ||
|institution_dorigine=Haus des Dokumentarfilms | |institution_dorigine=Haus des Dokumentarfilms | ||
|coloration=Noir_et_blanc | |coloration=Noir_et_blanc | ||
| Ligne 15 : | Ligne 16 : | ||
|Etat_redaction=Non | |Etat_redaction=Non | ||
|Etat_publication=Non | |Etat_publication=Non | ||
| + | |apercu=LFS00242_Erster_Mai.jpg | ||
|evenements_filmes_ou_en_lien=Umzug 1. Mai 1938 in Lahr | |evenements_filmes_ou_en_lien=Umzug 1. Mai 1938 in Lahr | ||
|lieux_ou_monuments=Lahr | |lieux_ou_monuments=Lahr | ||
|lieuTournage=48.34171, 7.87319 | |lieuTournage=48.34171, 7.87319 | ||
| − | |Resume_de= | + | |Resume_en=The May 1st rally in 1938 in Lahr with a parade is repeated on May 2nd due to the bad weather. |
| + | |Resume_de=Die 1. Mai Kundgebung 1938 in Lahr mit Umzug wird wegen des schlechten Wetters am 2. Mai wiederholt. | ||
| + | |Contexte_et_analyse_en=Rainy snow is falling on May 1st, 1938 in Lahr. The puddles shine in the courtyard where the event is taking place, and the march that passes in front of the camera in three rows seems strangely reserved - the Nazi people also wear civilian coats. The many civilians who join with hats and umbrellas reinforce the unusual picture on this day, which has been the national holiday of the German people since 1934. Nothing reminds of the workers whose struggle was May 1st since the 19th century. | ||
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| + | As early as 1933, May 1st had been designated by Adolf Hitler as the day of major events that served to reinterpret the day of the working class nationally. The central rally on the Tempelhofer Feld in Berlin became a mass propaganda event. On May 2, trade union houses were occupied, and leading officials were taken into protective custody. The independent unions could be smashed without resistance. And a year later, the guide gave a gift of a non-working holiday on May 1st for continued wages. The day had become the day of the national community, which was no longer related to work as the union had won it: a kind of spring festival with elements of the folk festival tradition. | ||
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| + | With the march, the May Day celebrations in the courtyard in Lahr initially emerge as the assembly that they should be for the NSDAP members. In front of a wall in the courtyard the SS appeared in their black uniforms. The film camera appears to be almost the only observer. In the next shot, the civilians with umbrellas appear as an endlessly long line of spectators: the SA started on a sports field, the flag with the imperial eagle in the middle between the groups. There is a huge empty lawn between the spectators and the party. | ||
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| + | The filmmaker's camera - it appears to be a professional documentary - films a dreary scene that takes on surreal features. Two pans are made across an empty space in which the march of the party groups does not develop its suggestive effect - they appear lost in a grey in grey, in which the banality of the staging of power emerges. Just like in the front view of the SA department, in addition to which another group with swastika flags comes into view. | ||
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| + | The float of the city of Lahr is in the sleet, only a dark figure in uniform can be seen next to it. The festival day also gives a gloomy picture of everyday life in the city center, and the filmmaker helps himself to film the car with the house models from different sides. Then the SA groups march in line towards the camera - the only visible spectators in the windows raise their arms to salute Hitler. The marchers are flanked by open military vehicles and motorcycles, but the parade does not want to form a suggestive picture. The crowd, the crowd, is missing so that the march can work. The event doesn't want to get going. Not even when the march with the show cars becomes a real pageant. Whether it is the weaver's wagon, the electrical industry or the 'gasworks' followers, between whom Nazi groups and men in civilian clothes keep pushing themselves - it remains the 'material' of a pageant, captured by a camera, which - as before on the sports field - indicates the domain to which the holiday scene has become. | ||
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| + | Suddenly he is back, the city administration car, in color and when the weather is fine. The film immediately visualizes the banner that hangs on it - the invitation to decorate the house with flowers - and looks at the balcony balustrades decorated with flowers. The images jump back in black and white, showing the parade that was repeated on May 2nd. Now they are there, the spectators, in the foreground in front of the passing cars, in the background on the sidewalk. There is more to be seen than before, according to the motif car with the huge calendar page, and the Hitler Youth are also moving towards the camera. The event is taking place. It only becomes an event with an audience - but in the film it appears before the slide of the previous day: before the emptiness of the rain pictures, which make the repetition of the pageant visible as the political staging that it is. Reiner Bader | ||
| + | |Contexte_et_analyse_de=Schneeregen fällt an diesem 1. Mai 1936 in Lahr. Auf dem Hof, auf dem die Veranstaltung stattfindet, glänzen die Pfützen, und der Aufmarsch, der in Dreierreihen direkt an der Kamera vorbeizieht, wirkt eigentümlich zurückgenommen – auch die NS-Leute tragen zivile Mäntel. Die vielen Zivilisten, die sich mit Hut und Schirm anschließen, verstärken das ungewöhnliche Bild an diesem Tag, der seit 1934 der Nationale Feiertag des deutschen Volkes ist. Nichts mehr erinnert an die Arbeiterschaft, deren Kampftag der 1. Mai seit dem 19. Jahrhundert war. | ||
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| + | Bereits 1933 war der 1. Mai von Adolf Hitler zum Tag von Großveranstaltungen bestimmt worden, die dazu dienten, den Tag der Arbeiterklasse national umzudeuten. Die zentrale Kundgebung auf dem Tempelhofer Feld in Berlin wurde zum propagandistischen Massenereignis. Am 2. Mai folgte die Besetzung von Gewerkschaftshäusern, führende Funktionäre wurden in Schutzhaft genommen. Die unabhängigen Gewerkschaften konnten ohne Widerstand zerschlagen werden. Und ein Jahr später gab es vom Führer zum 1. Mai das Geschenk eines arbeitsfreien Feiertags bei Lohnfortzahlung. Der Tag war zum Tag der Volksgemeinschaft geworden, der keine Beziehung zur Arbeit mehr hatte, wie sie die Gewerkschaft erfochten hatten: eine Art Frühlingsfest mit Elementen der Volksfest-Tradition. | ||
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| + | Auf dem Hof in Lahr tritt die Maifeier mit dem Aufmarsch zunächst als die Versammlung hervor, die sie für die NSDAP-Mitglieder sein sollte. Vor einer Wand des Hofes ist die SS in ihren schwarzen Uniformen angetreten. Die Filmkamera scheint nahezu der einzige Beobachter zu sein. Die Zivilisten mit Schirm tauchen in der nächsten Einstellung als endlos lange Reihe von Zuschauern auf: Die SA ist auf einem Sportplatz angetreten, die Fahne mit dem Reichsadler in der Mitte zwischen den Gruppen. Eine riesige leere Rasenfläche klafft zwischen den Zuschauern und dem Aufgebot der Partei. | ||
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| + | Die Kamera des Filmemachers – es scheint sich um einen Dokumentarfilm mit professionellem Anspruch zu handeln – filmt eine triste Szenerie, die surreale Züge annimmt. Zwei Mal wird über einen Leerraum geschwenkt, in dem der Aufmarsch der Parteigruppen seine suggestive Wirkung nicht entfaltet – sie erscheinen verloren in einem Grau in Grau, in dem sich die Banalität der Machtinszenierung hervorkehrt. So wie auch bei der Frontalaufnahme der SA-Abteilung, neben der eine weitere Gruppe mit Hakenkreuzfahnen in den Blick kommt. | ||
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| + | Der Festwagen der Stadt Lahr steht im Schneeregen, nur eine dunkle Gestalt in Uniform ist daneben auszumachen. Der Festtag gibt auch im Stadtinneren nur ein tristes Alltagsbild her, und der Filmemacher hilft sich damit, den Wagen mit den Häusermodellen von verschiedenen Seiten abzufilmen. Dann marschieren die SA-Gruppen doch in Reih und Glied auf die Kamera zu – die einzigen sichtbaren Zuschauer in den Fenstern erheben den Arm zum Hitlergruß. Die Marschierenden werden von offenen Militärwagen und Motorrädern flankiert, doch die Parade will sich nicht zu einem suggestiven Bild formen. Es fehlen die Zuschauer, die Menge, damit der Aufmarsch wirken kann. Die Veranstaltung will nicht in Gang kommen. Auch dann nicht, als der Aufmarsch nun mit den Schauwagen zum richtiggehenden Festzug wird. Ob es der Wagen der Weber, des Elektrogewerbes oder die ‚Gefolgschaft Gaswerk‘ ist, zwischen die sich immer wieder Nazi-Gruppen und Männer in Zivil schieben – es bleibt das „Material“ eines Festzuges, festgehalten von einer Kamera, die – wie schon zuvor auf dem Sportplatz – auf den Herrschaftsraum hindeutet, zu dem die Szene des Feiertages geworden ist. | ||
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| + | Plötzlich ist er wieder da, der Wagen der Stadtverwaltung, in Farbe und bei schönem Wetter. Der Film visualisiert gleich das Spruchband, das daran hängt – die Aufforderung, das Haus mit Blumen zu schmücken – und blickt auf blumenverzierte Balkonbalustraden. Die Bilder springen zurück in Schwarz/Weiß, zeigen den Festzug, der am 2. Mai wiederholt wurde. Nun stehen sie da, die Zuschauer, im Vordergrund vor den vorbeifahrenden Wägen, im Hintergrund auf dem Gehweg. Mehr ist zu sehen als zuvor, so der Motivwagen mit dem riesigen Kalenderblatt, und auch die Hitlerjugend zieht auf die Kamera zu. Das Ereignis findet statt. Erst mit Publikum wird es zum Ereignis – doch im Film erscheint es vor der Folie des Vortages: vor der Leere der Regenbilder, die die Wiederholung des Festzuges als die politische Inszenierung sichtbar werden lassen, die sie ist. | ||
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| + | Reiner Bader | ||
}} | }} | ||
Version actuelle datée du 10 février 2020 à 11:43
Avertissement[1]
Événements filmés ou en lien
Résumé
Contexte et analyse
Rainy snow is falling on May 1st, 1938 in Lahr. The puddles shine in the courtyard where the event is taking place, and the march that passes in front of the camera in three rows seems strangely reserved - the Nazi people also wear civilian coats. The many civilians who join with hats and umbrellas reinforce the unusual picture on this day, which has been the national holiday of the German people since 1934. Nothing reminds of the workers whose struggle was May 1st since the 19th century.
As early as 1933, May 1st had been designated by Adolf Hitler as the day of major events that served to reinterpret the day of the working class nationally. The central rally on the Tempelhofer Feld in Berlin became a mass propaganda event. On May 2, trade union houses were occupied, and leading officials were taken into protective custody. The independent unions could be smashed without resistance. And a year later, the guide gave a gift of a non-working holiday on May 1st for continued wages. The day had become the day of the national community, which was no longer related to work as the union had won it: a kind of spring festival with elements of the folk festival tradition.
With the march, the May Day celebrations in the courtyard in Lahr initially emerge as the assembly that they should be for the NSDAP members. In front of a wall in the courtyard the SS appeared in their black uniforms. The film camera appears to be almost the only observer. In the next shot, the civilians with umbrellas appear as an endlessly long line of spectators: the SA started on a sports field, the flag with the imperial eagle in the middle between the groups. There is a huge empty lawn between the spectators and the party.
The filmmaker's camera - it appears to be a professional documentary - films a dreary scene that takes on surreal features. Two pans are made across an empty space in which the march of the party groups does not develop its suggestive effect - they appear lost in a grey in grey, in which the banality of the staging of power emerges. Just like in the front view of the SA department, in addition to which another group with swastika flags comes into view.
The float of the city of Lahr is in the sleet, only a dark figure in uniform can be seen next to it. The festival day also gives a gloomy picture of everyday life in the city center, and the filmmaker helps himself to film the car with the house models from different sides. Then the SA groups march in line towards the camera - the only visible spectators in the windows raise their arms to salute Hitler. The marchers are flanked by open military vehicles and motorcycles, but the parade does not want to form a suggestive picture. The crowd, the crowd, is missing so that the march can work. The event doesn't want to get going. Not even when the march with the show cars becomes a real pageant. Whether it is the weaver's wagon, the electrical industry or the 'gasworks' followers, between whom Nazi groups and men in civilian clothes keep pushing themselves - it remains the 'material' of a pageant, captured by a camera, which - as before on the sports field - indicates the domain to which the holiday scene has become.
Suddenly he is back, the city administration car, in color and when the weather is fine. The film immediately visualizes the banner that hangs on it - the invitation to decorate the house with flowers - and looks at the balcony balustrades decorated with flowers. The images jump back in black and white, showing the parade that was repeated on May 2nd. Now they are there, the spectators, in the foreground in front of the passing cars, in the background on the sidewalk. There is more to be seen than before, according to the motif car with the huge calendar page, and the Hitler Youth are also moving towards the camera. The event is taking place. It only becomes an event with an audience - but in the film it appears before the slide of the previous day: before the emptiness of the rain pictures, which make the repetition of the pageant visible as the political staging that it is. Reiner BaderLieux ou monuments
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
