Europa unsere Zukunft (LFS02288) : Différence entre versions
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|apercu=LFS02288_Europa.jpg | |apercu=LFS02288_Europa.jpg | ||
|personnages_identifies=Späth, Lothar (Ministerpräsident BW 1978-1991); Kogon, Eugen (Publizist); Rey, Joseph (Ehrenbürgermeister Colmar); Adorno, Eduard (Minister Bundesangelegenheiten BW) | |personnages_identifies=Späth, Lothar (Ministerpräsident BW 1978-1991); Kogon, Eugen (Publizist); Rey, Joseph (Ehrenbürgermeister Colmar); Adorno, Eduard (Minister Bundesangelegenheiten BW) | ||
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|thematique=European construction@ Institutions and personnalities@ Identity | |thematique=European construction@ Institutions and personnalities@ Identity | ||
| + | |Resume_en=For the European elections in 1979, the most important events of a united Europe are presented in retrospect. | ||
|Resume_de=Zur Europawahl 1979 werden die wichtigsten Ereignisse eines vereinten Europa rückblickend dargestellt. | |Resume_de=Zur Europawahl 1979 werden die wichtigsten Ereignisse eines vereinten Europa rückblickend dargestellt. | ||
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|Description_en=Starting from the first European elections in 1979, the most important events relating to a united Europe after the Second World War are presented retrospectively: Foundation of the Montanunion / Foundation of the European Economic Community (reduction of tariffs, increase in trade) / | |Description_en=Starting from the first European elections in 1979, the most important events relating to a united Europe after the Second World War are presented retrospectively: Foundation of the Montanunion / Foundation of the European Economic Community (reduction of tariffs, increase in trade) / | ||
Foundation of Euratom (promotion and use of peaceful atomic energy) / European nuclear research / Enlarged product range, consumer supply / Pollution and environmental protection / Franco-German youth organization / Town twinning / Sport, art and culture in Europe. | Foundation of Euratom (promotion and use of peaceful atomic energy) / European nuclear research / Enlarged product range, consumer supply / Pollution and environmental protection / Franco-German youth organization / Town twinning / Sport, art and culture in Europe. | ||
| + | |Description_de=Ausgehend von der ersten Europawahl im Jahr 1979 werden rückwirkend die wichtigsten Ereignisse zu einem vereinten Europa nach dem Zweiten Weltkrieg dargestellt: Gründung der Montanunion / Gründung der Europäischen Wirtschaftsgemeinschaft (Abbau der Zölle, Steigerung des Handels) / | ||
| + | Gründung Euratom (Förderung und Nutzung der friedlichen Atomenergie) / Europäische Kernforschung / Vergrößertes Warenangebot, Versorgung der Verbraucher / Umweltverschmutzung und Umweltschutz / Städtepartnerschaften / Deutsch-französisches Jugendwerk / Sport, Kunst und Kultur in Europa. | ||
| + | |Contexte_et_analyse_en=The first European elections in 1979 were reason enough to show the benefits and merits of European integration - ultimately to promote a European identity. "This film was made on behalf of the state government of Baden-Württemberg," says a plaque at the end. He traces the path of European rapprochement from the Montanunion (1951), the Treaty of Rome (1957) and the foundation of Euratom (1957) to a European Community. Through 'European films', the public should be attracted to the Europe project with targeted public relations work. | ||
| + | The then Prime Minister of Baden-Württemberg, Lothar Späth, speaks at the end of the film that the major European issues can now be dealt with by a parliament that was directly elected. European films - whether fictional or documentary - was an attempt to focus on a shared experience and identity space in the audio-visual medium, which gained new contours with the elections to the European Parliament. The film in color, with sound and bombastic music based on Richard Strauss' "So spoke Zarathustra" works with explanatory graphics to clarify the development and convey facts. Rudolf Woll's film creates a European image that sets new accents. | ||
| + | From the beginning, the topic of European unification was linked to the question of the appropriate communication strategy. Film could be the right medium because it informed a wide audience and conveyed the idea of Europe emotionally. His text comes from the European expert Prof. Claus Schöndube, a European from the very beginning who, as a correspondent and author, as well as in party offices, had contributed to the unification process. It tells a new, short history of European integration, illustrated with attractive visuals in which mobility dominates - the flow of movement in a united Europe, which is determined by a new freedom and common ground. | ||
| + | Cars, ships, planes: the dream of unity took shape at the end of the 1970s. The old divisions, which culminated in national selfishness and the two World Wars, have given way to the free circulation of goods and people. Coexistence has taken the place of coexistence, an integration that takes place in economic and capital transactions with consistent progress. It is less, as in the early European films, that recourse to the cultural unity of old Europe than the logic of this progress, which gives the new Europe a face. The peaceful use of atomic energy is seen as a solution to the energy question with the work of the Nuclear Research Center Karlsruhe. Pollution in the Rhine river is countered by transnational politics. A common market for 260 million people also allows Germans as consumers, to benefit from a "Europe in the shopping bag", in which there are foreign products at domestic prices. A graphic shows that a worker has to work much shorter for different products. Everyone benefits. The development and expansion of the economic community creates an area of experience that increasingly includes the cultural. Schöndube's image of Europe gets its legitimation in the future potential of this process - in a nutshell in a very typical way with a central message at the end of the film: "The new Europe is our future". | ||
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| + | First, however, the contrast to the past remains to be illustrated. The near past is the Second World War with destruction and concentration camps. In a staged sequence in which a school class watches a film about this war, pictures of concentration camps appear - remarkable because early European films omitted the Holocaust. It did not fit into the image of a Europe that, after a period of national egoism in the process of integration, was finding a unity that has existed culturally since antiquity. The publicist Eugen Kogon, who was in the concentration camp himself, figured as a key witness for another Europe that emerged from ruins and was supposed to have a federal structure. | ||
| + | The institutions of the European Federation - the Commission, the Council of Ministers, the Parliament and the Court of Justice - stand for more than economic cooperation: for "cross-border communication", the pioneer of which is the honorary mayor of Colmar, Joseph Rey, who is interviewed in German. It tells a short story of Europe that cooperates according to the principles of the free market economy - but to grow beyond it in a kind of dialectic. It is this progress that gives history its meaning: In the sphere of culture and town twinning and in youth and culture exchange - the focus is on people. | ||
| + | The then Baden-Wuerttemberg Minister for Federal Affairs, Eduard Adorno, has the task of explaining the deficits of agreement e.g. overproduction through agricultural policy. These problems, however, as the film's rhetoric suggests, can be resolved - also at the administrative level - in the process of continuous progress, the reason for which creates a post-national Europe. This western European utopia was overtaken by reality ten years later, in the revolutionary year of 1989. Europe had to open up to Eastern Europe. | ||
| + | Reiner Bader | ||
| + | |Contexte_et_analyse_de=Die ersten Europawahlen im Jahr 1979 sind Grund genug, die Vorteile und Verdienste der europäischen Integration darzustellen – letztlich um eine europäische Identität zu befördern. „Dieser Film entstand im Auftrag der Landesregierung Baden-Württemberg“, informiert eine Schrifttafel. Er zeichnet den Weg der europäischen Annäherung nach von der Montanunion (1951), die Römischen Verträge (1957) und Gründung Euratom (1957) zu einer Europäischen Gemeinschaft. Durch ‚Europafilmen‘ sollten die Bürgerinnen und Bürger mit gezielter Öffentlichkeitsarbeit für das Projekt Europa gewonnen werden. | ||
| + | Der damalige Ministerpräsident von Baden-Württemberg, Lothar Späth, spricht am Ende des Films davon, dass die großen europäischen Fragen nun von einem Parlament behandelt werden können, das direkt gewählt wurde. Europafilme, das war – ob mit Spielhandlung oder dokumentarisch – der Versuch, im audio-visuellen Medium einen gemeinsamen Erfahrungs- und Identitätsraum in den Blick zu rücken, der mit den Wahlen zum europäischen Parlament neue Konturen gewinnt. Der Film in Farbe, mit Ton und bombastischer Musik in Anlehnung an „Also sprach Zarathustra“ von Richard Strauß arbeitet mit erläuternder Grafik, um die Entwicklung zu verdeutlichen und Fakten zu transportieren. Der Film von Rudolf Woll entwirft ein Europabild, das neue Akzente setzt. | ||
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| + | Das Thema der europäischen Einigung verband sich von Anfang an mit der Frage nach der geeigneten Kommunikationsstrategie. Der Film konnte dabei das richtige Medium sein, denn er informierte ein breites Publikum und transportierte die Idee von Europa emotional. Sein Text stammt vom Europaexperten Prof. Claus Schöndube, einem Europäer der ersten Stunde, der sich als Korrespondent und Autor wie auch in Parteiämtern um den Einigungsprozess verdient gemacht hatte. Er erzählt eine neue, kurze Geschichte der europäischen Integration, illustriert mit einem attraktiven Bildmaterial, in dem die Mobilität dominiert – die Bewegungsströme in einem vereinten Europa, das von einer neuen Freiheit und Gemeinsamkeit bestimmt ist. | ||
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| + | Autos, Schiffe, Flugzeuge: Der Traum von der Einheit hat Ende der 1970er Jahre eine konkrete Gestalt angenommen. Die alten Trennungen, die in nationalem Egoismus und den Weltkriegen gipfelten, sind einem freien Zirkulieren von Waren und Personen gewichen. An die Stelle des Nebeneinanders ist das Miteinander einer Integration getreten, die sich im Wirtschafts- und Kapitalverkehr mit konsequentem Fortschritt vollzieht. Es ist weniger – wie in den frühen Europafilmen – der Rückgriff auf die kulturelle Einheit des alten Europa, als die Logik dieses Fortschritts, die dem neuen Europa ein Gesicht gibt. Die friedliche Nutzung der Atomenergie wird als Lösung der Energiefrage gesehen mit der Arbeit des Kernforschungszentrums Karlsruhe. Der Umweltverschmutzung im Rhein wird durch transnationale Politik entgegengetreten. Ein gemeinsamer Markt für 260 Millionen Menschen lässt auch die Deutschen vor allem als Konsumenten profitieren von einem „Europa in der Einkaufstasche“, in dem es ausländische Produkte zu Inlandspreisen gibt. Eine Grafik zeigt, dass ein Arbeiter für verschiedene Produkte wesentlich kürzer arbeiten muss. Jeder profitiert. Die Entwicklung und Erweiterung der wirtschaftlichen Gemeinschaft schafft einen Erfahrungsraum, der das Kulturelle mehr und mehr einschließt. Schöndubes Europabild erhält seine Legitimation im Zukunftspotential dieses Prozesses – auf den Punkt gebracht in recht typischer Weise mit einer zentralen Botschaft am Schluss des Films: „Das neue Europa ist unsere Zukunft“. | ||
| + | Zunächst bleibt jedoch der Gegensatz zur Vergangenheit zu veranschaulichen. Die nahe Vergangenheit, das ist der Zweite Weltkrieg mit Zerstörung und Konzentrationslagern. In einer inszenierten Sequenz, in der sich eine Schulklasse einen Film über diesen Krieg ansieht, tauchen Bilder von Konzentrationslagern auf – bemerkenswert deshalb, weil frühe Europafilme den Holocaust aussparten. Es passte nicht in das Bild eines Europa, das nach einer Zeit der nationalen Egoismen im Prozess der Integration dabei ist, zu einer Einheit zu finden, die es kulturell bereits seit der Antike gibt. Der Publizist Eugen Kogon, der selbst im Konzentrationslager war, figuriert mit seiner Stellungnahme als Kronzeuge für ein anderes Europa, das aus Trümmern hervorging und eine föderale Struktur haben sollte. | ||
| + | Die Institutionen der europäischen Föderation – die Kommission, der Ministerrat, das Parlament wie der Gerichtshof – stehen für mehr als wirtschaftliche Zusammenarbeit: für eine „grenzüberschreitende Kommunikation“, als deren Pionier der Ehrenbürgermeister von Colmar, Joseph Rey auf deutsch interviewt wird. Erzählt wird eine Kurzgeschichte Europas, das gemäß den Prinzipien der freien Marktwirtschaft kooperiert – um jedoch in einer Art Dialektik darüber hinaus zu wachsen. Es ist dieser Fortschritt, der der Geschichte ihren Sinn gibt: In der Sphäre der Kultur- wie bei Städtepartnerschaften und im Jugend- und Kulturaustausch – steht der Mensch im Mittelpunkt. | ||
| + | Dem damaligen baden-württembergischen Minister für Bundesangelegenheiten, Eduard Adorno, kommt die Aufgabe zu, die Defizite der Einigung wie der Überproduktion durch die Agrarpolitik zu erläutern. Diese Probleme jedoch, so suggeriert die Rhetorik des Films, lassen sich – auch auf der administrativen Ebene – beheben im Prozess eines kontinuierlichen Fortschritts, dessen Vernunft ein postnationales Europa hervorbringt. Eingeholt von der Realität wurde diese westeuropäische Utopie bereits zehn Jahre später, im Revolutionsjahr 1989. Europa musste sich Osteuropa öffnen. | ||
| + | Reiner Bader | ||
|Bibliographie=SCHÖNDUBE, CARL, Grundsatzfragen der europäischen Integration - Ideen - Wege - Resultate, Warnicke Verlag, Hanglar 1968; SCHÖNDUBE, CARL, Europa Taschenbuch, Europa Union Verlag, Bonn 1980 | |Bibliographie=SCHÖNDUBE, CARL, Grundsatzfragen der europäischen Integration - Ideen - Wege - Resultate, Warnicke Verlag, Hanglar 1968; SCHÖNDUBE, CARL, Europa Taschenbuch, Europa Union Verlag, Bonn 1980 | ||
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Version actuelle datée du 16 avril 2020 à 11:25
Résumé
Description
Starting from the first European elections in 1979, the most important events relating to a united Europe after the Second World War are presented retrospectively: Foundation of the Montanunion / Foundation of the European Economic Community (reduction of tariffs, increase in trade) /
Foundation of Euratom (promotion and use of peaceful atomic energy) / European nuclear research / Enlarged product range, consumer supply / Pollution and environmental protection / Franco-German youth organization / Town twinning / Sport, art and culture in Europe.
Contexte et analyse
The first European elections in 1979 were reason enough to show the benefits and merits of European integration - ultimately to promote a European identity. "This film was made on behalf of the state government of Baden-Württemberg," says a plaque at the end. He traces the path of European rapprochement from the Montanunion (1951), the Treaty of Rome (1957) and the foundation of Euratom (1957) to a European Community. Through 'European films', the public should be attracted to the Europe project with targeted public relations work.
The then Prime Minister of Baden-Württemberg, Lothar Späth, speaks at the end of the film that the major European issues can now be dealt with by a parliament that was directly elected. European films - whether fictional or documentary - was an attempt to focus on a shared experience and identity space in the audio-visual medium, which gained new contours with the elections to the European Parliament. The film in color, with sound and bombastic music based on Richard Strauss' "So spoke Zarathustra" works with explanatory graphics to clarify the development and convey facts. Rudolf Woll's film creates a European image that sets new accents.
From the beginning, the topic of European unification was linked to the question of the appropriate communication strategy. Film could be the right medium because it informed a wide audience and conveyed the idea of Europe emotionally. His text comes from the European expert Prof. Claus Schöndube, a European from the very beginning who, as a correspondent and author, as well as in party offices, had contributed to the unification process. It tells a new, short history of European integration, illustrated with attractive visuals in which mobility dominates - the flow of movement in a united Europe, which is determined by a new freedom and common ground.
Cars, ships, planes: the dream of unity took shape at the end of the 1970s. The old divisions, which culminated in national selfishness and the two World Wars, have given way to the free circulation of goods and people. Coexistence has taken the place of coexistence, an integration that takes place in economic and capital transactions with consistent progress. It is less, as in the early European films, that recourse to the cultural unity of old Europe than the logic of this progress, which gives the new Europe a face. The peaceful use of atomic energy is seen as a solution to the energy question with the work of the Nuclear Research Center Karlsruhe. Pollution in the Rhine river is countered by transnational politics. A common market for 260 million people also allows Germans as consumers, to benefit from a "Europe in the shopping bag", in which there are foreign products at domestic prices. A graphic shows that a worker has to work much shorter for different products. Everyone benefits. The development and expansion of the economic community creates an area of experience that increasingly includes the cultural. Schöndube's image of Europe gets its legitimation in the future potential of this process - in a nutshell in a very typical way with a central message at the end of the film: "The new Europe is our future".
First, however, the contrast to the past remains to be illustrated. The near past is the Second World War with destruction and concentration camps. In a staged sequence in which a school class watches a film about this war, pictures of concentration camps appear - remarkable because early European films omitted the Holocaust. It did not fit into the image of a Europe that, after a period of national egoism in the process of integration, was finding a unity that has existed culturally since antiquity. The publicist Eugen Kogon, who was in the concentration camp himself, figured as a key witness for another Europe that emerged from ruins and was supposed to have a federal structure. The institutions of the European Federation - the Commission, the Council of Ministers, the Parliament and the Court of Justice - stand for more than economic cooperation: for "cross-border communication", the pioneer of which is the honorary mayor of Colmar, Joseph Rey, who is interviewed in German. It tells a short story of Europe that cooperates according to the principles of the free market economy - but to grow beyond it in a kind of dialectic. It is this progress that gives history its meaning: In the sphere of culture and town twinning and in youth and culture exchange - the focus is on people. The then Baden-Wuerttemberg Minister for Federal Affairs, Eduard Adorno, has the task of explaining the deficits of agreement e.g. overproduction through agricultural policy. These problems, however, as the film's rhetoric suggests, can be resolved - also at the administrative level - in the process of continuous progress, the reason for which creates a post-national Europe. This western European utopia was overtaken by reality ten years later, in the revolutionary year of 1989. Europe had to open up to Eastern Europe.
Reiner BaderPersonnages identifiés
Bibliographie
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
