Cinémathèque du Rhin supérieur
Kinemathek Oberrhein

Version actuelle datée du 15 avril 2020 à 14:47

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Résumé

Private film of holiday journeys in Germany, Switzerland and Italy.

Description

Freudenstadt in the Black Forest: City church / Marketplace / Fountain of Neptun / Woman at fountain / People with skis on shoulders / Baden-Baden health resort: Street with trees at the Kurhaus / Street scene with collegiate church / Building with swastika flags / Flowering crocuses and shrubs / Woman on bench playing with terrier / River Oos / Zurich: Swiss national exhibition "Landi" with permanent flag and amusement park on the exhibition site: Landi - Schwebebahn / Schifflibach with small boats / ferris wheel, small trains / promenade "Höhenstraße" with a white, strikingly large sculpture on the banks of the Zurich Sees / numerous exhibition visitors / Sheep and goats with shepherds on forest path / Alpine panorama / Entrance to Hotel Bellevue Simplon-Kulm on the Simplon Pass /

Métadonnées

N° support : LFS01193
Date : Entre 1938 et 1939
Coloration : Noir et blanc
Son : Muet
Durée : 00:05:28
Format original : 16 mm
Genre : Film amateur
Thématiques : Thermalisme, Le Rhin, symbole transfrontalier, Tourisme transfrontalier, Fêtes locales
Institution d'origine : Haus des Dokumentarfilms

Contexte et analyse

The cityscapes are lined up: Freudenstadt, Baden-Baden, Zurich, followed by the Swiss Alps on the Simplon Pass. The private film gathers impressions in their diversity - and leaves them with the foreign that meets the traveler. The film shows the flip side of what vacation under National Socialism should be: promoting the national community, visual lessons that make a superior 'fatherland' visible, presented by travel guides trained in part. In November 1933, the leisure activity 'Kraft durch Freude' (KdF) (Strenth through Joy) was founded, which was to serve the strengthening and edification of the German people with local and long-distance travel. It was aimed at workers and employees to whom Adolf Hitler had now granted two to three weeks' vacation. What until then only the upper class could afford was also granted to the working class. KdF was a sub-organization of the German Labor Front with which Hitler could integrate the lower classes into the social reorganization of the Nazi state. The Office for Travel, Hiking and Vacation was responsible for organizing the KdF trips, which carried seven million tourists between 1934 and 1939. The largest part were day trips and hikes, which were already available for five Reichsmarks. Winter trips brought better utilization of the ski resorts and, in the view of the Nazi regime, served a healthy, high-performing people in a special way. The ship trips to Norway, Italy or Greece, which included party propaganda, became a synonym for the KdF holiday. This private film eludes this ideological capture of free time. The town church of Freudenstadt comes into view like a silhouette. Vacationers with skis are part of everyday life. The pan from the Neptune fountain ends on a sports car convertible and the elegant lady in front of it comes into the picture with her terrier dog. Freudenstadt, the popular climatic health resort in the Black Forest: A little holiday story could start here - but the film digresses again. A young boy draws attention as he stands lost in the evening sun. A last city view of Freudenstadt - and the film jumps into brightly lit Baden-Baden on the promenade in the spa colonnades. Impressions of vacation spots follow one another and make their own atmosphere palpable. Baden-Baden, the fashionable spa town near the French border: the synagogue had also been destroyed there in 1938, but before that the NSi regime refrained from persecuting Jews in the Weltbad. Baden-Baden served as a 'visiting card' for Germany: foreign guests should have the opportunity to convince themselves of the orderly course of events in the NS state. The film seems to capture something of this openness. The swastika flags at the Kurhaus almost disappear behind the hustle and bustle. The constant movement of the walkers creates an atmospheric space in which only the black terrier reappears and ensures a little continuity. The impressions stand for themselves, gather along the flaneurs' movement, which leads to the Lichtentaler Allee and the river Oos, which glistens picturesquely in the spring sun. Zurich, Swiss National Exhibition 1939: Another world in color appears with a hard cut. There has been color in amateur film since the mid-1930s, but the seemingly realistic medium increasingly immerses the exhibition site in the atmosphere of an art world. The 'Landi' was opened on May 6, 1939. Switzerland presented its modern and traditional side at the lower lake basin of Lake Zurich. The film adheres to the optically attractive left side of the lake with the latest achievements from industry, technology and science. A cable car crosses the distance of 900 meters between the two lake sides, which was a world record at the time. Through the air with the cable car at a height of 75 meters; or - another attraction, designed by engineers from ETH Zurich - on water in the Schifflibach at 1,600 meters in length, past the exhibition pavilions. The sculpture “Boy and Horse” by Zurich artist Otto Charles Bänninger sets a counterpoint in the traditional style on the central square. For Switzerland, the exhibition itself should be a symbol of the country's intellectual defense against the aggressive annexation policy of the Nazi regime. The Second World War began during the exhibition.

The trip to the Zugspitze was a highlight for the KdF travelers. The journey of the better-heeled holidaymakers in the film leads to the Simplon Pass in the Swiss Alps, which connects the Rhone valley in the canton of Valais with Italy at an altitude of 2,005 meters. The harsh mountain world stands out in its visual appearance: a herd of Valais black-nosed sheep on the street or the peaks with sparse snow in black and white contrast. The elegant lady from the beginning in Freudenstadt enters the Bellevue Hotel Kulm, as she happened to get into the film again. Just like, quite suddenly, the color image at the end with a Mediterranean hotel between palm trees.

Reiner Bader

Lieux ou monuments

Freudenstadt, Baden-Baden, Zürich

↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.

[1] Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.

[1]

@@ Ligne 6 : / Ligne 6 : @@
 |dateDebut=1938
 |dateFin=1939
+|video=LFS_001193_Urlaubsreise_durch_Europa
 |institution_dorigine=Haus des Dokumentarfilms
 |coloration=Noir_et_blanc
@@ Ligne 16 : / Ligne 17 : @@
 |Etat_redaction=Non
 |Etat_publication=Non
+|apercu=LFS01193_Urlaubsreise.jpg
 |lieux_ou_monuments=Freudenstadt, Baden-Baden, Zürich
 |lieuTournage=47.36935, 8.53381
 |thematique=Thermalism@ The Rhine, cross-border symbol@ Cross-border tourism@ Local festivals
+|Resume_en=Private film of holiday journeys in Germany, Switzerland and Italy.
 |Resume_de=Filmisches Dokument einer Reise durch Europa.
+|Description_en=Freudenstadt in the Black Forest: City church / Marketplace / Fountain of Neptun / Woman at fountain / People with skis on shoulders / Baden-Baden health resort: Street with trees at the Kurhaus / Street scene with collegiate church / Building with swastika flags / Flowering crocuses and shrubs / Woman on bench playing with terrier / River Oos / Zurich: Swiss national exhibition "Landi" with permanent flag and amusement park on the exhibition site: Landi - Schwebebahn / Schifflibach with small boats / ferris wheel, small trains / promenade "Höhenstraße" with a white, strikingly large sculpture on the banks of the Zurich Sees / numerous exhibition visitors /
+Sheep and goats with shepherds on forest path / Alpine panorama / Entrance to Hotel Bellevue Simplon-Kulm on the Simplon Pass /
 |Description_de=Freudenstadt im Schwarzwald: Stadtkirche / Marktplatz / Neptunbrunnen / Frau am Brunnen / Personen mit Skiern auf Schulter / Kuranlage
 Baden-Baden: Allee beim Kurhaus / Straßenbild mit Stiftskirche / Gebäude mit Hakenkreuzbeflaggung / blühende Krokusse und Sträucher / Frau auf Bank im Spiel mit Terrier / Fluss Oos /
@@ Ligne 25 : / Ligne 30 : @@
 Schafe und Ziegen mit Hirten auf Waldweg / Alpenpanorama / Eingang zum Hotel Bellevue Simplon-Kulm am Simplon Pass /
+|Contexte_et_analyse_en=The cityscapes are lined up: Freudenstadt, Baden-Baden, Zurich, followed by the Swiss Alps on the Simplon Pass. The private film gathers impressions in their diversity - and leaves them with the foreign that meets the traveler. The film shows the flip side of what vacation under National Socialism should be: promoting the national community, visual lessons that make a superior 'fatherland' visible, presented by travel guides trained in part.
+In November 1933, the leisure activity 'Kraft durch Freude' (KdF) (Strenth through Joy) was founded, which was to serve the strengthening and edification of the German people with local and long-distance travel. It was aimed at workers and employees to whom Adolf Hitler had now granted two to three weeks' vacation. What until then only the upper class could afford was also granted to the working class. KdF was a sub-organization of the German Labor Front with which Hitler could integrate the lower classes into the social reorganization of the Nazi state.
+The Office for Travel, Hiking and Vacation was responsible for organizing the KdF trips, which carried seven million tourists between 1934 and 1939. The largest part were day trips and hikes, which were already available for five Reichsmarks. Winter trips brought better utilization of the ski resorts and, in the view of the Nazi regime, served a healthy, high-performing people in a special way. The ship trips to Norway, Italy or Greece, which included party propaganda, became a synonym for the KdF holiday.
+This private film eludes this ideological capture of free time. The town church of Freudenstadt comes into view like a silhouette. Vacationers with skis are part of everyday life. The pan from the Neptune fountain ends on a sports car convertible and the elegant lady in front of it comes into the picture with her terrier dog. Freudenstadt, the popular climatic health resort in the Black Forest: A little holiday story could start here - but the film digresses again. A young boy draws attention as he stands lost in the evening sun.
+A last city view of Freudenstadt - and the film jumps into brightly lit Baden-Baden on the promenade in the spa colonnades. Impressions of vacation spots follow one another and make their own atmosphere palpable. Baden-Baden, the fashionable spa town near the French border: the synagogue had also been destroyed there in 1938, but before that the NSi regime refrained from persecuting Jews in the Weltbad. Baden-Baden served as a 'visiting card' for Germany: foreign guests should have the opportunity to convince themselves of the orderly course of events in the NS state.
+The film seems to capture something of this openness. The swastika flags at the Kurhaus almost disappear behind the hustle and bustle. The constant movement of the walkers creates an atmospheric space in which only the black terrier reappears and ensures a little continuity. The impressions stand for themselves, gather along the flaneurs' movement, which leads to the Lichtentaler Allee and the river Oos, which glistens picturesquely in the spring sun.
+Zurich, Swiss National Exhibition 1939: Another world in color appears with a hard cut. There has been color in amateur film since the mid-1930s, but the seemingly realistic medium increasingly immerses the exhibition site in the atmosphere of an art world. The 'Landi' was opened on May 6, 1939. Switzerland presented its modern and traditional side at the lower lake basin of Lake Zurich. The film adheres to the optically attractive left side of the lake with the latest achievements from industry, technology and science. A cable car crosses the distance of 900 meters between the two lake sides, which was a world record at the time. Through the air with the cable car at a height of 75 meters; or - another attraction, designed by engineers from ETH Zurich - on water in the Schifflibach at 1,600 meters in length, past the exhibition pavilions. The sculpture “Boy and Horse” by Zurich artist Otto Charles Bänninger sets a counterpoint in the traditional style on the central square. For Switzerland, the exhibition itself should be a symbol of the country's intellectual defense against the aggressive annexation policy of the Nazi regime. The Second World War began during the exhibition.
+The trip to the Zugspitze was a highlight for the KdF travelers. The journey of the better-heeled holidaymakers in the film leads to the Simplon Pass in the Swiss Alps, which connects the Rhone valley in the canton of Valais with Italy at an altitude of 2,005 meters. The harsh mountain world stands out in its visual appearance: a herd of Valais black-nosed sheep on the street or the peaks with sparse snow in black and white contrast. The elegant lady from the beginning in Freudenstadt enters the Bellevue Hotel Kulm, as she happened to get into the film again. Just like, quite suddenly, the color image at the end with a Mediterranean hotel between palm trees.
+Reiner Bader
+|Contexte_et_analyse_de=Die Städtebilder reihen sich aneinander: Freudenstadt, Baden-Baden, Zürich, gefolgt von den Schweizer Alpen am Simplon-Pass. Der Amateurfilm versammelt Eindrücke in ihrer Vielfalt – und belässt ihnen das Fremde, das dem Reisenden begegnet. Der Film zeigt die Kehrseite dessen, was Urlaub im Nationalsozialismus sein sollte: Förderung der Volksgemeinschaft, Anschauungsunterricht, der ein überlegenes Vaterland sichtbar macht, präsentiert von parteilich geschulten Reisebegleitern.
+Im November 1933 wurde das Freizeitwerk ‚Kraft durch Freude‘ (KdF) gegründet, das mit Nah- und Fernreisen der Ertüchtigung und Erbauung des deutschen Volkes dienen sollte. Es richtete sich an Arbeiter und Angestellte, denen Adolf Hitler nun zwei bis drei Wochen Urlaub gewährt hatte. Was sich bis dahin nur die Oberschicht leisten konnte, wurde auch der Arbeiterklasse zugestanden. ‚Kraft durch Freude‘ war eine Unterorganisation der Deutschen Arbeitsfront, mit der Hitler die Unterschichten in die gesellschaftliche Neuordnung des NS-Staates einbinden konnte.
+Zuständig für die Organisation der KdF-Reisen war das Amt für Reisen, Wandern und Urlaub, das zwischen 1934 und 1939 sieben Millionen Touristen beförderte. Der größte Teil waren Tagestouren und Wanderungen, die schon für fünf Reichsmark zu haben waren. Winterreisen brachten eine bessere Auslastung der Ski-Orte und dienten aus Sicht des NS-Regimes in besonderer Weise einem gesunden, leistungsstarken Volk. Geradezu zum Synonym für den KdF-Urlaub wurden die Schiffsreisen nach Norwegen, Italien oder Griechenland, bei denen die Parteipropaganda mit dazugehörte.
+Der Amateurfilm entzieht sich dieser ideologischen Vereinnahmung der Freizeit. Silhouettenhaft kommt die Stadtkirche von Freudenstadt in Sicht. Urlauber mit Skiern gehören zum Alltagsbild. Der Schwenk vom Neptunbrunnen endet auf einem Sportwagen-Cabriolet und die elegante Dame davor kommt mit ihrem Terrier größer ins Bild. Freudenstadt, der beliebte heilklimatische Kurort im Schwarzwald: Eine kleine Urlaubsgeschichte könnte hier beginnen – doch der Film schweift gleich wieder ab. Ein kleiner Junge zieht die Aufmerksamkeit auf sich, wie er gedankenverloren in der Abendsonne steht.
+Eine letzte Stadtansicht von Freudenstadt – und der Film springt ins hell erleuchtete Baden-Baden auf die Promenade in den Kurkolonnaden. Impressionen von Urlaubsorten folgen einander, machen ihre eigene Atmosphäre spürbar. Baden-Baden, die mondäne Bäderstadt nahe der französischen Grenze: 1938 war auch dort die Synagoge zerstört worden, doch zuvor sah das NSi-Regime von einer Judenverfolgung im Weltbad ab. Baden-Baden diente als ‚Besuchskarte‘ Deutschlands: Im Kurort sollten ausländische Gäste Gelegenheit haben, sich vom geordneten Gang der Dinge im NS-Staat zu überzeugen.
+Der Film scheint noch etwas von dieser Offenheit einzufangen. Die Hakenkreuzfahnen am Kurhaus verschwinden fast hinter dem gelassenen Treiben. Die beständige Bewegung der Spaziergänger schafft einen atmosphärischen Raum, in dem nur der schwarze Terrier wieder auftaucht und für ein wenig Kontinuität sorgt. Die Eindrücke stehen für sich selbst, versammeln sich entlang der Bewegung der Flaneure, die auf die Lichtentaler Allee und an der Oos führt, der malerisch in der Frühlingssonne glitzert.
+Zürich, Schweizer Landesausstellung 1939: Eine andere Welt in Farbe erscheint mit einem harten Schnitt. Farbe gab es im Amateurfilm schon seit Mitte der 1930er Jahre, doch das scheinbar realistische Medium taucht das Ausstellungsgelände verstärkt in die Atmosphäre einer Kunstwelt. Die ‚Landi‘ war am 6. Mai 1939 eröffnet worden. Am unteren Seebecken des Zürichsee präsentierte sich die Schweiz von ihrer modernen und traditionellen Seite. Der Film hält sich an die optisch attraktive linke Seeseite mit den neuesten Errungenschaften aus Industrie, Technik und Wissenschaft. Eine Seilbahn überquert die Distanz von 900 Metern zwischen den beiden Seeseiten, was damals Weltrekord war. Durch die Luft mit der Seilbahn in 75 Metern Höhe; oder – eine weitere Attraktion, entworfen von Ingenieuren der ETH Zürich – zu Wasser im Schifflibach auf 1.600 Metern Länge, vorbei an den Ausstellungspavillons. Die Skulptur „Knabe und Pferd“ des Züricher Bilhauers Otto Charles Bänninger setzt auf dem zentralen Platz einen Kontrapunkt im traditionellen Stil. Für die Schweiz sollte die Ausstellung selbst ein Symbol der geistigen Landesverteidigung gegen die aggressive Annexionspolitik des Nazi-Regimes sein. Noch während der Ausstellung begann der Zweite Weltkrieg.
+Für die KdF-Reisenden war die Fahrt auf die Zugspitze ein Höhepunkt. Die Reise der besser betuchten Urlauber im Film führt in die Schweizer Alpen an den Simplon-Pass, der auf 2.005 Metern Höhe das Rhonetal im Kanton Wallis mit Italien verbindet. Die harsche Bergwelt tritt hervor in ihrer visuellen Erscheinung: eine Herde mit Walliser Schwarznasenschafen auf der Straße oder die Gipfel mit spärlichem Schnee im Schwarz-Weiß-Kontrast. Die elegante Dame vom Anfang in Freudenstadt betritt das Bellevue-Hotel Kulm, wie zufällig noch einmal in den Film geraten. So wie auch, ganz unvermittelt, das Farbbild am Schluss mit einem südländischen Hotel zwischen Palmenbäumen.
+Reiner Bader
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