Wird und (LFS00146) : Différence entre versions
| (10 révisions intermédiaires par 2 utilisateurs non affichées) | |||
| Ligne 5 : | Ligne 5 : | ||
|idSupport=LFS00146 | |idSupport=LFS00146 | ||
|dateDebut=1951 | |dateDebut=1951 | ||
| − | |video= | + | |video=LFS_000146_Wir_und_die_anderen |
| + | |institution_dorigine=Haus des Dokumentarfilms | ||
|coloration=Noir_et_blanc | |coloration=Noir_et_blanc | ||
|son=Muet | |son=Muet | ||
| Ligne 17 : | Ligne 18 : | ||
|Etat_publication=Non | |Etat_publication=Non | ||
|realisateurs=Ernst Niederreither | |realisateurs=Ernst Niederreither | ||
| + | |apercu=LFS00146_Wir_und_die_Anderen.jpg | ||
|lieuTournage=48.58189, 7.75103 | |lieuTournage=48.58189, 7.75103 | ||
| + | |thematique=The Rhine, cross-border symbol@ Industry | ||
|Resume_de=Der Film propagiert die Notwendigkeit engerer internationaler Beziehungen und lockerer Handelsabkommen unter den westeuropäischen Staaten. Regisseur Ernst Niederreither greift eines der Grundthemen der Marshall-Plan-Filme auf, die dem vollen Erblühen der Wirtschaft hinderlichen nationalen Grenzen. | |Resume_de=Der Film propagiert die Notwendigkeit engerer internationaler Beziehungen und lockerer Handelsabkommen unter den westeuropäischen Staaten. Regisseur Ernst Niederreither greift eines der Grundthemen der Marshall-Plan-Filme auf, die dem vollen Erblühen der Wirtschaft hinderlichen nationalen Grenzen. | ||
| + | |Resume_en=This film propagates the need for closer international relations and more relaxed trade agreements among the Western European countries. Director Ernst Niederreither picks up on one of the basic themes of the Marshall Plan films, the national borders that hinder the full bloom of the economy. | ||
| + | |Contexte_et_analyse_de=Dieser hybride Film von Ernst Niederreither mischt Gestaltungsformen wie dokumentarische Aufnahmen, inszenierte Szenen, Animation und Grafik. Diese Form war im deutschen Kulturfilm seit den 1920er Jahren weit verbreitet, denn es ging um die effiziente Vermittlung von Information. Nach Ende des Zweiten Weltkriegs ist „Wir und die Anderen“ ein frühes Beispiel, die Idee eines europäischen Zusammenschlusses zu propagieren. | ||
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| + | Dies wird schon durch die Großaufnahmen von Männerköpfen aus der ganzen Welt deutlich, mit denen der Film beginnt. Es folgt eine inszenierte Sequenz unterlegt mit Swingmusik. Ein Mann mit Zylinder und in einem Kutschermantel des 19. Jahrhunderts schreitet über ein Feld und besteigt ein Flugzeug der Swiss Air – der Fluglinie eines neutralen Landes. In der Maschine erregt er Aufmerksamkeit und wird von einem Mädchen und anderen Passagieren regelrecht bestaunt. Eine Stimme aus dem off fragt, ob er sich nicht in der Zeit irre. In seiner Antwort erinnert er an die Geruhsamkeit des Lebens und Reisens vor 100 Jahren. In einer visuellen Montage zur modernen Mobilität wird auch ein animierter Ausschnitt aus Anton Kutter’s „Weltraumschiff I startet“ (1940) eingebaut. Der möglichen Beschleunigung werden Grenzen gesetzt durch die Nationalstaaten. Die Zöllner kontrollieren scharf. Eine kafkaeske Szene mit extremer Beleuchtung symbolisiert die unnötige, verstaubte Bürokratie. Dem Kommentator gibt das zu denken: „Unsere Wirtschaft war nur noch Leerlauf. Und erst ein Anstoß von außen hat sie wieder in Gang gebracht. Über das Meer kam Öl für unsere Maschinen und es kamen neue Maschinen für dieses Öl“. Der Kommentar, unterlegt mit Bildern amerikanischer Wirtschaftshilfe bei der Entladung im Hafen, bemängelt, die Länder in Europa würden sich zum Teil benehmen, als ob sie keine Nachbarn hätten. Symbolisch wird dies durch eine Grafik gezeigt, bei der die Grenzen hohe Mauern sind. Doch das internationale Leben begann sich Anfang der 1950er Jahre neu zu regen und für den wirtschaftlichen Austausch war Kommunikation notwendig. Dies erläutert eine Animation mit dem Prinzip der kommunizierenden Röhren. Der Handel ermögliche einen in den Ländern gleichen Lebensstandard. Dies wird an verschiedenen Produkten durchgespielt. Aber die Grenzen und Zölle behindern den Handel. Die Forderung ist, das Europa zusammenwachsen solle, illustriert wieder durch eine Animation. Am Ende schreitet der Mann vom Anfang rückwärts zurück ins 19. Jahrhundert. | ||
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| + | Der Film lief 2005 auf der Berlinale im Rahmen der Retrospektive „Selling Democrazy“. Der Regisseur, Kameramann und Produzent des Films Ernst Niederreither hatte seine Karriere Ende der 1930er Jahre als Kameramann und Regisseur begonnen und mit seiner Firma Audax-Film in München bis Mitte der 1960er Jahre zahlreiche Filme realisiert; die Produktionsfirma war sogar noch länger aktiv. „Wir und die Anderen“ entstand im Auftrag der Economic Cooperation Adminstration (ECA) als sogenannter Marshallplanfilm (MP). Diese Filme entwarfen nach dem Zweiten Weltkrieg die Vision eines gemeinsamen Marktes in Europa. Die von der amerikanischen Regierung bezahlten Filme waren propagandistisch und machten sich für ein westlich orientiertes und antikommunistisches Europa stark. Zwischen 1948 und 1954 wurden dafür in 17 Ländern rund 200 Filme realisiert. Diese Produktionen müssen betrachtet werden vor dem Hintergrund der Neuordnung des europäischen Kontinents. Durch den aufkommenden Kalten Krieg und die zunehmende Polarisierung zwischen West und Ost musste beispielsweise die Arbeiterschaft erst von den Vorteilen einer kapitalistisch orientierten Wirtschaft überzeugt werden. Ein wichtiges Argument war, dass durch eine höhere Produktivität eine materielle Sicherheit und höhere Löhne gewährleistet werden könnten. In der Regel wurden europäische Filmemacher, die die Amerikaner schon kannten, mit der Produktion der Filme beauftragt, da sie ihr Publikum besser kannten. Außerdem wurde dadurch der amerikanische Einfluss auf die Filme nicht so sichtbar und sie bewiesen ihr Vertrauen in die lokale Filmeszene. In Frankreich wurden insgesamt fünfzehn Marshallplanfilme produziert, in der Bundesrepublik neun. | ||
| + | Ein wichtiger Aspekt war die Darstellung der Vorteile einer europäischen Integration und des Aufbaus eines gemeinsamen Marktes nach dem Modell der Vereinigten Staaten. Mit diesem Zusammenwachsen sollte ebenfalls das Problem mit Westdeutschland gelöst werden, dessen wachsende Wirtschaftskraft die Nachbarländer irritierte. Die Bundesrepublik wurde von den Amerikanern als ein Motor des Wachstums in Europa gesehen. Die MP Filme wurden in den verschiedenen Ländern von Millionen Zuschauern gesehen. Nach den Statistiken der Auftraggeber war „Wir und die Anderen“ sehr erfolgreich: zwischen Juli und September 1952 sahen ihn insgesamt 2,5 Millionen Westdeutsche, die den Film überwiegend positiv bewerteten. Denn zu dieser Zeit war der Kinobesuch eine der wichtigsten Freizeitaktivitäten. Durchschnittlich besuchte jeder Westdeutsche rund zehn Mal im Jahr ein Lichtspieltheater; 15% der Westdeutschen gönnten sich das filmische Vergnügen jede Woche. Deshalb war der Film auch das ideale Medium, um neue politische Ideen in die Öffentlichkeit zu transportieren. | ||
| + | Kay Hoffmann | ||
| + | |Contexte_et_analyse_en=This hybrid film by Ernst Niederreither mixes design forms such as documentary recordings, staged scenes, animation and graphics. This form has been widespread in German cultural film since the 1920s because it was about the efficient conveyance of information. After the end of the Second World War, "We and the Others" was an early example of promoting the idea of a European union. This is already evident from the close-ups of men's heads from around the world with which the film begins. A staged sequence follows with swing music. A man with a top hat and a 19th century carriage coat walks across a field and gets on a Swiss Air plane - the airline of a neutral country. It attracts attention in the machine and is really admired by a girl and other passengers. A voice-over asks if he is not mistaken in time. In his answer, he recalls the tranquility of living and traveling 100 years ago. In a visual montage of modern mobility, an animated excerpt from Anton Kutter’s “space ship I starts” (1940) is also installed. The nation states limit the possible acceleration. The tax collectors control sharply. A Kafkaesque scene with extreme lighting symbolizes the unnecessary, dusty bureaucracy. This makes the commentator think: “Our economy was only idle. And only an impetus from the outside got it going again. Oil for our machines came across the sea and new machines came for this oil ”. The commentary, backed by pictures of American economic aid when unloading in the port, criticized that some of the countries in Europe were behaving as if they had no neighbors. This is symbolically shown by a graphic in which the borders are high walls. But international life began to stir again in the early 1950s and communication was necessary for economic exchange. This explains an animation using the principle of communicating tubes. Trade enables the same standard of living in the countries. This is played out on various products. But the limits and tariffs hinder trade. The demand is that Europe should grow together, illustrated again by an animation. In the end, the man steps backwards from the beginning back to the 19th century. | ||
| + | The film was shown at the 2005 Berlinale as part of the retrospective “Selling Democrazy”. The director, cameraman and producer of the film Ernst Niederreither had started his career as a cameraman and director in the late 1930s and realized numerous films with his company Audax-Film in Munich until the mid-1960s; the production company was active even longer. “We and the Others” was commissioned by the Economic Cooperation Administration (ECA) as a so-called Marshall Plan film (MP). These films created the vision of a common market in Europe after the Second World War. The films paid for by the American government were propaganda and campaigned for a western-oriented and anti-communist Europe. Between 1948 and 1954, around 200 films were made in 17 countries. These productions must be viewed against the background of the reorganization of the European continent. Due to the emerging Cold War and the increasing polarization between West and East, for example, the workers first had to be convinced of the advantages of a capitalist-oriented economy. An important argument was that higher productivity could guarantee material security and higher wages. As a rule, European filmmakers who knew the Americans were commissioned to produce the films because they knew their audience better. In addition, the American influence on the films became less visible and they showed their trust in the local film scene. A total of fifteen Marshall Plan films were produced in France and nine in the Federal Republic. | ||
| + | An important aspect was the presentation of the advantages of European integration and the development of a common market based on the model of the United States. This growing together should also solve the problem with West Germany, whose growing economic power irritated neighboring countries. The Federal Republic was seen by the Americans as an engine of growth in Europe. The MP films were viewed by millions of viewers in different countries. According to the client's statistics, "We and the Others" was very successful: between July and September 1952, a total of 2.5 million West Germans saw him, who mostly rated the film positively. Because at that time, going to the cinema was one of the most important leisure activities. On average, every West German attended a cinemas about ten times a year; 15% of West Germans treated themselves to cinematic pleasure every week. That is why the film was the ideal medium to convey new political ideas to the public. | ||
| + | Kay Hoffmann | ||
| + | |Bibliographie=FRITSCHE, MARIA, The American Marshall Plan Film Campaign and the Europeans, Bloomsbury Academic, New York 2018; ROTHER, RAINER (Hg.), Selling Democrazy. Winning the Peace (Booklet), Berlin International Film Festival, Berlin 2005 | ||
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Version actuelle datée du 28 avril 2020 à 14:20
Résumé
Contexte et analyse
This hybrid film by Ernst Niederreither mixes design forms such as documentary recordings, staged scenes, animation and graphics. This form has been widespread in German cultural film since the 1920s because it was about the efficient conveyance of information. After the end of the Second World War, "We and the Others" was an early example of promoting the idea of a European union. This is already evident from the close-ups of men's heads from around the world with which the film begins. A staged sequence follows with swing music. A man with a top hat and a 19th century carriage coat walks across a field and gets on a Swiss Air plane - the airline of a neutral country. It attracts attention in the machine and is really admired by a girl and other passengers. A voice-over asks if he is not mistaken in time. In his answer, he recalls the tranquility of living and traveling 100 years ago. In a visual montage of modern mobility, an animated excerpt from Anton Kutter’s “space ship I starts” (1940) is also installed. The nation states limit the possible acceleration. The tax collectors control sharply. A Kafkaesque scene with extreme lighting symbolizes the unnecessary, dusty bureaucracy. This makes the commentator think: “Our economy was only idle. And only an impetus from the outside got it going again. Oil for our machines came across the sea and new machines came for this oil ”. The commentary, backed by pictures of American economic aid when unloading in the port, criticized that some of the countries in Europe were behaving as if they had no neighbors. This is symbolically shown by a graphic in which the borders are high walls. But international life began to stir again in the early 1950s and communication was necessary for economic exchange. This explains an animation using the principle of communicating tubes. Trade enables the same standard of living in the countries. This is played out on various products. But the limits and tariffs hinder trade. The demand is that Europe should grow together, illustrated again by an animation. In the end, the man steps backwards from the beginning back to the 19th century.
The film was shown at the 2005 Berlinale as part of the retrospective “Selling Democrazy”. The director, cameraman and producer of the film Ernst Niederreither had started his career as a cameraman and director in the late 1930s and realized numerous films with his company Audax-Film in Munich until the mid-1960s; the production company was active even longer. “We and the Others” was commissioned by the Economic Cooperation Administration (ECA) as a so-called Marshall Plan film (MP). These films created the vision of a common market in Europe after the Second World War. The films paid for by the American government were propaganda and campaigned for a western-oriented and anti-communist Europe. Between 1948 and 1954, around 200 films were made in 17 countries. These productions must be viewed against the background of the reorganization of the European continent. Due to the emerging Cold War and the increasing polarization between West and East, for example, the workers first had to be convinced of the advantages of a capitalist-oriented economy. An important argument was that higher productivity could guarantee material security and higher wages. As a rule, European filmmakers who knew the Americans were commissioned to produce the films because they knew their audience better. In addition, the American influence on the films became less visible and they showed their trust in the local film scene. A total of fifteen Marshall Plan films were produced in France and nine in the Federal Republic.
An important aspect was the presentation of the advantages of European integration and the development of a common market based on the model of the United States. This growing together should also solve the problem with West Germany, whose growing economic power irritated neighboring countries. The Federal Republic was seen by the Americans as an engine of growth in Europe. The MP films were viewed by millions of viewers in different countries. According to the client's statistics, "We and the Others" was very successful: between July and September 1952, a total of 2.5 million West Germans saw him, who mostly rated the film positively. Because at that time, going to the cinema was one of the most important leisure activities. On average, every West German attended a cinemas about ten times a year; 15% of West Germans treated themselves to cinematic pleasure every week. That is why the film was the ideal medium to convey new political ideas to the public.
Bibliographie
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
