Difference between revisions of "Erntedankfest (LFS 00248 4)"

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|idSupport=LFS 00248 4
 
|idSupport=LFS 00248 4
 
|dateDebut=1936
 
|dateDebut=1936
|video=LFS_00248_4
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|video=LFS_00248_4_Erntedankfest
 
|institution_dorigine=Haus des Dokumentarfilms
 
|institution_dorigine=Haus des Dokumentarfilms
 
|coloration=Noir_et_blanc
 
|coloration=Noir_et_blanc
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|Etat_redaction=Non
 
|Etat_redaction=Non
 
|Etat_publication=Non
 
|Etat_publication=Non
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|apercu=LFS00248_4_Erntedank.jpg
 
|evenements_filmes_ou_en_lien=Erntedankfest
 
|evenements_filmes_ou_en_lien=Erntedankfest
 
|lieux_ou_monuments=Lahr
 
|lieux_ou_monuments=Lahr
|lieuTournage=48.58189, 7.75103
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|lieuTournage=48.34022, 7.87282
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|thematique=Identity@ Traditions@ Local festivals@ Rural life
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|Resume_en=Thanksgiving Day in Lahr
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|Resume_de=Erntedankfest in Lahr.
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|Description_en=Thanksgiving Day 1936, handing over of the harvest gifts on the judgment place in Lahr /
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Decorated single carriages and waiting spectators around the judgment place (v. E.).
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Parade of HJ and BDM.
 +
Harvests on long tables.
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|Description_de=Erntedankfest 1936, Überreichung der Erntegaben auf dem Urteilsplatz /
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Geschmückte Einspänner und wartende Zuschauer rund um den Urteilsplatz (v. E.).
 +
Einmarsch von HJ und BDM.
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Erntegaben auf langen Tischen.
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|Contexte_et_analyse_en=“Thanksgiving Day 1936. Handing over the harvest gifts on the judgment place” - the writing at the beginning of the film calls up the Christian tradition of Thanksgiving. But the train of horse-drawn carriages parading along Friedrichstrasse in Lahr appears in the next picture between two uniformed men: Nazi men give the view of the event - and the amateur filmmaker repeats this view, filming the event from the perspective of those who took possession of the harvest festival for the National Socialist Party.
 +
 
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Already in 1934, Adolf Hitler had decreed that the first Sunday after the day of Michaelis end of September is a public holiday - Thanksgiving Day. The Nazi regime took part in Thanksgiving to highlight the importance of the peasantry for the empire. The rural way of life formed the basis of the blood and soil ideology, and the Reich harvest festival on the Bückeberg near Hameln was - alongside the Nazi Party rally and the celebration on May 1st - one of the central major events for staging the Nazi ideology.
 +
 
 +
The decorated single-horse carriages open, but the Christian ritual, in which the believers thank God for the gifts of the harvest, is occupied by the self-portrayal of a party that visually transforms public space into a space of rule. The horse-drawn carriages go with the traditional peasant society, but Thanksgiving Sunday has become the stage for a party that profaned the Christian rite for its own purposes.
 +
 
 +
The camera follows this staging in particular with pans, traces with eye movements what is represented in the medium of a festival that is about to lose its original meaning. Repeatedly a swing ends on the party men in uniform - one of them raises his arm to greet Hitler as he drifts past. The bystanders glide past, stand in front or as a gathering in the background, they are extras in a political performance or they - as representatives of the harvest celebration - have their own small role in it. The celebration itself is the medium that holds the different and the incompatible together in its performance - and lets the old symbols and ritual acts merge into a new, deceptive resonance room. A young man is holding a microphone. The new cult is that of the racial myth, which displaces the Christian rite - and thus the churches - from public life.
 +
 
 +
Once again it is a pan that hastily passes over a small group of party people - a manager gives a short speech that is recorded with a microphone. Young women from the Federation of German Girls come into view, standing in strict order with flags, followed by a group of SS men in black uniform. The judgment place in Lahr has become a scene of the National Socialists - the long table with the white tablecloth, the table for the harvest gifts, flies past inconspicuously. What happens in the scene follows new directing instructions, which are based on a different text: the narrative that stands in the background is that of the racial myth, the projected identity of an Aryan community.
 +
 
 +
Representatives of the harvest festival come half-close into the picture after a cut and are welcomed by party people. The footage shows the Thanksgiving celebration as a new scene in which the roles are redistributed. The main speech of the party leader with microphone takes place not only in words, but above all in the visual space of the gestures of power. The pan in the half-near, which begins with the speaker, shows a party event, at which the carriage stands in the background for Thanksgiving Sunday.
 +
 
 +
Then the film does what the professional films show about the Nazi major rallies: it shows the event from above, from a window, a kind of bird's eye view, in which the crowd merges into a visual unit, if the arm rhythmically welcomes the Hitler salute several times is raised and everyone pauses for seconds. Finally, the youth organizations marched on, and the Hitler Youth and a never-ending group of the Federation of German Girls also made their appearance.
 +
 
 +
At the end there is what belongs to a Thanksgiving Sunday, which was hardly to be expected in the small film. Suddenly people are crowding around the harvest, the long table is moving into the center in close-ups. Basket after basket glides past, loaded with fruit, bread, flour and flowers and adorned with a few swastika flags, which also shows that the Nazi state captured everyday life. The panning along the table repeats itself - the abundance of what can be seen is practically scanned in the gaze of the camera.
 +
Reiner Bader
 +
|Contexte_et_analyse_de=„Erntedankfest 1936. Ueberreichung der Erntegaben auf dem Urteilsplatz“ – die Schrifttafel zu Beginn des Films ruft die christliche Tradition des Erntedanks auf. Doch der Zug der Pferdewagen, die die Friedrichstraße in Lahr entlang paradieren, erscheint gleich im nächsten Bild zwischen zwei Uniformierten hindurch: Nazi-Männer geben den Blick auf das Ereignis vor – und der Amateurfilmer wiederholt diesen Blick, filmt die Veranstaltung aus der Sicht derjenigen, die das Erntefest für die nationalsozialistische Partei in Besitz genommen haben.
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Bereits 1934 hatte Adolf Hitler verfügt, dass der erste Sonntag nach dem Michaelistag Ende September ein gesetzlicher Feiertag ist – der Erntedanktag. Das NS-Regime nahm sich des Erntedankfestes an, um die Bedeutung der Bauernschaft für das Reich hervorzuheben. Die bäuerliche Lebensform bildete die Grundlage der Blut-und-Boden-Ideologie, und das Reichserntedankfest auf dem Bückeberg bei Hameln war – neben dem Reichsparteitag und der Feier zum 1. Mai – eine der zentralen Großveranstaltungen, um die Nazi-Ideologie in Szene zu setzen.
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Die geschmückten Einspänner-Wagen fahren auf, doch das christliche Ritual, bei dem die Gläubigen Gott für die Gaben der Ernte danken, wird besetzt von der Selbstdarstellung einer Partei, die den öffentlichen Raum gerade im Visuellen in einen Raum der Herrschaft verwandelt. Die Pferdewagen fahren auf mit der bäuerlichen Gesellschaft in Tracht, doch der Erntedank-Sonntag ist zur  Bühne einer Partei geworden, die den christlichen Ritus für eigene Zwecke profanisiert.
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Die Kamera folgt dieser Inszenierung insbesondere mit Schwenks, vollzieht mit Blickbewegungen nach, was sich im Medium eines Festes darstellt, das dabei ist, seinen ursprünglichen Sinn zu verlieren. Wiederholt endet ein Schwenk auf den Parteimännern in Uniform – einer von ihnen erhebt im Vorbeidriften den Arm zum Hitlergruß. Die Umstehenden gleiten vorüber, stehen vorne oder als Ansammlung im Hintergrund, sie sind Statisten in einer politischen Aufführung oder sie haben – als Vertreter der Erntefeier – ihre eigene kleine Rolle darin. Die Feier selbst ist das Medium, die das Verschiedene und Unvereinbare in seiner Aufführung zusammenhält – und die alten Symbole und rituellen Handlungen in einem neuen, trügerischen Resonanzraum aufgehen lässt. Ein junger Mann hält ein Mikrophon. Der neue Kult ist derjenige des Rassenmythos, der den christlichen Ritus – und damit die Kirchen – aus dem öffentlichen Leben verdrängt.
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Erneut ist es ein Schwenk, der hastig über eine kleine Gruppe von Parteileuten hinweggeht – ein Vorgesetzter hält eine kurze Rede, die mit Mikrophon aufgenommen wird. Junge Frauen vom Bund deutscher Mädchen kommen in den Blick, streng geordnet mit Fahnen dastehend, gefolgt von einem Grüppchen von SS-Leuten in schwarzer Uniform. Der Lahrer Urteilsplatz ist zu einer Szene der Nationalsozialisten geworden – der lange Tisch mit dem weißen Tischtuch, der Tisch für die Erntegaben, huscht unscheinbar vorüber. Was in der Szene geschieht, folgt neuen Regieanweisungen, denen ein anderer Text zugrunde liegt: Die Erzählung, die im Hintergrund steht, ist diejenige vom Rassenmythos  die projektierte Identität einer arischen Volksgemeinschaft.
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Vertreter des Erntefests kommen nach einem Schnitt halbnah ins Bild, werden begrüßt von Parteileuten. Der Amateurfilm zeigt die Erntedankfeier als neue Szene, in der die Rollen neu verteilt sind. Die Hauptrede des Parteioberen mit Mikrophon findet nicht nur mit Worten statt, sondern vor allem auch im visuellen Raum der Machtgesten. Der Schwenk in der Halbnahen, der mit dem Redner beginnt, zeigt eine Parteiveranstaltung, auf der allenfalls die Kutsche im Hintergrund noch für den Erntedank-Sonntag steht.
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Dann macht der Amateurfilm das, was die professionellen Filme über die NS-Großkundgebungen vorführen: Er zeigt die Veranstaltung von oben, von einem Fenster aus, einer Art Vogelperspektive, in der die Menschenansammlung zu einer visuellen Einheit verschmilzt, wenn mehrmals rhythmisch der Arm zum Hitlergruß erhoben wird und alle für Sekunden verharren. Schließlich marschieren die Jugendorganisationen auf, auch die Hitlerjugend und eine nicht enden wollende Gruppe des Bundes deutscher Mädchen haben ihren Auftritt.
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Am Schluss steht das, was zu einem Erntedank-Sonntag gehört, was jedoch in dem kleinen Film kaum mehr zu erwarten war. Plötzlich drängen sich die Menschen an den Erntegaben, der lange Tisch rückt in Nahaufnahmen ins Zentrum. Korb an Korb gleitet vorbei, beladen mit Obst, Brot, Mehl und Blumen und geschmückt mit ein paar Hakenkreuzfahnen, was auch hier die Vereinnahmung des Alltags durch den NS-Staat zeigt. Der Schwenk entlang des Tisches wiederholt sich – die Fülle dessen, was zu sehen ist, wird geradezu abgetastet im Blick der Kamera.
 +
Reiner Bader
 
}}
 
}}

Latest revision as of 17:06, 3 February 2020


Erntedankfest
Warning[1]

Events filmed or related


Erntedankfest

Abstract


Thanksgiving Day in Lahr

Description


Thanksgiving Day 1936, handing over of the harvest gifts on the judgment place in Lahr / Decorated single carriages and waiting spectators around the judgment place (v. E.). Parade of HJ and BDM. Harvests on long tables.


Metadata

Reference / film number :  LFS 00248 4
Date :  1936
Coloration :  Black and white
Sound :  Mute
Timecode :  00:03:30
Running time :  00:03:30
Reel format :  16 mm
Genre :  Amateur movie
Thematics :  Identity, Traditions, Local festivals, Rural life
Archive :  Haus des Dokumentarfilms

Context and analysis


“Thanksgiving Day 1936. Handing over the harvest gifts on the judgment place” - the writing at the beginning of the film calls up the Christian tradition of Thanksgiving. But the train of horse-drawn carriages parading along Friedrichstrasse in Lahr appears in the next picture between two uniformed men: Nazi men give the view of the event - and the amateur filmmaker repeats this view, filming the event from the perspective of those who took possession of the harvest festival for the National Socialist Party.

Already in 1934, Adolf Hitler had decreed that the first Sunday after the day of Michaelis end of September is a public holiday - Thanksgiving Day. The Nazi regime took part in Thanksgiving to highlight the importance of the peasantry for the empire. The rural way of life formed the basis of the blood and soil ideology, and the Reich harvest festival on the Bückeberg near Hameln was - alongside the Nazi Party rally and the celebration on May 1st - one of the central major events for staging the Nazi ideology.

The decorated single-horse carriages open, but the Christian ritual, in which the believers thank God for the gifts of the harvest, is occupied by the self-portrayal of a party that visually transforms public space into a space of rule. The horse-drawn carriages go with the traditional peasant society, but Thanksgiving Sunday has become the stage for a party that profaned the Christian rite for its own purposes.

The camera follows this staging in particular with pans, traces with eye movements what is represented in the medium of a festival that is about to lose its original meaning. Repeatedly a swing ends on the party men in uniform - one of them raises his arm to greet Hitler as he drifts past. The bystanders glide past, stand in front or as a gathering in the background, they are extras in a political performance or they - as representatives of the harvest celebration - have their own small role in it. The celebration itself is the medium that holds the different and the incompatible together in its performance - and lets the old symbols and ritual acts merge into a new, deceptive resonance room. A young man is holding a microphone. The new cult is that of the racial myth, which displaces the Christian rite - and thus the churches - from public life.

Once again it is a pan that hastily passes over a small group of party people - a manager gives a short speech that is recorded with a microphone. Young women from the Federation of German Girls come into view, standing in strict order with flags, followed by a group of SS men in black uniform. The judgment place in Lahr has become a scene of the National Socialists - the long table with the white tablecloth, the table for the harvest gifts, flies past inconspicuously. What happens in the scene follows new directing instructions, which are based on a different text: the narrative that stands in the background is that of the racial myth, the projected identity of an Aryan community.

Representatives of the harvest festival come half-close into the picture after a cut and are welcomed by party people. The footage shows the Thanksgiving celebration as a new scene in which the roles are redistributed. The main speech of the party leader with microphone takes place not only in words, but above all in the visual space of the gestures of power. The pan in the half-near, which begins with the speaker, shows a party event, at which the carriage stands in the background for Thanksgiving Sunday.

Then the film does what the professional films show about the Nazi major rallies: it shows the event from above, from a window, a kind of bird's eye view, in which the crowd merges into a visual unit, if the arm rhythmically welcomes the Hitler salute several times is raised and everyone pauses for seconds. Finally, the youth organizations marched on, and the Hitler Youth and a never-ending group of the Federation of German Girls also made their appearance.

At the end there is what belongs to a Thanksgiving Sunday, which was hardly to be expected in the small film. Suddenly people are crowding around the harvest, the long table is moving into the center in close-ups. Basket after basket glides past, loaded with fruit, bread, flour and flowers and adorned with a few swastika flags, which also shows that the Nazi state captured everyday life. The panning along the table repeats itself - the abundance of what can be seen is practically scanned in the gaze of the camera. Reiner Bader

Places and monuments


Lahr



  1. This film analysis is still in progress. It may therefore be incomplete and contain errors.