Neuer Pfarrer (LFS 01433 5) : Différence entre versions
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|duree=00:03:45 | |duree=00:03:45 | ||
|genre=Film_amateur | |genre=Film_amateur | ||
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|Etat_redaction=Non | |Etat_redaction=Non | ||
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| + | |apercu=LFS01433_5_Neuer_Pfarrer.jpg | ||
|lieux_ou_monuments=Philippsburg | |lieux_ou_monuments=Philippsburg | ||
|lieuTournage=49.23492, 8.45673 | |lieuTournage=49.23492, 8.45673 | ||
|thematique=Identity@ Traditions@ Religious feasts and events | |thematique=Identity@ Traditions@ Religious feasts and events | ||
|Resume_de=Einführung des neuen katholischen Priesters | |Resume_de=Einführung des neuen katholischen Priesters | ||
| + | |Resume_en=Introduction of the new Catholic priest | ||
| + | |Contexte_et_analyse_de=Er hat seinen Auftritt. Zunächst jedoch sieht man Bilder von dem Ort, an dem das Ereignis stattfinden wird. Menschen – es sind vor allem Frauen – warten am Philippsburger Marktplatz bei der katholischen Kirche. Die Musik, die dem Film unterlegt ist, stimmt ein: Schuberts Ave Maria, gesungen von Karel Gott. Der neue katholische Pfarrer, Wolfram Hartmann, wird an diesem Tag im Mai 1971 in sein Amt eingeführt. | ||
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| + | Der Ort präsentiert sich als Bühne des bevorstehenden religiösen Rituals. Da ist der Blick auf das Wohnhaus des Neupriesters am Marktplatz, geschmückt mit den Fahnen der Stadt und der Kirche. Eine junge Frau im roten Minikleid geht vorbei – und macht markant auf die veränderte Damenmode aufmerksam. Der Platz mit dem Ehrenmal für die Gefallenen kommt in einer Totalen in Sicht, und die Kamera schaut auch mal kurz in eine beflaggte Straße der Innenstadt. Dem Amateurfilmer und Sprecher geht es nicht nur um das Ereignis selbst, sondern um die Szene am Ort. Er greift auf die Möglichkeiten des Dokumentarischen zurück, dasjenige genauer zu zeigen, was in der Fernsehberichterstattung kaum zu sehen ist. Die Szene bekommt eine eigene dokumentarische Dramaturgie, in der auch das Publikum mit auf der Bühne ist. | ||
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| + | Der Film versammelt zunächst, was zur Szene an diesem besonderen Tag gehört. Der Kirchturm, der in den Schön-Wetter-Himmel ragt; die Wartenden, die in Grüppchen an der Mauer stehen und sich unterhalten; das Kirchenschiff mit dem Philippsbrunnen, die im Gegenlicht zum Blickfang werden: Markiert wird eine Stimmung, die sich vom Alltäglichen abhebt. Dann betritt der neue Pfarrer die Szene. Hinter einem Auto hervorkommend geht er souveränen Schrittes an einer Zuschauerreihe vorbei, um vom Vorsitzenden des Pfarrgemeinderates begrüßt zu werden. Am Eingang der Kirche ist die Kamera näher dran, zeigt den Neupriester wieder händeschüttelnd, bevor auf die Menschenmenge hinter ihm geschnitten wird. Er ist die Hauptfigur einer Aufführung, die sich nicht nur am kirchlichen Ritual, sondern auch an Mustern orientiert, wie sie aus den Massenmedien bekannt sind. Der junge Pfarrer – er ist gerade mal 25 Jahre alt – wird zum Hauptdarsteller, dessen Gesicht jetzt groß im Bild erscheint: Die Großaufnahme des Protagonisten wird – wie im Spielfilm – zum visuellen Höhepunkt des Films, bis sich im Anschluss die Einstellungen wieder auf sein Gegenüber weiten. | ||
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| + | Die Wirklichkeit folgt in ihrer Tendenz den Darstellungen im Fernsehen und nicht umgekehrt – so lautet eine der Thesen bereits in der frühen Fernsehtheorie. Der Amateurfilm setzt so gesehen ein kirchliches Ereignis in Szene, das seinerseits schon etwas von den Inszenierungen in den audiovisuellen Massenmedien angenommen hat. Und der Amateurfilm wiederholt dieses Ereignis mit dokumentarischen Mitteln: Die Großaufnahme der Hauptfigur gerät zum visuellen Kulminationspunkt, doch der junge Pfarrer hat – gerade als ein untypischer, jugendlicher Vertreter seines Berufsstandes – einen Spielraum, sich individuell darzustellen. Als ein solcher ‚anderer‘ katholischer Pfarrer betritt er bereits die Szene, und auch die Nahaufnahmen, die nun folgen, geben ihm den Raum, sich für die Kamera zu zeigen: selbstbewusst und sich seine eigene Rolle schaffend in diesem von der religiösen Konvention belasteten Beruf. | ||
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| + | Dann ist er wieder Teil des feierlichen Ablaufs. Die Eltern treten aus der Menge hervor, während eine Volksschulklasse dem Neupriester ein Ständchen bringt. Das Einführungsritual nimmt seinen Lauf: Am Kircheneingang zieht er neben Pfarrer und Kaplan sein liturgisches Gewand über. Der neue Pfarrer, der bereits in einem eigenen, unkonventionellen ‚Bild‘ für das Publikum in Erscheinung getreten ist, verschwindet mit den anderen Würdenträgern im Dunkel der Kirchentür. | ||
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| + | Und auch die anschließenden Bilder von der Prozession, die ihn am Elternhaus abholt und zur Kirche geleitet, lässt ihn erst spät am Ende des Zuges sichtbar werden. Der junge Priester ordnet sich ein in das kirchliche Ritual, das ihm jedoch an anderen Stellen auch den Raum lässt, seine Rolle in der ihm eigenen Weise einzunehmen. Und dies in einer Zeit – Anfang der 1970er Jahre –, als in der Öffentlichkeit von der Krise des traditionellen Priesterbildes die Rede war. So gibt der Amateurfilm von rund vier Minuten dem Neupriester umso mehr die Möglichkeit, das festgelegte Rollenbild seines Berufsstandes aufzubrechen. Der Film lässt die religiöse Konvention als eine Bühne erscheinen, auf der sich der Protagonist mit einer Authentizität zeigt, die zum lokalen Ereignis wird. Der neue Pfarrer hat seinen Auftritt. | ||
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| + | Reiner Bader | ||
| + | |Contexte_et_analyse_en=He has his appearance indeed. First, however, you see pictures of the place where the event will take place. People - mostly women - are waiting at the Philippsburg market place at the Catholic Church. The music underlying the film is just right: Schubert's Ave Maria, sung by Karel Gott. The new Catholic pastor, Wolfram Hartmann, was introduced into his office on that day in May 1971. | ||
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| + | The place presents itself as a stage for the upcoming religious ritual. There is a view of the new priest's house on the market square, adorned with the flags of the city and the church. A young woman in a red mini dress walks past - and draws attention to the changes in women's fashion. The square with the cenotaph for the fallen is seen in a long shot, and the camera also looks briefly into a flagged street in the city center. The amateur filmmaker and spokesman is not only concerned with the event itself, but with the scene on the spot. He draws on the possibilities of the documentary to show more precisely what can hardly be seen in television reports. The scene gets its own documentary dramaturgy, in which the audience is also on stage. | ||
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| + | The film first brings together what belongs to the scene on this special day. The church tower that rises into the beautiful weather sky; the waiting people standing in groups on the wall and talking; the nave with the Philippsbrunnen, which becomes an eye-catcher in the backlight: a mood is highlighted that stands out from the everyday. Then the new pastor enters the scene. Coming from behind a car, he takes a sovereign step past a row of spectators to be greeted by the chairman of the parish council. At the entrance to the church, the camera is closer, showing the new priest shaking hands again before cutting to the crowd behind him. He is the main character of a performance that is based not only on the church ritual, but also on patterns that are known from the mass media. The young priest - he is just 25 years old - becomes the main actor, whose face now appears large in the picture: The close-up of the protagonist - like in the feature film - becomes the visual highlight of the film until the settings change again afterwards wide. | ||
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| + | In its tendency, reality follows the representations on television and not vice versa - this is one of the theses in early television theory. Seen in this way, the amateur film stages an ecclesiastical event, which in turn has already taken on something from the productions in the audiovisual mass media. And the amateur film repeats this event with documentary means: the close-up of the main character turns into a visual culmination point, but the young pastor has - especially as an atypical, young representative of his profession - a scope to present himself individually. As such an 'other' Catholic priest, he is already entering the scene, and the close-ups that now follow give him the space to show himself for the camera: confident and creating his own role in this profession, which is burdened by the religious convention , | ||
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| + | Then it is part of the festive process again. The parents emerge from the crowd, while an elementary school class serenades the new priest. The introductory ritual takes its course: at the entrance to the church he puts on his liturgical garb alongside the pastor and chaplain. The new pastor, who has already appeared in a separate, unconventional 'picture' for the audience, disappears with the other dignitaries in the dark of the church door. | ||
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| + | And the subsequent pictures of the procession, which picks him up at his parents' house and leads him to the church, only makes him visible late at the end of the train. The young priest fits into the ecclesiastical ritual, which, however, also gives him the space in other places to take on his role in his own way. And this at a time - in the early 1970s - when the public was talking about the crisis of the traditional priestly image. The amateur film of around four minutes gives the new priest all the more the opportunity to break up the defined role model of his profession. The film makes the religious convention appear as a stage on which the protagonist shows himself with an authenticity that becomes a local event. The new pastor has his appearance. | ||
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| + | Reiner Bader | ||
| + | |Bibliographie=ANDERS, GÜNTHER, Die Welt als Phantom und Matrize, in: ders., Die Antiquiertheit des Menschen, Band 1, C.H. Beck, München 1956 | ||
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Version du 16 avril 2020 à 10:41
Résumé
Contexte et analyse
He has his appearance indeed. First, however, you see pictures of the place where the event will take place. People - mostly women - are waiting at the Philippsburg market place at the Catholic Church. The music underlying the film is just right: Schubert's Ave Maria, sung by Karel Gott. The new Catholic pastor, Wolfram Hartmann, was introduced into his office on that day in May 1971.
The place presents itself as a stage for the upcoming religious ritual. There is a view of the new priest's house on the market square, adorned with the flags of the city and the church. A young woman in a red mini dress walks past - and draws attention to the changes in women's fashion. The square with the cenotaph for the fallen is seen in a long shot, and the camera also looks briefly into a flagged street in the city center. The amateur filmmaker and spokesman is not only concerned with the event itself, but with the scene on the spot. He draws on the possibilities of the documentary to show more precisely what can hardly be seen in television reports. The scene gets its own documentary dramaturgy, in which the audience is also on stage.
The film first brings together what belongs to the scene on this special day. The church tower that rises into the beautiful weather sky; the waiting people standing in groups on the wall and talking; the nave with the Philippsbrunnen, which becomes an eye-catcher in the backlight: a mood is highlighted that stands out from the everyday. Then the new pastor enters the scene. Coming from behind a car, he takes a sovereign step past a row of spectators to be greeted by the chairman of the parish council. At the entrance to the church, the camera is closer, showing the new priest shaking hands again before cutting to the crowd behind him. He is the main character of a performance that is based not only on the church ritual, but also on patterns that are known from the mass media. The young priest - he is just 25 years old - becomes the main actor, whose face now appears large in the picture: The close-up of the protagonist - like in the feature film - becomes the visual highlight of the film until the settings change again afterwards wide.
In its tendency, reality follows the representations on television and not vice versa - this is one of the theses in early television theory. Seen in this way, the amateur film stages an ecclesiastical event, which in turn has already taken on something from the productions in the audiovisual mass media. And the amateur film repeats this event with documentary means: the close-up of the main character turns into a visual culmination point, but the young pastor has - especially as an atypical, young representative of his profession - a scope to present himself individually. As such an 'other' Catholic priest, he is already entering the scene, and the close-ups that now follow give him the space to show himself for the camera: confident and creating his own role in this profession, which is burdened by the religious convention ,
Then it is part of the festive process again. The parents emerge from the crowd, while an elementary school class serenades the new priest. The introductory ritual takes its course: at the entrance to the church he puts on his liturgical garb alongside the pastor and chaplain. The new pastor, who has already appeared in a separate, unconventional 'picture' for the audience, disappears with the other dignitaries in the dark of the church door.
And the subsequent pictures of the procession, which picks him up at his parents' house and leads him to the church, only makes him visible late at the end of the train. The young priest fits into the ecclesiastical ritual, which, however, also gives him the space in other places to take on his role in his own way. And this at a time - in the early 1970s - when the public was talking about the crisis of the traditional priestly image. The amateur film of around four minutes gives the new priest all the more the opportunity to break up the defined role model of his profession. The film makes the religious convention appear as a stage on which the protagonist shows himself with an authenticity that becomes a local event. The new pastor has his appearance.
Reiner BaderLieux ou monuments
Bibliographie
- ↑ Cette fiche est en cours de rédaction. À ce titre elle peut être inachevée et contenir des erreurs.
