“‘ . . . Aus dem Geist des Boulevards’! Zur Physiognomie urbaner Tanzmusik-und Unterhaltungskultur in der Tonfilmoperette,” in MusikSpektakelFilm, 46 – 66.
58. Kreuder was one of the most successful film music composers during the Third Reich in spite of his thinly veiled dedication to African American idioms. Trained in classical music, Kreuder founded his first jazz band in the 1920s in Hamburg and performed jazz throughout the 1930s. His hit songs were instrumental in establishing closer ties between the Nazi film and record industries. Because of Kreuder’s predilection for jazz and swing, many of these hit songs bordered on the impermissible. Kreuder’s continued success therefore relied on his talent in imaginative redress. Kreuder’s musical number for the Nazi Western Wasser für Canitoga (1939), e.g., clearly emulated the rather “un-German” sound tracks of Hollywood pageants such as San Francisco (1936).
But in order to release the film’s popular ballad as a record, Kreuder changed its title from “Good bye, Jonny” to “Leb wohl, Peter” (Hans Christoph Worbs, Der Schlager. Bestandsaufnahme, Analyse, Dokumentation [Bremen: Schünemann, 1963], 62).
59. A quite different interpretation of the chicken dance has been proposed by Marie-Luise Bolte, “Vom Kabarett zum Film: Thesen zum Filmsong und vier Komponisten-Porträts,” in Als die Filme singen lernten: Innovation und Tradition im Musikfilm, 1928 –1938, ed. Hans-Michael Bock, Wolfgang Jacobsen, and Jörg Schöning (Munich: Edition Text und Kritik, 1999), 45.
60. Michael H. Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (New York: Oxford University Press, 1997), 26.
61. Hermann Wanderscheck, “Sieben Fragen an zwölf Komponisten: Es geht um filmeigene Musik,” Film-Kurier, December 31, 1938.
62. Konrad Vogelsang, Filmmusik im Dritten Reich: Eine Dokumentation, 2d ed. (Pfaffenweiler: Centaurus, 1993), 28. On the role of Beethoven in Nazi film scoring see Hans Rutz, “Beethoven und der Film: Querverbindungen zwischen Musik-Zitat und -Illustration,” Film-Kurier, May 28, 1938; and David B. Dennis, Beethoven in German Politics, 1870 –1989 (New Haven, Conn.: Yale University Press, 1996), 158 –159.
63. In 1936, e.g., Hans von Wolzogen defined Wagner’s legacy to the Third Reich in terms of a comprehensive national project of spiritual and physical reeducation: “Germans! As nature lovers preserve and strengthen your bodies in strict discipline and healthy exercise, and search for and find your soul, like your Führer, in the magnificent art of the master of Bayreuth!” Hans Freiherr von Wolzogen, “Das politische Bayreuth,” Zeitschrift für Musik (March 1936): 283 –284.
64. Theodor Adorno, In Search of Wagner, trans. Rodney Livingstone (London: New Left Books, 1981), 31.
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281
65. Simonetta Falasca-Zamponi, Fascist Spectacle: The Aesthetics of Power in Mussolini’ s Italy (Berkeley: University of California Press, 1997), 192.
66. Kristin Thompson, Exporting Entertainment: America in the World Film Market, 1907–1934 (London: BFI, 1985), 148 –170.
67. Reorganized under Goebbels, German cinema recaptured the major share of its own market from Hollywood by 1936. See Douglas Gomery, “Economic Struggle and Hollywood Imperialism: Europe Converts to Sound,” in Film Sound: Theory and Practice, 30; see also Douglas Gomery, “The Coming of Sound to the German Cinema,” in Purdue Film Studies Annual, 1976 (West Lafayette, Ind.: Purdue University Press, 1976), 136 –143.
68. Joseph Goebbels, “Der Film as Erzieher. Rede zur Eröffnung der Filmar-beit der HJ” [speech delivered in Berlin, October 12, 1941], in Das eherne Herz: Reden und Aufsätze aus den Jahren 1941/42 (Munich: Fritz Eher, 1943), 44.
69. “The National Film Is the International Film,” Film-Kurier, January 1, 1934 (written in English!).
70. Ernesto Laclau and Chantal Mouffe, Hegemony and Socialist Strategy: Towards a Radical Democratic Politics (London: Verso, 1985), 85.
71. Alexander Kluge, “On Film and the Public Sphere,” New German Critique 24/25 (fall/winter 1981/82): 206 –220; Miriam Hansen, “Alexander Kluge, Cinema, and the Public Sphere: The Construction Site of Counter History,” Discourse 6 (1983): 53 –74.
c h a p t e r 2 . i n c o r p o r at i n g t h e u n d e r g r o u n d 1. Rudolf Arnheim, “A New Laocoön,” in Film as Art (Berkeley: University of California Press, 1957), 199 –230.
2. Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington: Indiana University Press, 1987), 51.
3. Rick Altman, “Introduction,” Yale French Studies 60 (1980): 7.
4. See C. Hooper Trask, “On Berlin’s Screens,” New York Times, February 5, 1933; qtd. in Kristin Thompson, Exporting Entertainment: America in the World Film Market, 1907–1934 (London: BFI, 1985), 163.
5. Rick Altman, “Moving Lips: Cinema as Ventriloquism,” Yale French Studies 60 (1980): 67 –79.
6. Natasˇa Dˇurovicˇová, “Translating America: The Hollywood Multilinguals 1929 –1933,” in Sound Theory, Sound Practice, ed. Rick Altman (New York: Routledge, 1992), 139.
7. For a detailed discussion of Kellermann’s novel and its first cinematic version of 1915 see Deniz Göktürk, Künstler, Cowboys, Ingenieure . . . Kultur-und mediengeschichtliche Studien zu deutschen Amerika-Texten, 1912 –1920
(Munich: Fink, 1998), 97 –116.
8. In the French-language version, which premiered in November 1933 as well, the title role was played by Jean Gabin. Only Gustaf Gründgens, in the role of the banker, Woolf, remained from the original German cast. Thomas Elsaesser suggests that Bernhardt shot The Tunnel in France (Thomas Elsaesser,
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“Moderne und Modernisierung: Der deutsche Film der dreißiger Jahre,” montage/av 3, no. 2 [1994]: 35). Production records and trade magazine reports show, however, that both versions were produced at the Bavaria studios in Munich-Geiselgasteig. See “Filme im Werden: Im Bavaria-Tunnel,” Film-Kurier, September 18, 1933.
9. For an insightful study of the few Nazi fantasy films see Kraft Wetzel and Peter Hagemann, Liebe, Tod, und Technik: Kino des Phantastischen, 1933 –
1945 (Berlin: Spiess, 1977).
10. Berliner Börsenzeitung, November 4, 1933.
11. André Bazin, “The Virtues and Limitations of Montage,” in What Is Cinema? trans. Hugh Gray (Berkeley: University of California Press, 1967), 1:41–52.
12. Vivian Carol Sobchack, The Limits of Infinity: The American Science Fiction Film, 1950 –1975 (South Brunswick, N.J.: A. S. Barnes, 1980), 141.
13. See, e.g., the review in Kinematograph, November 4, 1933.
