The Nibelungs (1924)

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Movie
Original title the Nibelungen
Country of production Germany
original language German
Publishing year 1924
length 293 minutes
Age rating FSK 6
Rod
Director Fritz Lang
script Thea of ​​Harbou
production Erich Pommer for Decla-Bioscop AG on behalf of Universum Film AG
Gustav Püttjer (unit manager)
music Gottfried Huppertz
camera Carl Hoffmann ,
Günther Rittau
occupation

The Nibelung is a German film epic directed by Fritz Lang from 1924 , consisting of the two parts Siegfried and Kriemhild's Vengeance . The script was written by the director's wife at the time, Thea von Harbou , using motifs from the Middle High German Nibelungenlied .

The viraged silent film premiered on February 14th (part 1) and on April 26, 1924 (part 2) at the Ufa-Palast am Zoo in Berlin and became a milestone in film history. The Nibelungen was on German television . Part 1: Siegfried first broadcast on West 3 on July 23, 1971 . The Nibelungen. Part 2: Kriemhild's revenge on Bavaria 3 on December 20, 1968 .

action

Part 1: Siegfried

The first song

How Siegfried slew the dragon

The story begins with Siegfried breaking out of Mime's forge because he has become better than his own master. Shortly before he gets on his horse, he hears Kriemhild's journeymen speaking and spontaneously decides to ride to Worms to win their hand. When he reports about his plan, everyone laughs at him and a fight breaks out. In order to get rid of Siegfried, Mime claims that he can show him the way to Worms. However, he deliberately leads him to the dreaded dragon. It comes to the first spectacular climax of the film - Siegfried's fight with the dragon . After killing him, bathing in dragon blood makes him invulnerable. However, a linden leaf sticks to his left shoulder while bathing.

The second song

How Volker sang about Siegfried in front of Kriemhild and how Siegfried came to Worms

At the court of Worms Kriemhild, the minstrel Volker reports on Siegfried's heroic deeds. This is followed by Siegfried's encounter with the insidious dwarf king Alberich , who first attacks him with his magic hat on his head. But Siegfried can snatch them from him and defeat him. As a price for Alberich's life, the dragon slayer receives the magic cap and the Nibelungen hoard as well as the unsurpassable Balmung sword . Now the dwarf king tries a second time to outsmart Siegfried. The opportunity seems favorable, as he is blinded by the immeasurable riches. But this time the trick doesn't work either. Siegfried kills Alberich, whereupon all the other dwarfs petrify. Some time later, Siegfried enters the Burgundy court in Worms and asks King Gunther for the hand of his sister Kriemhild. During the night she had a dream of a falcon being torn apart by two eagles. When she tells her mother, the old Queen Ute , about it, she doesn't take it as seriously as Kriemhild. Meanwhile, a dispute between Siegfried and Hagen von Tronje begins in the great hall of the castle because the dragon slayer is dissatisfied with the conditions for Kriemhild's hand. He is supposed to support King Gunther in his plan to defeat the warlike Brunhild . A fight almost ensues, which can only be prevented by the sudden arrival of Kriemhild. Finally, Siegfried and Gunther come to an agreement.

The third song

Hanna Ralph as Brunhild (Photo)

How Siegfried Brunhild won for Gunther
Everyone who competes for Brunhild has to defeat her in stone throwing, long jump and javelin throwing. Gunther, however, does not see himself able to do that; therefore Siegfried prepares a ruse. For this purpose, King Siegmund's son introduces himself as Gunther's servant after he and the Burgundians have arrived at Brunhild's castle, which is surrounded by fire. Siegfried then wins the fight against the warlike woman for King Gunther with the help of his magic hat. The proud Brunhild cannot believe her defeat.

The fourth song

How Brunhild moved in to Worms and the kings were married
Brunhild is received in a ceremony in Worms and shortly afterwards both Brunhild and Gunther as well as Kriemhild and Siegfried celebrate their wedding. Here Brunhild asks her future husband why he is giving his sister to a simple servant to wife. King Gunther's answer is that for him Siegfried is more than just a vassal and that they intend to become blood brothers. The blood brotherhood is closed on the same day and immediately afterwards Siegfried Gunther has to help again by taming Brunhild with his magic hat on the wedding night. He takes a bracelet from her, which he initially stows in a chest.

The fifth song

How after six moons Siegfried's morning gift, the Nibelung hoard, arrived in Worms, and how the queens quarreled with each other
Hagen von Tronje is of the opinion that the Nibelung hoard, which Siegfried brought to Worms, would be very important for the Burgundians, because of its splendor is dwarfed by Siegfried. Gunther, however, does not want to betray his blood brother under any circumstances. Meanwhile Kriemhild finds Brunhild's bracelet by chance, so Siegfried has to tell her about the betrayal of King Gunther's wife. Soon after, the legendary quarrel of the queens takes place in front of the cathedral gate in Worms. Brunhild forbids Kriemhild to enter first - on the grounds that she is only the wife of a servant. After extensive provocations, Kriemhild reveals what happened on the wedding night in her anger. The mortally offended Brunhild then demands that Hagen and her husband kill Siegfried. Hagen explains to her the secret of Siegfried's vulnerable spot on his shoulder, to which a linden leaf was stuck when he bathed in the dragon's blood. Gunther then with a heavy heart comes up with a plan to betray his blood brother.

The sixth song

alternative description
Set design from the first part: Siegfried's death at the source in the Odenwald

How Gunther Siegfried broke loyalty
The first part of the plan is carried out by Hagen: He announces that a great hunt will take place in the Odenwald and that every warrior - including Siegfried - is invited. Subsequently, he claims in front of Kriemhild that he had received a secret message that war against the Burgundians was imminent and that the hunt could easily turn into a battle. Kriemhild is now worried about Siegfried and gladly accepts Hagen's offer to protect Siegfried. All she has to do is mark his vulnerable spot on his clothing so that Hagen can hold his shield over it in battle. The next morning everyone sets out to hunt, which lasts until sunset. After Siegfried has returned, he is very thirsty and asks for wine. Instead, Hagen suggests a race to a nearby source. Before the start, Siegfried talks to his blood brother Gunther and asks him if they could finally reconcile. With a terrible remorse, Gunther proves that they could do that too when Siegfried is back from the source. But after the dragon slayer has won the race, he is killed by Hagen with a spear that hits Siegfried's vulnerable spot on the back.

The seventh song

How Kriemhild Hagen of Tronje swore revenge
Kriemhild cannot sleep the night after the hunt and therefore immediately notices the arrival of the returning hunters. Frightened, she goes in front of her bower and sees the dead Siegfried lying in front of her. After Gunther Brunhild reports that the one who cheated on her several times is dead, she laughs at him because he only killed his best friend because of a woman's vindictiveness. While Kriemhild kneels in front of Siegfried's corpse, Hagen enters - and Siegfried's wound immediately begins to bleed again . This is how Kriemhild recognizes who her husband's murderer is. King Gunther guarantees his innocence, but Kriemhild cannot be lied to again. She vows to take revenge on Hagen von Tronje. Then she goes to the cathedral and notices that Brunhild committed suicide in front of Siegfried's body that was laid out. In the final scene she kneels down and prays.

Part 2: Kriemhild's revenge

The first song

How Kriemhild mourned Siegfried and how King Etzel wooed her through Rüdiger von Bechlarn
. Winter has come. Margrave Rüdiger von Bechlarn arrives at the court of Worms and requests an audience with King Gunther. He wants to ask for Kriemhild's hand on behalf of his ruler, the Hun king Etzel . However, King Gunther has reservations about whether his sister will ever forget her Siegfried. After Kriemhild asked the margrave to tell him something about Etzel, Rüdiger assures that the Hun king will punish anyone who harms her. Here Kriemhild comes up with the idea of ​​how she can use Etzel's power for her plans for revenge. Meanwhile, Hagen von Tronje sinks the huge Nibelungen hoard in the Rhine, because he fears that Kriemhild will use the large amount of money to take revenge on her husband's murderer - him. When she found out about this, she immediately told Rüdiger that she would accept his offer.

The second song

How Kriemhild said goodbye to her homeland and how she was received by Mr. Etzel
Shortly before her departure, Kriemhild visits the spring where Siegfried was murdered for the last time and takes some earth soaked with Siegfried's blood to her later to soak in Hagen's blood. When they leave, Kriemhild refuses to shake hands with her brother, which almost breaks her mother Ute's heart. When the future wife Etzels arrives in the Hunnenland, spring has come. As soon as Etzel sees the woman from Burgundy, he promises Rüdiger to be able to choose one of his lands as thanks. Immediately after their arrival, however, Kriemhild asks King Etzel whether he would be willing to take the margrave's oath that anyone who harms her must be punished with death. The King of the Huns swears it.

The third song

How King Etzel lay before Rome, and how Kriemhild had her brothers
summon The Huns besieged Rome and some warriors remember that their king wanted to turn Rome's churches into stables. However, when they notice that Etzel is sleeping in his tent, they begin to sing badly about Kriemhild. Etzel wakes up and is about to kill one of his men, whom he caught doing it, when a messenger reaches him. He tells him that Kriemhild has had a son. King Etzel lets the siege break off immediately and rides back to his castle. There the mother of his child asks him to invite her brothers along with the entire entourage. The king is happy to do that. But secretly, Kriemhild still cannot forgive her clan and continues to be plagued by vengeance. She is even willing to use her own child to carry out the plan of revenge.

The fourth song

How Kriemhild received her brothers
Kriemhild learns that her brother Giselher has become engaged to the daughter of Rüdiger and that the Burgundians were guests at the margrave's court for more than a month on the way. The two clans are now united. It is also mentioned that the Burgundians, as (former) owners of the Nibelungen hoard, bear the title of Nibelung . One day before the summer solstice the time has come. Kriemhild's brothers arrive at the castle of the Hun King. That same night she reminded Etzel of his oath and quite openly asked him to avenge the shame on her by Hagen's death. For the king of the Huns, however, attacking a guest is the most dishonorable act he can imagine. In addition, Kriemhild places Hunnish warriors on Hagen and promises rich rewards for his head. However, the men do not initially dare to attack Hagen. However, the latter notices this and is now finally convinced that all Burgundians are threatened with death at King Etzel's court.

The fifth song

How the Huns celebrated the solstice festival with the Nibelungs The
next day, a banquet takes place in the large hall of Etzel's palace, to which the guests appear in full armor due to the obvious threat. There the son of Kriemhild and Etzel is presented to the Burgundians. At the same time, huge troops of paid Huns attack the followers of the Burgundian kings and thus spark a long-lasting struggle. Hagen's brother Dankwart, who has an arrow in his shoulder, escapes and enters the ballroom. In his last breath he tells Hagen about the betrayal. Shortly afterwards, hundreds of Huns storm the ballroom and a general commotion ensues. Out of sheer anger, Hagen von Tronje kills Etzel and Kriemhild's son. Now the king of the Huns is also convinced that the multiple murderer must be killed. Under the protection of numerous Burgundians as well as Margrave Rüdiger von Bechlarn and Dietrich von Bern , King Etzel's noblest knight, the defenseless royal couple is allowed to leave the ballroom .

The sixth song

Der Nibelungen Not
The Burgundians have holed up in the ballroom and killed all but one of the Huns. He is let out to show the Huns, but above all Kriemhild, that the fight against the Burgundians, who are also the Nibelungs, is pointless. However, the wild warriors attack again, although this time again it is not possible to avenge the royal child, as Kriemhild demands. The ballroom is stormed again and more fights follow, but the Huns are always defeated. During the attack, the Burgundians try to bring their sister to her senses and prevent senseless murders. Kriemhild replies with the offer to spare the life of the Burgundians if Hagen was extradited and to allow them to travel freely. Even if she repeats this proposal several times, it will be rejected. Now Kriemhild demands of Rüdiger to fight the man to whom his daughter is engaged. In doing so, she refers to the margrave's oath, who from the beginning aimed to use it against Hagen. Rüdiger von Bechlarn realizes that he cannot escape this fight.

The seventh song

The end of the Nibelung
It was night when Rüdiger involuntarily started his last fight. Giselher desperately asks the father of his fiancée to bring peace, but since Rüdiger von Bechlarn has to keep the oath given to Kriemhild, he denies with a heavy heart. Even before the actual fight begins, Giselher is killed by Rüdiger. Then the slaughter begins. Rüdiger dies at the beginning at the hands of Volker von Alzey. Gerenot carries his dead brother to the door of the hall to show Kriemhild what she has done with her vengeance. She is very saddened by the death of her younger brother and once again she repeats her offer that everyone should go their own way if Hagen von Tronje would be handed over to her. But Gerenot says no and is killed by a horde of Huns. Now Kriemhild's younger brothers and all of Rüdiger's warriors, including the margrave himself, are dead. As a final act of vengeance, the Queen of the Huns orders the ballroom to be set on fire with arrows. While Hildebrand , Dietrich's armorer, complains exactly that in front of Kriemhild, most of the Burgundians die in the hall from the fire and the collapsing building - just not King Gunther and Hagen von Tronje, who were both most closely involved in Siegfried's murder. Dietrich von Bern is the last to enter the ballroom and a short time later comes out again with the bound Hagen von Tronje and the severely wounded King Gunther. Kriemhild demands from Hagen that he tell her the location of the Nibelungen hoard. Hagen explains that he has promised not to reveal the hiding place while one of his kings is still alive. Kriemhild has her brother Gunther's head cut off. When she presented his head to Hagen, he scornfully declares that now only God and he knows the whereabouts of the hoard and that God is no more secretive than him. Angry, Kriemhild kills Hagen von Tronje with his own sword and is shortly afterwards stabbed by Hildebrandt, who previously thought it was wrong for brave warriors to be defenselessly killed by fire or by a woman. In her last minute, Kriemhild unpacks the earth from the source so that she can soak it with Hagen's blood. Now the remnants of chivalric society stand before the ruins of a gruesome murder. Finally, King Etzel orders that Kriemhild's body be brought to Siegfried on the Rhine because it was never intended for another man.

Production background

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The Nibelungen , filmed from 1922 to 1924, was named after Dr. Mabuse, the player, director Fritz Lang's second major public success - at the same time it was the most expensive German film ever. The film was financed by the producer Erich Pommer , who trusted in the success of the film project despite the hyperinflation that took place in 1923 during the production period . The Nibelung convinced with its perfect, painterly composition , a great deal of equipment and masks, innovative tricks and visual effects as well as excellent acting.

The lavish film project was conceived by Lang and the screenwriter Thea von Harbou , whom he married in August 1922, as a two-parter from the start. Thea von Harbou based the script on the original medieval saga, less on Richard Wagner's famous adaptation, Das Rheingold . In order to set himself apart from Wagner, the composer Gottfried Huppertz was also commissioned to produce a film score. In the script, which is strictly divided into acts and chants, Harbou paid particular attention to a clear form. Lang also tried to film the four different locations differently and make them seem almost hostile to one another: the magical forest with Siegfried, the over-refined and frozen court in Worms, the Nordic world of Iceland and the court of the Huns. For Lang, The Nibelungs also had a political dimension:

“The Nibelungenlied is not a hero song of the German people. It is a hero song of the ruling upper class. Where is the people mentioned somewhere ?! I saw the Burgundian kings with their splendid robes as a decadent social class that was already in decline and wanted to achieve its ends by all means. And these decadent Burgundians perish when they collide for the first time with a new, wildly emerging class of society: the Huns. "

For Paul Richter , Siegfried's hero role was tailor-made. Theodor Loos plays the weak, fickle King Gunther, Hans Adalbert Schlettow embodies a grim, sinister Hagen Tronje, Rudolf Klein-Rogge plays King Etzel, who despite his wild, exotic appearance is presented by Lang as one of the few likeable characters in the film. Margarete Schön embodied one of her few leading roles in the cinema as Kriemhild, while Hanna Ralph embodied Brünhild.

In addition to the quality of the production and the acting of the main actors, the masks, costumes and buildings by Otto Hunte , Karl Vollbrecht and Erich Kettelhut as well as the special effects by Eugen Schüfftan were particularly praised by contemporary critics. The splendid medieval costumes, designed by Paul Gerd Guderian , have a touch of Art Deco , typical of the 1920s . Guderian, the younger brother of the later Wehrmacht General Heinz Guderian , was seriously ill while filming and died in 1924 at the age of only 28, which is why there is a cross behind his name in the opening credits. An essential source of inspiration for the formal design of the film and also for the costumes are the illustrations by the Viennese Art Nouveau artist Carl Otto Czeschka , which he created for a retelling of the Nibelungenlied by Franz Keim . The children's book was published in 1908/1909 by the Viennese publishing house Gerlach und Wiedling - with further editions in 1920 and 1924. The art historian Ulrich Schulte-Wülwer gives in his dissertation " The Nibelungenlied in the German art of the 19th and 20th centuries " (Gießen 1980) References to the reception of this small Czeschka volume by the Austrian film director Fritz Lang in his Nibelungen film from 1920/1924.

The city of Worms with its castle and cathedral as well as the palace of the Hun King Etzel were staged with monumental backdrops on the outdoor area of ​​the Babelsberg film studios . With the animation of a fighting, fire-breathing and bleeding dragon, the filmmakers achieved a visual effect never before seen in the cinema. Also spectacular is the implementation of Brunhild's castle in the middle of a sea of ​​flames as well as the falcon dream sequence and the transformation scenes designed by Walter Ruttmann using trickery.

Even the change of seasons was included in the staging. In the outside scenes that take place in winter, real snow can be seen, and the flowers and bushes are all real and were specially planted months before the shooting. With mass and fight scenes with the participation of hundreds of extras , especially in the second part, nothing was saved. The camera work by Carl Hoffmann and Günther Rittau was considered exemplary.

Versions and reconstructions

On May 29, 1933, an abbreviated sound film version of Part 1 was performed under the title Siegfried's Death . This was edited by Franz B. Biermann , and Theodor Loos acted as spokesman.

The first restoration (both parts) by the Munich Film Museum was completed in the 1980s. The original music by Gottfried Huppertz was recorded on this occasion by the Munich Radio Orchestra under the direction of Berndt Heller . A DVD edition of this first restored version of the film has so far only been released abroad. There are Spanish, English, French, and US publications.

The second restoration by the Friedrich Wilhelm Murnau Foundation was completed in 2010 after four years of work. At 750,000 euros, it was the foundation's largest and most expensive restoration project to date. For the first time, camera negatives and numerous copies from a total of 17 institutions in nine countries could be used. A partially restored version was shown for the first time on March 12 and 13, 2010. The Frankfurt Radio Symphony under the direction of Frank Strobel accompanied the performance using the film music reconstructed and re-edited by Marco Jovic based on the original by Gottfried Huppertz. The completely restored new version Die Nibelungen (1924/2010) celebrated its premiere on April 27, 2010 in the Deutsche Oper Berlin . The restoration of the Murnau Foundation is different from the Munich version by the orange Viragierung , individual settings, such as the death Kriemhilds could be reinserted. Thanks to the numerous original materials, the image quality is significantly better. In contrast to Metropolis (1927/2010), the focus was not on digital technology, but on traditional photochemical restoration. The coloring was also carried out using the original method of the silent film era. Both parts of the second restoration were shown for the first time on October 3, 2011 on arte on television.

The restored version was published on DVD in 2012 (Süddeutsche Zeitung Cinemathek), later the version was also published on DVD and Blu-Ray by the Murnau Foundation.

Reviews

The film service wrote that Lang had not created a “nationalist hero monument”, but “a gloomy, consistently stylized fresco of the fateful downfall in which not love and loyalty, but hate and vengeance are the driving forces.” In the first part, statuary rigidity would be and decorative pathos dominate, the second part is characterized by ornamental crowd scenes and larger-than-life visions of death. "The people remain involved in geometric image compositions and architectural image compositions, whereby a high degree of optical rigor and suggestive spatial effect is achieved." On the occasion of the new restored film showing in 2010, the film service noted in a new review that the original orange-colored 'stitch '"Brings out the special light and shadow dramaturgy of the work". The film is still overwhelming 86 years after its premiere and is a “monumental touching piece of unfulfilled love and boundless vengeance, of pompous poetry and destructive megalomania, of self-denying sacrifice and finally the famous loyalty to the Nibelungs, which turns Kriemhild into an unscrupulous monster that the Burgundians and pulls the Huns with him into the abyss. "Gottfried Huppertz original music, which tells of the" ancient German tragedy of Greek proportions ", has been" impressively "re-recorded by the conductor Frank Strobel and the Hessischer Rundfunk Symphony Orchestra.

After the new performance in 2010, Hanns-Georg Rodek wrote for Die Welt : “It will take a long time for the Nibelungs to die. Anyone who thought that John Wayne's final battle in the Alamo was heroic has not seen the “Nibelungs”. ”Even then, it was a political parable of a dying caste - the Burgundians as the bourgeoisie , Burgundy as the Weimar Republic - that did not yet know that she was doomed. “Only the archaic nature of the film, where everything is predetermined and people are only pawns of fate, seems strange today. However, that should have been the case at the time of its creation. Basically, Lang's strict stylization and artificiality are timeless. ” According to Rodek, the Nibelungs could hold their own against Lang's Metroplis .

In his review of Telepolis 2012, Hans Schmid defended the film against the charge of being a “ proto-fascist historical ham sympathizing with the goals of the NSDAP ”. Rather, Die Nibelungen show characters who know how to die in such a defiant way that their death is usually more glorious than their life. Lang created an audience success with the film, which at the same time can also be read politically and psychologically with Sigmund Freud . "Lang shows intrigues, murder and manslaughter with a certain fascination with evil, which it is difficult to escape, but never with the recommendation to emulate what you see on screen: the power politicians Hagen and Kriemhild and, besides that - along with the rank and file - noble ones Warriors who let themselves be led through the ring by the nose ring if you hold out hollow words like "honor" and "loyalty". "The second part of the Nibelungen is" a story of doom, told with merciless stringency and intensity to its bloody end " that are unparalleled in German cinema.

Remakes

The two costly remakes from 1967 and 2004 (see Die Nibelungen (1967) and Die Nibelungen (2004) ) could not achieve the success of the silent film version despite spectacular action elements and good special effects.

literature

  • Scott Brand: Four worlds in one film: Variations of the Middle Ages in “The Nibelungs” . In: Daniel Ilgner / Jacek Rzeszotnik / Lars Schmeink (eds.): Journal for Fantastic Research . 2/2013. Lit, Münster 2013, pp. 95–119.
  • Rainer Fabich : The Nibelungs (music: Gottfried Huppertz / director: Fritz Lang). In: Music for the silent film - Analyzing description of original film compositions. Frankfurt a. M. u. a. 1993 (= Europäische Hochschulschriften. 36: Musikwissenschaft. 94), pp. 192–220. ISBN 3-631-45391-4
  • Thea von Harbou : Das Nibelungenbuch . Munich 1924. (Adaptation of the novel by the screenwriter, which was marketed parallel to the film).
  • Heinz B. Heller: "only convincing and haunting if it corresponds to the essence of the time". Fritz Lang's 'Nibelungen' film as a “time image” . In: Joachim Heinzle / Klaus Klein / Ute Obhof (eds.): The Nibelungs. Saga - epic - myth . Wiesbaden 2003, pp. 497-509.
  • Heinz B. Heller: "You don't put monuments on the flat asphalt". Fritz Lang's 'Nibelungen' film . In: Joachim Heinzle / Anneliese Waldschmidt (eds.): The Nibelungs. A German madness, a German nightmare. Studies and documents on the reception of the Nibelung material in the 19th and 20th centuries . Frankfurt a. M. 1991 (= st. 2110), pp. 351-369.
  • Klaus Kanzog : The way the Nibelungs got into the cinema. Fritz Lang's film alternative to Hebbel and Wagner . In: Dieter Borchmeyer (Hrsg.): Ways of the Myth in the Modern Age. Richard Wagner "The Ring of the Nibelung" . Munich 1987 (= dtv. 4468), pp. 202-223.
  • Christian Kiening / Cornelia Herberichs: Fritz Lang. "The Nibelungs" (1924) . In: Christian Kiening (Ed.): Middle Ages in Film . Berlin u. a. 2006 (= Trends in Medieval Philology, 6), pp. 189-225.
  • Rudolf Freund: The Nibelungs . In Günther Dahlke, Günther Karl (Hrsgg.): German feature films from the beginnings to 1933. A film guide. Henschel Verlag, 2nd edition, Berlin 1993, pp. 98 ff. ISBN 3-89487-009-5 .
  • Lothar van Laak: “You don't know the German soul”. Conception of history and cinematic myth in Fritz Lang's “Nibelungen” . In: Mischa Meier (ed.): Antiquity and the Middle Ages in Film. Construction, documentation, projection . Cologne u. a. 2007 (= contributions to historical culture. 29), pp. 267–282.
  • Fritz Lang : What was important with the “Nibelungen” film . In: The Nibelungs. A German hero song . Director: Fritz Lang. Ufa Decla film. 1st film: Siegfried . 2nd film: Kriemhild's revenge . o. O. o. J. [Berlin 1924], pp. 12-16. Again in: Fred Gehler , Ullrich H. Kasten : Fritz Lang. The voice of Metropolis . Berlin 1990, pp. 170-174.
  • Meinolf Schumacher : A heroic epic as a silent film narrative. Fritz Lang, 'The Nibelungs' . In: Heinz-Peter Preußer (Ed.): Late silent films. Aesthetic innovation in the cinema 1924-1930 . Marburg 2017, pp. 39–63. ISBN 978-3-89472-959-2
  • Klaus von See : "To the German people". Fritz Lang's Nibelungen film from 1924 . In: Mittelweg 36th Journal of the Hamburg Institute for Social Research. 4. 1995. No. 6, pp. 3-14. Again in: Ders .: Texts and Theses. Disputes in German and Scandinavian history . With a foreword by Julia Zernack. Heidelberg 2003 (= Frankfurt contributions to German studies. 38), pp. 115–132.
  • Anne Waldschmidt: Emissaries of the German nature. Fritz Lang, Thea von Harbou and “Die Nibelungen” . In: Hans Michael Bock / Michael Töteberg (Ed.): The Ufa book. Art and crises, stars and directors, business and politics . 2nd edition Frankfurt a. M. 1992, pp. 138-141.
  • Andreas Wirwalski: “How do you make a rainbow?” Fritz Lang's Nibelungen film. Questions about the imagery of the film and its reception . Frankfurt a. M. 1994.
  • The Lindwurm as a creature of modern technology . In: Reclams Universum / Weltrundschau 40.2 (1924), issue 21, pp. 46–47 (with 4 illustrations).

Web links

Individual evidence

  1. ↑ The Nibelungs (2 parts) at filmportal.de (versions)
  2. ↑ The Nibelungs. 1st part: Siegfried at filmportal.de (versions)
  3. ↑ The Nibelungs. Part 2: Kriemhild's revenge on filmportal.de (versions)
  4. ↑ Flyer of the Murnau Foundation to be published again in 2010 , page 15
  5. ↑ The Nibelungs - Variants of the film version | Hans Helmut Prinzler. Retrieved on August 29, 2019 (German).
  6. ↑ The Nibelungs - Variants of the film version | Hans Helmut Prinzler. Retrieved on August 29, 2019 (German).
  7. ↑ Hans Schmid: Alone like a stone. Retrieved August 29, 2019 .
  8. ↑ Hanns-Georg Rodek: Restored Fritz-Lang-Film: "Nibelungen" also exist against "Metropolis" . April 28, 2010 ( welt.de [accessed August 29, 2019]).
  9. ↑ Erich Kettelhut: The shadow of the architect: memories . Belleville, 2009, ISBN 978-3-936298-55-0 ( google.de [accessed August 29, 2019]).
  10. ^ Paul Gerd Guderian. Retrieved August 29, 2019 .
  11. ↑ http://www.szecesszio.com/2009/11/10/die-nibelungen-interpreted-by-franz-keim-and-illustrated-by-carl-otto-czeschka/
  12. ↑ See also Friedrich C. Heller: The colorful world. Handbook for artistically illustrated children's books in Vienna 1890–1938 , p. 187, and also Joachim Heinzle : Mythos Nibelungen , Reclam, Stuttgart 2013, p. 317 f.
  13. ↑ a b c d e The Nibelungs (restored version) in the Lexicon of International FilmsTemplate: LdiF / Maintenance / Access used .
  14. ↑ hr online from March 14, 2010  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.hr-online.de  
  15. ↑ Film-Dienst 11/2010  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / film-dienst.kim-info.de  
  16. ^ The Nibelungs in the Lexicon of International Films . Template: LdiF / Maintenance / Access used
  17. ↑ Hanns-Georg Rodek: Restored Fritz-Lang-Film: "Nibelungen" also exist against "Metropolis" . April 28, 2010 ( welt.de [accessed August 29, 2019]).
  18. ^ Richard Egger: What can be achieved with language . In: Leadership through Language . Springer Fachmedien Wiesbaden, Wiesbaden 2019, ISBN 978-3-658-25442-1 , p. 1-10 , doi : 10.1007 / 978-3-658-25443-8_1 .