Fairy tale film

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Fairy tale films are films that deal with magical adventures of fairytale characters such as fabulous princes and princesses , fairies , wizards , dwarfs , witches , dragons , trolls , giants , goblins , mermaids or mermen . Also important are magical items such as seven-league boots , stealth , magic mirror , witch hazels , wishing table and divining rods . Fairy tale films alternate between children's films , literary films and fantasy films .

Genre term fairy tale film

In terms of genre typology, the fairy tale film can be distinguished from fantasy film, science fiction film and fantastic film by deriving it from the literary generic term of the fairytale and the fantastic, through the relationship between the real world and wonder. The fairy tale is a realm of the wonderful, which is an addition to our everyday world without touching it or destroying its context. The fantastic, on the other hand, reveals a nuisance, a rift, a strange, almost unbearable break into the real world. “The fantastic film / fantasy film is based on an original realism that is violated when the monster appears or the dead come to life or the traveler enters another world with the time machine.” “[The fairy tale wonder, however,] fits harmoniously into one A world in which the laws of causality have been suspended from the start. ”The miracle happens quite naturally and playfully, whereas the fantastic [of fantasy / science fiction films] often takes place as a fictional draft of what is really possible in a“ climate of horror ” .

The fairy tale film is one of the oldest film genres. Although the transitions are fluid and fairy tale films as literary adaptations of classic fairy tales, sagas and legends can also be motif related here, the fantasy film is differentiated from the fairy tale film insofar as this fantasy literature is filmed and the fantasy film has also developed closer to the action film. As an art film, the fairy tale film has a close connection to fairy tale illustration and fairy tale opera . The fairy tale film is researched through film theory and fairy tale research.

Filmed fairy tale material

The fairy tale as a literary model for a film has some special features. Fairy tale materials have a peculiar plasticity, malleability: The type of fairy tale recorded in the Aarne-Thompson Index is mostly told in many languages, often with slight deviations. The film mostly joins this new narration of a fairy tale subject, often combining several narrative modes of a fairy tale type and reinterpreting the fairy tale motifs in the sense of a cinematic plot and thus formulating another variant of the fairy tale story in the film. Here, the fairy tale film shows something special compared to the literary film .

However, there are also film adaptations of fairy tales based on art fairy tales , which, like literary films , are interested in a direct cinematic transmission of a single literary original - filmed art fairy tales originate primarily from Hans Christian Andersen , Henrik Hertz , Wilhelm Hauff , Maurice Maeterlinck , Jan Drda , Josef Lada , Richard Volkmann -Leander , Alexander Pushkin , Nikolai Gogol , Charles Dickens , Washington Irving , and Astrid Lindgren .

Nevertheless, with regard to the varied motifs, the fairy tales of the Brothers Grimm are also internationally canonical and form an important foil in many fairy tale films. T. stands for itself, z. Some of them also have analog motifs by Charles Perrault , Gabrielle-Suzanne de Villeneuve , Jeanne-Marie Leprince de Beaumont , Charles Deulin , Italo Calvino , Božena Němcová , Karel Jaromír Erben , Joseph Jacobs , Robert Southey , Peter Christen Asbjørnsen , Alexander Nikolajewitsch Afanassjewitsch including storytellers is connected. In addition, some fairy tale films draw their motifs from the Arab fairy tale collection from Arabian Nights .

Story of the fairy tale film

Fairy tales as a silent film

Fairy tales have been popular subjects since the early days of the silent film ; as early as 1906 there was a German film adaptation of Frau Holle . Other early fairy tale films are from France by Georges Méliès z. B. Les Aventures de baron de Munchhausen from 1911 and several films by the American director James Searle Dawley (including Snow White , 1916). Paul Wegener filmed the legend of the Rübezahl in Rübezahl's wedding in 1916 - in 1918 Wegener made the silent fairy tale film The Pied Piper of Hameln . Paul Leni's The Sleeping Beauty film from 1917/18 offered a richly furnished setting - both Wegener and Leni made pioneering achievements in expressive fairy tales.

Ernst Lubitsch's 1921 fairy tale film Sumurun with Pola Negri in the leading role moves in oriental magic based on the story of the hunchback from Arabian Nights . Ludwig Berger , who also made theoretical considerations about the fairy tale film, created a Cinderella version in 1923 with The Lost Shoe in an aesthetic of floating images.

The 1924 American silent film Scheherazade's fairy tale in Douglas Fairbanks' portrayal of The Thief of Baghdad becomes a dynamic adventurous version . The silent fairy tale film reached its perfection in 1928 with Jean Renoir's The Little Girl with the Swimps , which set new artistic standards for fairy tale films.

Key works of the fairy tale film

Although the fairy tale film conquered both the techniques of color film and that of the sound film since the 1930s , the decisive work of the fairy tale film, which is still classically binding today, was a black and white sound film: Jean Cocteau's film La Belle et la Bête from 1947 . This French fairy tale film, which combined the wonderful with the real in a way never seen before, also had the effect of dreams come alive in the manner of the fairy tale pictures by Gustave Doré, thanks to its black and white technique .

The black-and-white film based on the Drosselbart's fairy tale The Proud Princess from 1952 was made in a timely manner in Czechoslovakia and the beautiful Wassilissa in 1939 in the Soviet Union . These films had the effect of initiation, especially in their countries.

Russian classics in color are z. B. The stone flower , already from 1946 and from 1976 The sad mermaid and the princess and the pea . In 1947, however, the fantasy and artistic expressiveness of Cocteau's La Belle et la Bête with mirrors and shadows were initially singular.

The innovative effect of this film can only be compared to the Czechoslovakian-German color film classic Three Hazelnuts for Cinderella aka Tri orisky pro popelku from 1973 in the history of the fairy tale film with actors . The name of a cult film is hardly enough to describe the international impact of Three Hazelnuts for Cinderella . Until then, the fairy tale color films were often studio productions with a perspective on fairy tales that was sometimes graceful, but often regrettably naive. However, there were also exceptions: For example, the impressive film adaptation of the cold heart from 1950 or Little Red Riding Hood from 1962, the playful, idiosyncratic, only film by opera director Götz Friedrich .

Even if there was still an international tradition of studio productions with fairytale-like alienating backdrops: since the experience of Drei Hazelnuss für Cschenbrödel , it has become more and more mandatory for the film to combine the fairy tale secret with images of free nature, to transfer the psychological fairy tale situation into the film plot in an explanatory manner and to consider the furnishings as a work of art .

This not only resulted in an incomparable flowering of the Czech and Slovak fairy tale films, but also led internationally to Italian-Czech, French-Czech, Spanish-Czech, Soviet-Czech, US-American-Czech and at that time “over there” to German - Czech co-productions that have produced outstanding fairy tale films: Examples of such collaborations with East German participation are e.g. B. these art films: How to kiss Sleeping Beauty awake from 1977 or The story of the goose princess and her faithful horse Falada from 1988 (in the latter, at least the leading roles play Czech fairy tale actors); also Frau Holle from 1985 (a West German- Czech production); Furthermore, Der Froschkönig was created in 1991 with Germany's participation ; also with the participation of France's Cinderella from 1989 and Sleeping Beauty from 1990, with the participation of Spain's The Devil and His Two Daughters from 1989; with the participation of Italy, for example, Der Reisekamerad from 1990; under Soviet participation The Tale of Tom Thumb of 1986 and also the fairy near American film A Knight's Tale So Knight's Tale in 2001 was partly in the Czech Barrandov Studios completed.

Of course, Three Hazelnuts for Cinderella did not fall entirely from the sky in Czechoslovakia either: The film was rather already in a tradition of fairy tale film as an art film : Examples are the dragon fairy tale Prince Bajaja from 1972 or the expressionist experimental film from 1963 on the fairy tale The Three Golden Hair by Grandfather Omniscient alias Tři zlaté vlasy děda Vševěda of the director Jan Valášek .

Important for the conception of Three Hazelnuts for Cinderella , two fairy tale films from France and Romania also opened up the imagery of symbolism in the filmed fairy tale secret: Le petit Poucet from France from 1972 and The Castle behind the Rainbow based on Ion Creangă from Romania from 1968. The classics La Belle et la Bête and Drei Hazelnuts für Cschenbrödel eventually became the benchmarks in fairy tale film productions outside of the Czech and Slovakian productions and co-productions and have been raising awareness of the artistic expression of fairy tale films to the present day: The GDR productions Rapunzel or the magic of Tears from 1988 or Jorinde and Joringel from 1986 showed Czech nature mysticism expanded by mythical moments in the sense of Johann Jakob Bachofen combined with sensitive sewing of images of La Belle et la Bête .

The coherent English fairy tale musical The slipper and the rose from Great Britain based on Charles Perrault's Cendrillon from 1977 has a relationship with the Cinderella film not only according to the Aarne-Thompson Index ; Although the musical is based on Van Dyck's baroque aesthetics and thus differs from the Renaissance style of Cschenbrödel , there are things in common: the pink magical cape, snow pictures, staircase views, ringing bells and the like. a. The Russian fairy tale films, such as, for example, are closely interwoven with the Cinderella experience . B. The Magic Portrait from 1997 or Snow White and the Seven Dwarfs from 1998; In the same line, one should also think of some German films from the ARD series Six in One Stroke : The award-winning films Snow White from 2009, Rumpelstilzchen from 2009, The Blue Light from 2010 and - with wonderful aspects of the comic - also The Brave Little Tailor from 2008 and Die Kluge Bauerndaughter from 2009; This series also reached a brilliant climax in The Emperor's New Clothes against the backdrop of Charlottenburg Palace and Sanssouci .

The 2011 ARD series reaches another fairy tale dimension with Die Sterntaler : Here, similar to Three Hazelnuts for Cinderella, the over-historical question of justice is impressively posed and answered convincingly like a fairy tale; the film images from Die Sterntaler recall images by Lucas Cranach the Elder ; With the filming of Allerleirauh from 2012, the ARD series succeeds in the harrowing and yet always fairytale-like depiction of the Allerleirauh theme with taboo , trauma and fairytale-like liberation in a drought-like aesthetic, whereby Allerleirauh's cosmic clothes in particular have the rank of fairytale-like works of art; ARD-Märchen complements the Märchenperlen series from Germany, including the natural magic Hansel and Gretel film adaptation of ZDF from 2006 or the detailed film adaptation of Zwerg Nase from 2008 by Bayerischer Rundfunk (BR), staged with images of Dutch fruit still lifes .

With Der Eisenhans from 2011, the ZDF series shows the fairy tale myth of the forest man and the prince's happiness of the gardener boy in mysterious, light-flooded forest scenes, with the gold and sun symbolism of the fairy tale being sensitively indicated in the landscape images. The Norwegian fairy tale film Der Eisbärkönig (The Polar Bear King) from 1991 also moves in the Czech tradition of nature images, B. torches in the snow, while z. For example, the Finnish fairy tale film The Snow Queen from 1986 exaggerated nature in a rainbow color and, with its surreal images, recalls Jean Cocteau's fairy tales, but at the same time combines a new music video aesthetic with fairy tale film.

The Dutch Mariken fairy tale from 2000 captured a lot of the spontaneity embodied by the Czech cinderella Libuse Safránková in all roles - Libuse Safránková even shows this liveliness in the sad role of the mermaid rival in the Czech classic The Little Mermaid from 1976.

In Czechoslovakia - and thus now in the Czech Republic and Slovakia - the fairy tale films by Cinderella director Václav Vorlíček, alongside those by Juraj Herz and Ludvík Ráza , have flourished particularly well. An example of this is Ludvík Ráza's film from 1993 The Seven Ravens with Mária Podhradská, who as a fairy-tale beauty stands alongside Josette Day and Libuse Safránková on an equal footing . The fairy tale of the search for the missing princess found an exemplary form in the Czech fairy tale film in The Fearless of 1989, the fairy tale of the mistake of twins , The Third Prince from 1982; In the same year, after the salt fairy tale, Der Salzprinz was created - the fairy tale of flying filmed in 1987 The Princess and the Flying Cobbler . Among the many classics of the Czech fairy tale film, the unusual film adaptation of King Drosselbart from 1984 must also be mentioned, where different levels of theatrical reality collide - a technique that in turn keeps Jean Cocteau's fairy tale picture alive in his special reflective technique .

The German fairy tale films shot from 2005 to 2011 and projected until 2012 have not only evidently produced future classics of the genre, but a new sense of fairy tale film for burlesque fairy tale comedy can also be felt in some of these films. This ability of fairy tale jokes in Germany goes back to the convincing fairy tale comedy about Snow White 7 dwarfs - men alone in the forest from 2004 and 7 dwarfs - the forest is not enough from 2006. The Czech fairy tale film has had a tendency towards the universal since the turn of the millennium : Heaven and hell , mermen and confused devils and above all hilarious and at the same time not harmless “Bohemian robbers” are some of the new Czech favorite motifs of the fairy tale film: Examples are Devilish Luck from 1999/2000, The Rainbow Fairy from 2001, The Most Enchanting Riddle from 2008 and hell with princess from 2009.

Subtle trick technology with many background variations is at the service of the fairytale wonder in the 2010 Danish fairy tale film The wild swans with fairytale birds flying over the sea. The American fairy tale film Jack in the Empire of the Giants from 2010 shows a promising aesthetic based on fairy tale illustrations by Arthur Rackham .

Animated fairy tale film

In 1911, Winsor McCay presented his fairytale-like comic characters from Little Nemo's diverse, extensive slumber land wonders as lively, moving characters in a seven-minute, 35 mm animated film in meticulously self-drawn movement sequences: Here Nemo picks his beloved, a vital and idiosyncratic Belle- Époche beauty, the dream Dream princess a rose.

The drawn fantasy characters of the Little Nemo film are hand-colored. The animated and moving drawing created an early visual magic of the possibilities of animation, and McCay continued to experiment with various animations in the 1920s. However, it was only after McCay's untimely death that his technique was mature enough to attract audiences. In 1937 Walt Disney produced Snow White and the Seven Dwarfs, a world hit of the animated fairy tale film.

In 1950 Disney's Cinderella followed , and in 1959 Sleeping Beauty accompanied by Pyotr Ilyich Tchaikovsky's Sleeping Beauty Ballet. Even after the death of Walt Disney in 1966, these internationally famous Disney cartoon fairy tales, emotionally strongly promoted in drawing and colorful coloring, were continued: 1989 in very free redesign of Andersen's Little Mermaid Arielle, the Mermaid , 1991 Beauty and the Beast , 1992 Aladdin 2009 Kiss the frog and 2010 Rapunzel - new spoiled .

All of these Disney fairy tales appeared in the Disney production series "Masterworks". In 1964 Walt Disney experimented with the animation mixing technique, for example. B. in Mary Poppins , the fairytale-like effects caused by the break-in of comic images in the real film.

The optical possibilities of the fairy-tale animation are not exhausted with these visual worlds: Long before Disney's Snow paradigm, already in the 1920s invented Lotte Reiniger for the fairy tale a cartoon art in silhouettes - and shear cut manner : Thus arose scale, the symbolic power of the tale interesting untermalende fairy tale animations Black and white: e.g. B. 1922 Sleeping Beauty and Cinderella or 1926 Reiniger's famous fairy tale film The Adventures of Prince Achmed . Ivan Ivanov-Wano has made numerous soft-drawn fairy tale cartoons in the USSR since the 1950s . B. 1956 The Twelve Months or Tsar Saltan and the Wonder Island from 1984. Michail Zechanowski came up with the dynamic images for the animated film The Wild Swans (USSR 1962).

In 1977 the Czech director Karel Zeman referred to the pictorial qualities of color printing and woodcut in his expressive cartoon fairy tale Krabat . There is also a long tradition of animation fairy tale film in Japan . B. Spirited Away in 2001. The English animated film artist Ruth Lingford breathed an expressive and profound animated film life into Andersen's eerie fairy tale, The Story of a Mother, in the ten-minute film Death and the Mother in 1988 with expressionistic and African woodcut shapes and black lines .

In 1990, the second episode of the second season of the television series Janoschs Traumstunde produced a remarkable version of the animated film in highly individualistically painted pictures of The Frog King - Janosch's Frog King depicts the redemption of an ugly girl who happily regains her longed-for frog shape through a frog prince. In America, after Jim Henson's puppet film The Dark Crystal from 1982, Tim Burton is currently best known for animated puppet fairy tale films. B. Nightmare Before Christmas from 1993 or the romantic fairy tale Corpse Bride - Wedding with a corpse from 2005; In 1982, Tim Burton made an animated film based on Grimm's fairy tale Hansel and Gretel . Incidentally, many personal feature films by this director also fall into the fairy tale film category.

The German fairy tale film

Fairy tale film in the imperial era (1895 to 1918)

Even in the early years of German cinematography, fairy tales and legends were popular topics. The silent fairy tale films were produced for a wide audience. The first German Grimm films can be identified in 1907.

Other silent films were based on various popular and folk-literary models with regard to the choice of material and topic. This was shown in particular by adaptations by Paul Wegener , such as Rübezahl's Hochzeit (1916) and Der Rattenfänger von Hameln (1918), whose main characters were well-known legendary figures. Wegener found suitable filming locations in the Giant Mountains or in small medieval towns on the Rhine . In 1917, his silent film Hans Trutz was premiered in the land of milk and honey, which was based on a poem by Hans Sachs . Wegener, who worked as a scriptwriter and director, as a trick technician and lead actor, is now regarded as a “visionary of German film fantasy”.

Paul Leni , who was able to fall back on his experience as a stage designer in the theater, took over the direction of Sleeping Beauty (1917) for the first time. The Brothers Grimm adaptation was praised in the cinema press of the time, especially for its design, but also for a skillful change between humor and seriousness. The verses for the subtitles were written by Rudolf Presber .

Fairy tale film in the Weimar Republic (1919 to 1933)

In the second half of the German silent film, the scripts based content further fairy tales templates German romance , in design, the imagery of the so-called was Expressionist operated. Initially, the fairy tale films were still not aimed at any specified audience; both an adult and a child audience should be addressed.

In 1921 and 1922, the UFA's cultural department produced the three silent adaptations Der kleine Muck - A fairy tale from the Orient , Tischlein deck dich, Eselein straighten, Stick out of the sack - both directed by Wilhelm Prager - and The wrong one Prince , shot by director Erwin Báron . In 1923/24 Fred Sauer's The Cold Heart and Ludwig Berger's Cinderella adaptation The Lost Shoe celebrated their film theater premieres. The 1925 Hans Christian Andersen adaptation The Girl with the Sulfur Woods showed that the silent fairy tale film was also a technical field of experimentation : The UFA produced this fairy tale film as one of the first sound films in the Tri-Ergon process, directed by Guido Bagier . The premiere on December 17, 1925 was a failure because of the poor sound quality. From the mid-1920s, adult audiences became less interested in fairy tale films. The large German film groups therefore increasingly concentrated on other film genres.

For this purpose, silent fairy tale films were made in smaller production companies, which were aimed specifically at a children's audience and were later used both in the school cinema and in the Sunday afternoon children's shows. For example, Hanns Walter Kornblum filmed the fairy tales Hansel and Gretel (1921) and Frau Holle (1928) with his Colonna-Film GmbH . At the end of the 1920s, the director Alf Zengerling produced his first silent fairy tale adaptations with the company Märchen-Film Produktion: Snow White. Rotkäppchen and Hans im Glück premiered at Christmas 1928. In addition, the silent films Die Sterntaler were made under his direction until 1930 . Little brother and little sister. King Drosselbart. Jumping jack's dream ride. (all 1929), Das Waldhaus. The elves. as well as Cinderella. (all 1930), some of which Zengerling later set to music. This shift of the fairy tale film into the field of children's entertainment also caused a break with the creative traditions of the fairy tale silent film for adults.

Lotte Reiniger , Toni Raboldt and the Diehl brothers made their first independent contributions in the field of animated German fairy tale films in the 1920s . Reiniger completed her debut in 1920/21, the silhouette film The Flying Suitcase , based on a fairy tale by Hans Christian Andersen. The Brothers Grimm adaptations Sleeping Beauty (1922) and Cinderella (1923) followed. Reiniger's main work The Adventures of Prince Achmed (1923–1926), which was based on a novel-like material from the Arabian Nights, is one of the most important animated films today. Raboldt filmed Jorinde and Joringel (1920) from the Grimms as a silhouette film . Both Reiniger and Raboldt worked at the Berlin Institute for Cultural Research, which supported young cartoonists. The brothers Hermann , Paul and Ferdinand Diehl founded a joint production company in 1928 in which they made a silhouette film - Kalif Storch (1928–1930) based on Wilhelm Hauff.

Fairy tale film under National Socialism (1933 to 1945)

Although the fairy tale film in the “ Third Reich ” was one of the film genres that were politically unsuspicious, tendencies can be demonstrated in the adaptations that were shaped by the spirit of National Socialism . This was logical because children were to be indoctrinated with Nazi propaganda and Nazi values in a child-friendly manner. The fairy tale film genre was ideal for this purpose, as it was produced specifically for a children's audience. However, the propaganda, ie the influencing of opinion by certain characters and actions in the film, should rather remain in the background. This Nazi propaganda can be exposed with the help of an analysis that is critical of ideology.

After the National Socialists came to power, cinemas initially only showed silent UFA fairy tale films from the 1910s and 1920s or dubbed silent fairy tale films by Alf Zengerling . The adaptations were performed in special afternoon fairy tale performances for children.

In 1935 Zengerling produced the first German fairy tale sound film: Puss in Boots . He also wrote the screenplay and directed Sleeping Beauty (1936), The Enchanted Princess (1939) - based on the novella and the fairy tale play Der Rubin by Friedrich Hebbel -, The Frog King , The Hare and the Hedgehog and Rumpelstiltskin (all 1940). Zengerling tried to "[...] come across the landscape to create fairy tales". Outdoor shots for his fairy tale films were made in the Löwenburg near Kassel , on the Pfaueninsel southwest of Berlin or in the grounds of the Elbe castles in Saxony .

From 1936, the company Naturfilm Hubert Schonger began to produce fairy tales for a children's audience, mostly in the studio. The first two fairy tale films Little table set you, donkey stretch out, stick out of the sack! as well as Schneeweißchen and Rosenrot directed by Alfred Stöger were premiered in autumn 1938. Company owner and cultural filmmaker Hubert Schonger wrote the screenplay for Snow White and the Seven Dwarfs in 1939 , which director Carl Heinz Wolff shot . Schonger wrote that for Die Heinzelmännchen (1939), based on a poem by August Kopisch , as well as the Brothers Grimm adaptations Die Sterntaler (1940), Hansel and Gretel (1940), Frieder and Catherlieschen (1940) and Das brave Schneiderlein (1941) Screenplay and direction. The three short fairy tale films Der süße Brei (1940), Der kleine Häwelmann (1940) and The steadfast tin soldier (1940) combined acting with factual trick scenes. Erich Dautert was in charge of the game and production.

Schonger hired some popular actors such as Paul Henckels , Lucie Englisch , Hans Hessling and Elsa Wagner for his fairy tale films. Gunnar Möller began his acting career as Hansel . Norbert Schultze wrote the film music for Tischlein deck dich, donkey stretch out, stick out of the sack! Schneeweißchen and Rosenrot as well as Snow White and the Seven Dwarfs - later he set music to songs on behalf of the Reich Minister for Public Enlightenment and Propaganda, Joseph Goebbels , and wrote the music for the Nazi propaganda film Kolberg (1945).

Nature film Hubert Schonger also made animation films based on fairytale models until 1945, such as the puppet cartoon The Little Thumb (1943) based on Ludwig Bechstein . The colorful cartoon The Wolf and the Seven Little Goats (1939) was made after the Brothers Grimm; Heinz Tischmeyer drew the Grimm fairy tale Die Bremer Stadtmusikanten (1943) for Schonger .

The actor, director and producer Fritz Genschow adapted well-known fairy tales by the Brothers Grimm and Hans Christian Andersens for the Briese film production in 1935 . As 8-millimeter silent films for home theater developed Hansel and Gretel , The Princess and the Pea , Little Red Riding Hood , Snow White and Rumpelstiltskin . On behalf of Tobis-Melofilm, Genschow and his wife Renée Stobrawa wrote the screenplay for the movie Little Red Riding Hood and the Wolf (1937). Both also directed. In addition, Genschow played the role of the hunter. The fairy tale film anticipated the narrative concept of the classic The Magician of Oz (1939): The Brothers Grimm's template was embedded as a colored dream of the main character in a black and white framework that took place in the Nazi era. Little Red Riding Hood and the Wolf remained Genschow's only fairy-tale sound film until 1945.

In 1943/44 the cultural filmmaker Franz Fiedler and his company Sonne-Film produced the adaptation Der kleine Muck. A fairy tale for big and small people . Ruth Hoffmann's script , based on the fairy tale by Wilhelm Hauff , was based on a play by Friedrich Forster-Burggraf. The fairy tale film was shown exclusively in matinees and special events in 1944/45.

The youth film distribution company founded by Willy Wohlrabe in Berlin in 1934 included the fairy tale films by Alf Zengerling and Hubert Schonger in its program. Wohlrabe, educator and social democrat, had to give up his position as director of education from 1933 because of "political unreliability". During the time of National Socialism, he stuck to "the principle of tendency-free children's films".

The film architects Robert Herlth and Walter Röhrig adapted the Grimm fairy tale Hans im Glück in 1935, not for children, but for an adult audience . Both had shaped German film expressionism in the 1920s with their buildings and backdrops . Herlth and Röhrig planned with Hans im Glück. A cheerful game in the tone of a folk song, an “aesthetic restart of the genre of fairy tale films for adults”. For this they wrote the script and directed. In addition, both designed the scenery. Delta-Film GmbH, which was also responsible for the anti-Soviet Nazi propaganda film Friesennot (1935), produced the fairy tale film. The world premiere of Hans im Glück. A cheerful game in folk song tone on July 3, 1936 was a failure and the film was discontinued a little later. Arno Richter , the film's costume designer, later suspected “a theater scandal that was organized from the outset for political reasons”.

The UFA film Münchhausen (1943), which can be assigned to both the fairy tale film genre and the cinema of the fantastic, was based in part on the literary template Wonderful journeys to water and land, campaigns and amusing adventures by Freiherr von Münchhausen (1786) from Gottfried August Bürger . The scriptwriter was Erich Kästner , who, however, had to hide behind a pseudonym. UFA celebrated its 25th anniversary with the film. In addition, the “Third Reich” wanted to set up a cinematic monument. The adaptation to the Baron of Lies Münchhausen cost the UFA 6.5 million Reichsmarks.

In the area of ​​animated German fairy tale films under National Socialism, the Diehl-Film brothers produced puppet cartoons for school lessons from 1935 onwards. The client was the Reich Office for Educational Films (RfdU), renamed in 1940 as the Reich Institute for Film and Image in Science and Education (RWU). Hermann , Paul and Ferdinand Diehl had already produced the silhouette fairy tale film Kalif Storch based on Wilhelm Hauff in 1930 . They later experimented with dolls. For National Socialist lessons they made six silent puppet cartoons based on fairy tales: From one who set out to learn how to shudder (1935), Tischlein deck 'dich! (1936), The Race between the Hare and the Hedgehog (1938/39), The Wolf and the Seven Goats (1939), Puss in Boots (1940) and Sleeping Beauty (1943). The three puppet cartoons Sterntaler (1936/37), The Wichtelmänner (1943/44) and The Brave Little Tailor (1944) were completed but not used in lessons. In addition, the Diehl brothers produced the puppet animation sound film The Seven Ravens (1937) based on the Grimm brothers. The fairy tale was adapted for the cinema without an order from the RfdU.

In the film The Race between the Hare and the Hedgehog , the hedgehog appeared for the first time, which later became the mascot of the BRD program magazine Hörzu as Mecki .

Although the puppet cartoons by the Diehl-Film brothers saw themselves as artistically high-quality adaptations and are still justified as entertainment films today, they were primarily used as teaching aids that were based on national Nazi educational requirements. In addition, the High Command of the Wehrmacht (OKW) used the animated films in the front cinema for soldiers to distract and diversify. In these contexts, the adaptations had to convey social models. This made it necessary to examine the puppet cartoons to see if they could be integrated into Nazi ideology .

Lotte Reiniger , who shaped the animated German fairy tale film in the 1920s, produced the silhouette film Der Graf von Carabas (1935) with her company Lotte Reiniger Film based on motifs from Puss in Boots . In 1944 she began the silhouette film Die goldene Gans on behalf of the Reich Institute for Film and Image in Science and Education (RWU) , which she finished after the war. Kurt Stordel produced the cartoon Sleeping Beauty (1936) based on the model of the Brothers Grimm on behalf of Tobis-Melofilm . In 1939 he produced the colored cartoon A Fairy Tale with the company Trickfilm-Atelier EW Stordel .

Fairy tale film during the occupation (1945 to 1949)

In the first years after the Second World War, all filmmakers had to undergo denazification by completing questionnaires from the Allies. In addition, the four victorious powers imposed a license requirement for all activities in the field of film production and distribution companies.

The youth film rental company under Willy Wohlrabe , which has shown fairy tale films since 1934, received its license from the Western Allies in December 1947. For the years 1948/49, Wohlrabe named the new productions Frau Holle in his distribution program . Little Red Riding Hood and Hans in luck . All three fairy tale films were produced by Schongerfilm Hubert Schonger (formerly Naturfilm Hubert Schonger):

Frau Holle was the first post-war fairy tale film to be checked by the Allied military censors in October 1948 and premiered on November 16, 1948 in one of the three western occupation zones of Berlin. The Brothers Grimm adaptation was a so-called defector because it began in the summer of 1944, but was only completed or shown after the war. Directed by Hans Grimm .

The cartoon Rotkäppchen was one of the first German animated fairy tale films to be produced after the war. The 18-minute adaptation premiered on December 21, 1948 in Cologne. Kurt Stordel drew the Grimm fairy tale for Schongerfilm.

During the occupation, Schongerfilm began filming Hans im Glück , directed by Peter Hamel . Gunnar Möller took over the role of Hans . The fairy tale film was only examined and premiered after the FRG was founded .

Although DEFA was the first film studio in the four occupation zones to receive a license after 1945, no fairy tale films were made during the occupation. The DEFA children's film production approached the fairy tale heritage only slowly at first, also because the Grimm collection was not undisputed in the Soviet zone of occupation. The fairy tales of the Brothers Grimm appeared on the one hand to be too illusory, romantic and mystical, on the other hand to be too cruel and bloody. In 1948, Wolff von Gordon proposed a film adaptation of the fairy tale The Cold Heart by Wilhelm Hauff to DEFA . The fairy tale film was only produced after the GDR was founded.

Fairy tale film in the GDR (1949 to 1990)

Classics from DEFA studios are The Cold Heart from 1950, the first fairy tale film produced and at the same time the first DEFA color film in Agfacolor, and The Story of Little Muck by Wolfgang Staudte from 1953, not least because of its early special effects .

Fairy tale film after the fall of the Berlin Wall (after 1990)

The fairy tale film tradition was revived after German reunification through Otto Waalkes ' comedy fairy tale series 7 dwarfs - men alone in the forest (2004) and 7 dwarfs - the forest is not enough (2006). In addition, in 2006 and 2007 twelve fairy tale films were made as a co-production between the German television station ProSieben and the Austrian ORF for television. These films prepare fairy tales in a humorous and parodic way. See: The ProSieben fairy tale hour . or The ORF fairytale hour .

In 2008, ARD initially produced six fairy tale films based on the Grimm brothers under the title Six in One Stroke , some of which featured prominent actors and the film adaptations were again based more closely on the fairy tale character of the pieces. These films are again aimed more clearly at a younger audience. They show a certain reinterpretation and have a running time of approx. 60 minutes each. Another eight films followed in 2009 under the title Eight in One Stroke , and since 2010 four new films have been shown again under the title Six in One Stroke every Christmas. At the same time, ZDF has been producing one or two fairy tale films from the Märchenperlen series every year since 2005 , which are first broadcast at Christmas. They are also based on the classic fairy tale traditions and have been modernized in terms of content and narrative style. Outdated statements and symbols have been reinterpreted or supplemented in order to take into account the perception of the present. The running time of these films is between 75 and 90 minutes.

The Czechoslovak fairy tale film

A great achievement of the Czechoslovak fairy tale film consists in a sensitive way of thinking through the mythical and the fairy tale psychologically and making it understandable. Three hazelnuts for Cinderella ( filmed in 1973 under the direction of Václav Vorlíček in coproduction with DEFA) is a classic. The film does not stage the Cinderella material as a simple children's film. Rather, the fairy tale myth of the archetypally beautiful girl is embodied here by a self-confident and independent girl. The role played incomparably plausibly by the Czech actress Libuše Šafránková . Three hazelnuts for Cinderella alias Tři oříšky per Popelku was a German-Czech co-production. In addition to the numerous fairy tale films, the ČSSR also produced fairy tale TV series such as Pan Tau from 1970 The Fairytale Bride from 1979 or The Return of the Fairy Tale Bride from 1993. The Czechoslovak fairy tale film in most cases reaches the level of literary film with its level of detail and complexity . The fairy tales by the Brothers Grimm and the Czech fairy tales by Božena Němcová and Karel Jaromír Erben were important literary sources . Also Kunstmärchen of Hans Christian Andersen and January Drda were implemented cinematically. The film music of the Czechoslovak fairy tale film speaks of the magic of the rural sages by Bedřich Smetana and of Antonín Dvořák's fairy tale operas . The film images remember z. B. often to the fairytale Art Nouveau paintings by Alfons Mucha . Another important source of inspiration are the fairy tale illustrations by the Czech book artist Artuš Scheiner . See also the list of Czech , Slovak and Czechoslovak fairy tale films

The American fairy tale film

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Note text

Among the most prominent representatives of the US fairy tale film was, besides Walt Disney, above all George Pal , who produced and directed , among others, The Little Thumbling (1958) and The Wonder World of the Brothers Grimm (1962). Some of the strips animated by the tricks of the stop-motion expert Ray Harryhausen can also be attributed to the fairy tale film, including Sindbad's Seventh Journey (1958).

Modern American fairy tale films are legends with Tom Cruise from 1985, Journey into the Labyrinth (1986) and The Prince's Bride (1987). Forever and ever from 1998 is a Cinderella variant with Drew Barrymore in the title role.

From 1986 to 1989 the Cannon Group produced an elaborate series of fairy tale films under the title Cannon Movie Tales with some very well-known actors, for example in Hansel and Gretel Cloris Leachman plays the witch and David Warner the father. Further examples are the adaptations of Little Red Riding Hood , in which Craig T. Nelson and Isabella Rossellini took part, and Sleeping Beauty with Tahnee Welch as Sleeping Beauty, Morgan Fairchild as Queen and Nicholas Clay as Prince. Some of these adaptations are quite free and were actually produced for the cinema, but only appeared on video.

On the other hand, a fairy tale variant was created in 1984 with Die Zeit der Wölfe , which was rated “16 and over”. The 1997 film Snow White, starring Sigourney Weaver as the stepmother, is just as unsuitable for the faint of heart. The film received a release “from 12” and was also produced for the cinema. However, the theatrical performance was prevented by the Disney studios. After fantasy like The Chronicles of Narnia or The Lord of the Rings were recently produced, classic fairy tale films were made again in 2007 with Verwünscht and 2013 with The Ice Queen , which proved to be a commercial success.

In 2001, the TV adaptation Snow White with Kristin Kreuk and Miranda Richardson was made

The Soviet-Russian fairy tale film

The Russian fairy tale film has found a variety of designs for this form of literary film. In particular, the specifically Russian fairy tale motifs such as the villain, Baba Jaga and the immortal skeleton are presented with a bizarre joy of technology in a variety of forms and the technical and the fairy tale wonder of this kind are connected.

On the other hand, there are fairy tale pictures of great natural beauty, if z. B. Wasja and Alyonushka in fire, water and trumpets roam with the kid through white birch forests, poppy fields and wild meadows of marguerites. The film Die Steinerne Blume from 1946 illustrates the magic of romantic fairy tale metaphor, with Pushkin's fairy tale pictures as well as references to Novalis ' fairy tale Die apprentices to Sais or Ludwig Tieck's Der Runenberg .

The Bulgarian-Soviet-Russian film about Hans Christian Andersen's mermaid from 1976, The sad mermaid with the water music reminiscent of Alexander Nikolajewitsch Scriabin and Claude Debussy , shows the water world of the sea, the contrast between the human and the natural world and also the beauty of green-haired mermaids.

The film about The Princess and the Pea, also made in 1976, artfully nests various Andersen fairy tale motifs together, accompanied by music by Antonio Vivaldi . The 1988 film The Eleven Swans illustrates the fairytale feeling of flying with the swans in the sunset, but also the suffering of nettle weaving. The magic portrait from 1997 from a Russian-Chinese co-production is a successful example of a visual film reference to Chinese ink drawings and a natural-looking artistic design of the fairy tale wonder with wide snow images and a coherently thought-out story. The aesthetics of Russian fairy tale films are generally inspired in many ways by the Art Nouveau illustrations of fairy tales by the Russian artist Iwan Bilibin .

Impact history

Fairy tale films in the narrower sense are true film adaptations of classic fairy tales. Fairy tale films in the broader sense are fantasy films for children with a fairytale character or a fairytale basis. Often the boundaries to other film genres are fluid or, as with fairy tale comedies, genres are mixed.

The fairy tale film was often dismissed as a purely children's film , but the fairy tale film also counts many adult film buffs among its fans. This is shown by the fact that there are always pure adult productions. But the majority of fairy tale films are aimed at younger audiences. It is comparable to its content and its basis, the fairy tales, which were initially a literary genre for adults and can now be found almost exclusively on the shelves for children's and youth literature.

Fairy tale film and political propaganda

In some cases, albeit less and less artistically thought out, the fairy tale film also served as a propaganda tool, especially in the socialist states of the Cold War . In a corresponding banalizing black and white painting z. B. then the heroes as worker ideals (e.g. in Das brave Schneiderlein - DEFA) or capitalism as reprehensible (e.g. land of milk and honey ).

However, for the films listed below, this only applies to a few early DEFA fairy tale films. The Czech fairy tale film in particular has in no way allowed itself to be instrumentalized in this way. Here it is always about more general questions of the human and fairytale. The Czech and Soviet-Russian fairy tale films have reached a hitherto unknown abundance as literary adaptations and art films, which until then were only possible for fairy tale films with Jean Cocteau and Jean Renoir. Fairy tale fabrics are not tied to nations or peoples. They always have a long universal storytelling tradition: the fairy tale film as an art film is always a world fairy tale film.

See also

literature

  • Eberhard Berger, Joachim Giera (Ed.): 77 fairy tale films. A movie guide for young and old. Henschel, Berlin 1990, ISBN 3-362-00447-4 .
  • DEFA Foundation, Two Thousand One (Ed.): The DEFA fairy tale films. DEFA Foundation, Berlin 2010, ISBN 978-3-00-032589-2 .
  • German Film Museum Frankfurt am Main (Ed.): Märchenwelten. The actor, director and producer Fritz Genschow. Frankfurt am Main 2005, ISBN 3-88799-073-0 . (Catalog on the occasion of the exhibition from September 25 to November 27, 2005)
  • Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Peter Lang - European Science Publishing House, Frankfurt am Main 2006, ISBN 3-631-54828-1 .
  • Andreas Friedrich (ed.): Film genres: Fantasy and fairy tale film. Reclam, Ditzingen 2003, ISBN 3-15-018403-7 .
  • Sabrina Geilert, Juliane Voorgang: On the discursiveness of classic fairy tales in current TV productions and in contemporary cinema . Narrative transformation achievements and film aesthetic appropriations using the example of E. Kitsis '/ A. Horowitz' Once upon a time and Guillermo del Toros Pan's Labyrinth. In: Studies on the German language and literature. Volume 2, No. 30, 2013, pp. 158-187. (Full text)
  • Willi Höfig: Film. In: Kurt Ranke (original), Rolf Wilhelm Brednich et al. (Hrsg.): Enzyklopädie des Märchen. Concise dictionary for historical and comparative narrative research. Volume 4, Berlin / New York 1984, ISBN 3-11-009566-1 .
  • Holger Jörg: The legendary and fairytale canvas: narrative material, motifs and narrative structures of popular prose in “classic” German silent film (1910–1930). Pro Universitate Verlag, Sinzheim 1994, ISBN 3-930747-11-1 .
  • Ingelore König, Dieter Wiedemann, Lothar Wolf (eds.): Between Marx and Muck. DEFA films for children. Henschel Verlag, Berlin 1996, ISBN 3-89487-234-9 .
  • Patricia Kümpel: On the style of DEFA fairy tales - Exemplary analyzes of the cinematic and narrative design of fairy tale films from the former GDR. VDM-Verlag Müller, Saarbrücken 2009, ISBN 978-3-639-11701-1 .
  • Fabienne Liptay: Wonder Worlds. Fairy tales in the film. (= Film Studies. Volume 26). Dissertation . Gardez! -Verlag, Remscheid 2004, ISBN 3-89796-041-9 .
  • Ron Schlesinger (ed.): Little Red Riding Hood in the Third Reich. The German fairy tale film production between 1933 and 1945. An overview. Funded with a grant from the DEFA Foundation. Berlin 2010, ISBN 978-3-00-045623-7 .
  • Christoph Schmitt: Adaptations of classic fairy tales in children's and family television: a folklore and film-scientific documentation and genre-specific analysis of the fairy tale adaptations broadcast by the West German television stations in the 1980s with statistics of all broadcasts since 1954. (= Studies on children and youth media research. Volume 12 ). Haag and Herchen, Frankfurt am Main 1993, ISBN 978-3-89228-953-1 .

Individual evidence

  1. ↑ Fabienne Liptay titled in her analysis Wunderwelten - Märchen im Film the introduction to the book in a subtle reversal of the famous Bruno Bettelheim quote with Need for Fairy Tales Children . She wants to prove how little the genre of fairy tale films can be understood as the exclusive genre of children's films. Fabienne Liptay: Wonder Worlds - Fairy Tales in Film. Gardez! Verlag, Remscheid 2004, ISBN 3-89796-041-9 , pp. 9-15.
  2. ↑ Vivian Sobchak: The fantastic film. Metzler, 1998, p. 283; quoted n. F. Liptay: Wunderwelten - fairy tales in the film. 2004, p. 48.
  3. ^ F. Liptay: Wonder Worlds - Fairy Tales in Film. 2004, p. 47 f.
  4. ↑ Roger Caillos: The Image of the Fantastic. From fairy tales to science fiction. In: Phaicon1. Frankfurt, 1974, p. 46, cit. n. F. Liptay:. Wonder worlds - fairy tales in the film. 2004, p. 48.
  5. ↑ A lot of information can be found in Kurt Derungs: Märchenlexikon - edition amalia
  6. ↑ Henrik Hertz wrote the fairy tale piece King René's Daughter , based on the film: The light of love ; also known as Svetlo lásky .
  7. ↑ The Belgian symbolist Maurice Maeterlinck wrote the fairy tale L'oiseau bleu , based on the film: The blue bird ; OT: The blue bird and Sinyaya ptitsa
  8. ↑ Jan Drda wrote the fairy tale From the Princess Lichtholde and the Shoemaker , template for the film: The Princess and the Flying Shoemaker ; OT: O princezne Jasnence a létajícím sevci .
  9. ↑ Josef Lada wrote the fairy tale Princess Julia , the template for the film of the same name; OT: O zatoulané princezne .
  10. ↑ Richard Volkmann-Leander wrote the fairy tale of the queen who didn't bake ginger nuts and the king who couldn't play a humming-iron , the template for the film: Die Humming-iron princess .
  11. ↑ Alexander Pushkin wrote the fairy tale The fairy tale of the dead princess and the seven warriors , model for the film: Of the beautiful Tsar's daughter and the seven warriors ; OT: Osenniye kolokola .
  12. ↑ Nikolai Gogol wrote the fairy tale The Night Before Christmas , the template for the film of the same name; OT: Vechera na khutore bliz Dikanki
  13. ↑ Charles Dickens wrote the fairy tale The Bone of the Magic Fish , based on the film: The Bone of the Magic Fish ; OT: Shirley Temple's Storybook - The Magic Fishbone
  14. ↑ Washington Irving wrote the fairy tale Rip van Winkle , the template for the film of the same name; OT: Faerie Tale Theater - Rip van Winkle
  15. ↑ Charles Deulin wrote the fairy tale The Twelve Dancing Princesses in the stories of King Gambrinus , based on the film: The Three Weary Princesses ; OT: O trech ospalých princeznách
  16. ↑ Italo Calvino collected Italian fairy tales, the motifs of which were the basis for the film: The Ring of the Dragon ; OT: Desideria e l'anello del drago
  17. ↑ Joseph Jacobs collected English and Celtic fairy tales, the fairy tale Hans and the Beanstalk was the template for the films: 1. Hans and the miracle bean ; OT: Faerie Tale Theater - Jack and the Beanstalk and 2nd Jack in the realm of the giants ; OT: Jack and the Beanstalk ; Joseph Jacobs' fairy tale Dick Wittington and his cat was the model for the film of the same name; OT: Shirley Temple's Storybook - Dick Wittington and His Cat
  18. ↑ Robert Southey delivers the fairy tale Goldilocks and the three bears , the template for the film of the same name; OT: Faerie Tale Theater - Goldilocks and the Three Bears
  19. ↑ Peter Christen Asbjørnsen delivers the Norwegian fairy tales Polar Bear King Valemon and East of the Sun and West of the Moon , templates for the film: The Polar Bear King ; OT: Kvitebjørn Kong Valemon
  20. ^ Ludwig Berger: Film and fairy tales. (In the program booklet for The Lost Shoe. Berlin 1923. In: Hans-Michael Bock, Wolfgang Jacobsen (Ed.): Ludwig Berger. - Film materials - A series of films by the Initiative Kommunale Kino eV (Metropolis) and the Friends of the Deutsche Kinemathek eV Berlin (Arsenal); Hamburg / Berlin 1992, pp. 11–12. (Explanations on this in Fabienne Liptay: Wunderwelten - Märchen im Film. Gardez! Verlag, Remscheid 2004, ISBN 3-89796-041-9 )
  21. ↑ Fabienne Liptay also confirms the obvious parallels between Gustave Doré's fairy tales and Jean Cocteau's view of the image in La Belle et la Bête ; In addition, the author can convincingly establish not only Renaissance quotes for Cocteau's fairy tale film but also aesthetic references to Cocteau's presence in Surrealism - v. a. on Max Ernst's painting Lion de Belfort : For La Belle et la Bête , this results in an exciting aesthetic balance between the historical and the present. See: Fabienne Liptay: Wonder Worlds - Fairy Tales in Film. Gardez! Verlag, Remscheid 2004, ISBN 3-89796-041-9 , p. 93, on the Doré reference also p. 139.
  22. ↑ A prime example of an all too childish conception of fairy tale films that belittles the fairy tale content B. the fairy tale films Fritz Genschow , who acts with whole children's choirs as an ornament of the crowd (cf. Siegfried Kracauer : Das Ornament der Masse. Essays. Suhrkamp, ​​Frankfurt am Main 1963.) to play down fairy tale fates B. in Cinderella lets the children's choirs sing in all seriousness: “The only thing that matters to the prince is that the girl should be beautiful and a virgin” - not least this anachronistic image of women sometimes causes a naive-looking fairytale inappropriateness of Genschow's fairy tale films. On the other hand, Genschow's films often show themselves very lovingly in the setting: The Genschow fairy tale film is staged, for example, B. with pretty, romanticized interweaving of images from the fairy tale illustrations by Paul Hey . (See Cinderella by Paul Hey with the images of Genschow's Cinderella film).
  23. ↑ In this fairy tale film, Fabienne Liptay describes the connections between the Little Red Riding Hood and Sergei Sergejewitsch Prokofiev's Peter and the Wolf and Leoš Janáček's opera The Cunning Little Fox : cf. Fabienne Liptay: Wonder Worlds - Fairy Tales in Film. Gardez! Verlag, Remscheid 2004, ISBN 3-89796-041-9 , p. 136.
  24. ↑ An example of an improvised puppet theater-like fairy tale film production in the studio that supports the fairy tale effect is Peter Podehl's Frau Holle - Das Märchen von Goldmarie und Pechmarie from 1961.
  25. ↑ A linguistic phrase that was used to describe the West and the East during the times of German division
  26. ↑ Rapunzel or the magic of tears and Jorinde and Joringel show in the fairy tale film a significant change in the witches who kidnap girls from the fairy tales Rapunzel and Jorinde and Joringel : In the Grimm fairy tales, the witch of Rapunzel's tower and the witch of Jorinde's castle prison are malicious in both cases , robbing freedom and an obstacle to happy love fulfillment. In the fairy tales, the wicked witch or sorceress has to be overcome with great effort by the lovers. In the two fairy tale film interpretations, however, these witches become a kind of mysterious protection for the girl in complete inversion: In Rapunzel or the Magic of Tears , the gnarled, sometimes raven-shaped old woman again confronts the lovers in the manner of the Greek Hecate after the eyesight-giving tears before: as the “true protector of Rapunzel happiness” - a love happiness that was tied to the test of difficult fate. This maternal right perspective of the witch becomes even clearer in Jorinde and Joringel , where the hostile witch turns out to be the true savior of a group of girls and a wise woman. In these maternal guardian spirits of the two fairy tale films, thoughts can be recognized from Johann Jakob Bachofen's work Mutterrecht - cf. Johann Jakob Bachofen : Das Mutterrecht - An investigation into the gynecocracy of the old world according to its religious and legal nature. A selection ed. v. Hans-Jürgen Heinrichs. Suhrkamp-Verlag, Frankfurt am Main 1997, ISBN 3-518-27735-9 .
  27. ↑ Snow White and the Seven Dwarfs from 1998 with Marina Aleksandrowa as Snow White - film excerpt in Russian OS on youtube: Snow White ; OT: Белоснежка и семь гномов
  28. ↑ Nemofilm with preparatory story as Winsor McCay experimented on youtube
  29. ↑ See Willi Höfig: Film. In: Kurt Ranke (original), Rolf Wilhelm Brednich et al. (Hrsg.): Enzyklopädie des Märchen. Concise dictionary for historical and comparative narrative research. Volume 4, Berlin / New York 1984, Sp. 1114.
  30. ↑ Cf. Holger Jörg: The legendary and fairytale canvas: narrative material, motifs, narrative structures of popular prose in “classic” German silent films (1910–1930). Sinzheim 1994, p. 46.
  31. ↑ See Lotte H. Eisner: The demon canvas. Edited by Hilmar Hoffmann and Walter Schobert. Frankfurt am Main 1980, p. 50.
  32. ↑ See Lichtbild-Bühne. No. 47, November 24, 1917.
  33. ↑ Rolf Giesen: Legendary Worlds. The fantastic film. Munich 1990, p. 29.
  34. ↑ See Sabine Hake: Film in Deutschland. History and stories since 1895. Reinbek b. Hamburg 2004, p. 38.
  35. ↑ See The Kinematograph. No. 574, January 2, 1918.
  36. ↑ Cf. Holger Jörg: The legendary and fairytale canvas: narrative material, motifs, narrative structures of popular prose in “classic” German silent films (1910–1930). Sinzheim 1994, p. 296.
  37. ↑ Cf. Fabienne Liptay: WunderWelten. Fairy tales in the film. Remscheid 2004, p. 13.
  38. ↑ See Klaus Kreimeier: The Ufa Story. History of a film company. Munich / Vienna 1992, p. 109.
  39. ↑ See ibid., Pp. 122, 211.
  40. ↑ See Willi Höfig: The silent fairy tale woman. Fairy tales and legends in silent films. Examples and theoretical considerations of the time. In: Christoph Schmitt (Ed.): Narrative structures in media change. Münster / New York 2008, pp. 87–108.
  41. ↑ See Willi Höfig: Film. In: Kurt Ranke (original), Rolf Wilhelm Brednich et al. (Hrsg.): Enzyklopädie des Märchen. Concise dictionary for historical and comparative narrative research. Volume 4, Berlin / New York 1984, Sp. 1115.
  42. ↑ See Filmportal.de
  43. ↑ Cf. Erwin Wolfgang Nack: Cultural problems around the fairy tale film. In: The picture manager. 8/12, 1930, pp. 447-455.
  44. ↑ See Willy Wohlrabe: About the fairy tale film. Theory and practice of youth protection when attending a film. Berlin 1958.
  45. ↑ Cf. Fabienne Liptay: WunderWelten. Fairy tales in the film. Remscheid 2004, p. 14.
  46. ↑ See Filmportal.de
  47. ↑ Cf. Fabienne Liptay: WunderWelten. Fairy tales in the film. Remscheid 2004, p. 80.
  48. ↑ See Filmportal.de
  49. ↑ See Jeanpaul Goergen: Lotte Reiniger: I believe more in fairy tales than in newspapers. In: Lotte Reiniger: The film pioneer and her silhouette films.
  50. ↑ See Tobias Kurwinkel, Philipp Schmerheim: Children and Youth Film Analysis. Konstanz / Munich 2013, p. 38.
  51. ↑ See Willi Höfig: Film. In: Kurt Ranke (original), Rolf Wilhelm Brednich et al. (Hrsg.): Enzyklopädie des Märchen. Concise dictionary for historical and comparative narrative research. Volume 4, Berlin / New York 1984, Sp. 1120.
  52. ↑ See Bernd Kleinhans: One people, one empire, one cinema. Play of light in the brown province. Cologne 2003, p. 181.
  53. ↑ Ibid, p. 180.
  54. ↑ See Nazi Propaganda: Invasion of the Fairy Tale Kingdom. In: one day - Spiegel Online. April 12, 2010.
  55. ↑ Joseph Goebbels, Reich Minister for Public Enlightenment and Propaganda, formulated this at the 1st meeting of the Reich Film Chamber on March 5, 1937: The moment propaganda becomes conscious, it is ineffective. At the moment, however, when it remains in the background as propaganda, as a tendency, as a character, as an attitude and only appears through action, through process, through processes, through contrasting people, it becomes effective in every respect. quoted from: Gerd Albrecht: National Socialist Film Policy. A sociological study of the feature films of the Third Reich. Stuttgart 1969, p. 456.
  56. ↑ "The ideology-critical methods of film analysis examine the extent to which system-stabilizing or system-changing theories of the social system in which the film was made have found their way into the cinematic representation [...]". In: Alphons Silbermann, Michael Schaaf, Gerhard Adam: Filmanalyse. Basics - Methods - Didactics. Munich 1980.
  57. ↑ See Film-Kurier. No. 264, November 9, 1934; No. 239, November 10, 1934; The cinematograph. No. 210, October 30, 1934; No. 219, November 10, 1934; No. 228, November 24, 1934; No. 234, December 4, 1934; No. 238, December 8, 1934; No. 9, January 12, 1935.
  58. ↑ See Bernd Kleinhans: One people, one empire, one cinema. Play of light in the brown province. Cologne 2003, p. 180.
  59. ↑ Willy Wohlrabe remarked in a rental list on Puss in Boots : "Sound film / new production". The Zengerling fairy tale films Hansel and Gretel (1934) and Ms. Holle (1934), which are also included in this list, have the entry: “mute, later dubbed”. see. Willy Wohlrabe: About the fairy tale film. Theory and practice of youth protection when attending a film. Berlin 1958; Cf. Manfred Hobsch: Film in the “Third Reich”. All German feature films between 1933 and 1945. Berlin 2010, Volume 2, pp. 302–305.
  60. ↑ Cf. Manfred Hobsch: Film in the "Third Reich". All German feature films between 1933 and 1945. Berlin 2010, Volume 1, p. 367f.
  61. ↑ Ibid. Volume 5, pp. 515f.
  62. ↑ Cf. Ron Schlesinger: Little Red Riding Hood in the Third Reich. The German fairy tale film production between 1933 and 1945. An overview. Funded with a grant from the DEFA Foundation, Berlin 2010, pp. 80–83.
  63. ↑ Ibid, pp. 84-88.
  64. ↑ Cf. Manfred Hobsch: Film in the "Third Reich". All German feature films between 1933 and 1945. Volume 4, Berlin 2010, pp. 556f.
  65. ↑ See Film-Kurier. No. 253, October 30, 1939.
  66. ↑ Cf. Ron Schlesinger: Silent Film Aesthetics, Color Film Dramaturgy and Propaganda. The German fairy tale film production between 1933 and 1945. In: Märchenspiegel. Journal for international fairy tale research and fairy tale care. 4/2010, pp. 27-33.
  67. ↑ See Hubert Schonger: Camera is running ... 25 years of Schongerfilm. An almanac for the 25th anniversary of Schongerfilm. Inning am Ammersee 1950.
  68. ↑ Cf. Manfred Hobsch: Film in the "Third Reich". All German feature films between 1933 and 1945. Berlin 2010, Volume 5, p. 377.
  69. ↑ Ibid, p. 60.
  70. ↑ Ibid, p. 60f.
  71. ↑ Ibid. Volume 2, pp. 474f.
  72. ↑ Ibid, p. 441f.
  73. ↑ Ibid, p. 185.
  74. ↑ Ibid. Volume 5, pp. 318f.
  75. ↑ Cf. Ron Schlesinger: Little Red Riding Hood in the Third Reich. The German fairy tale film production between 1933 and 1945. An overview. Funded with a grant from the DEFA Foundation, Berlin 2010, pp. 61, 76, 100.
  76. ↑ See Hubert Schonger: Camera is running ... 25 years of Schongerfilm. An almanac for the 25th anniversary of Schongerfilm. Inning am Ammersee 1950.
  77. ↑ Cf. Thomas Staedeli: The animation in the Third Reich.
  78. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, p. 360.
  79. ↑ See fairy tale worlds. The actor, director and producer Fritz Genschow. Deutsches Filmmuseum (Ed.), Frankfurt am Main 2005 (catalog on the occasion of the exhibition from September 25 to November 27, 2005), p. 16.
  80. ↑ Ibid, p. 61.
  81. ↑ Ibid, p. 64.
  82. ↑ Cf. Dirk Alt: The early color film processes and their use by Nazi propaganda 1933–1940. P. 36.
  83. ↑ See fairy tale worlds. The actor, director and producer Fritz Genschow. Deutsches Filmmuseum (Ed.), Frankfurt am Main 2005 (catalog on the occasion of the exhibition from September 25 to November 27, 2005), p. 19.
  84. ↑ Cf. Manfred Hobsch: Film in the "Third Reich". All German feature films between 1933 and 1945. Berlin 2010, Volume 3, pp. 264–266.
  85. ↑ See Film-Kurier. No. 27, April 4, 1944. Other sources give the name Friedrich Forster.
  86. ↑ See Filmportal.de
  87. ↑ See Willi Höfig: Film. In: Kurt Ranke (original), Rolf Wilhelm Brednich et al. (Hrsg.): Enzyklopädie des Märchen. Concise dictionary for historical and comparative narrative research. Volume 4, Berlin / New York 1984, Sp. 1120.
  88. ↑ See Jürgen Wohlrabe (Ed.): 60 Years of Youth Film. 1934 to 1994. Berlin 1994.
  89. ↑ See 60 Years of Youth Films: Three Generations of Cinema. In: Filmecho / Filmwoche . No. 25, June 24, 1994.
  90. ↑ See Filmportal.de
  91. ↑ Cf. Ron Schlesinger: cows, beetles, high animals. Robert Herlths and Walter Röhrig's Hans im Glück (1936) between experimental fairy tale films and propagandistic 'fun game'. In: Filmblatt. Volume 16, No. 46/47, Winter 2011/12, p. 86.
  92. ↑ See Nazi propaganda flop: Hans im Unglück. In: one day - Spiegel Online , August 20, 2010.
  93. ↑ See Berliner Börsen-Zeitung. July 6, 1936; Film courier. No. 154, July 4, 1936.
  94. ↑ Cf. Arno Richter: And it was worth it. In: Filmarchitektur. Robert Herlth, Munich 1965, p. 29.
  95. ↑ Cf. Kraft Wetzel, Peter Hagemann: Love, Death and Technology. Cinema of the Fantastic 1933–1945. Berlin 1977, pp. 72-74.
  96. ↑ Cf. Dieter Krusche: Reclams Filmführer. With the collaboration of Jürgen Labenski. Stuttgart 1993, p. 377.
  97. ↑ See Klaus Kreimeier: The Ufa Story. History of a film company. Munich / Vienna 1992, p. 386.
  98. ↑ Cf. Silke Schulenburg: On the (all) power of illusion and the seducibility of ideology. On the function of self-reflective references in the Münchhausen film. In: Harro Segeberg (Hrsg.): Mediale Mobilmachung I. The Third Reich and the film. (= Media history of film. Volume 4). Munich 2004, p. 295.
  99. ↑ See Sabine Hake: Film in Deutschland. History and stories since 1895. Reinbek b. Hamburg 2004, p. 123.
  100. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, p. 227; Cf. Michael Kühn: Lessons in National Socialism: The work of the Reich Office for Educational Film / Reich Institute for Film and Image in Science and Education. Mammendorf 1998, pp. 170-177.
  101. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, p. 227f.
  102. ↑ Ibid, pp. 244-254.
  103. ↑ Ibid, pp. 254-260.
  104. ↑ Ibid, pp. 260-268; Cf. Michael Kühn: Lessons in National Socialism: The work of the Reich Office for Educational Film / Reich Institute for Film and Image in Science and Education. Mammendorf 1998, pp. 220-222.
  105. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, pp. 281-291.
  106. ↑ Ibid, pp. 291-298.
  107. ↑ Ibid, pp. 298-305.
  108. ↑ Ibid, p. 229f.
  109. ↑ See Filmportal.de
  110. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, p. 230.
  111. ↑ Ibid, p. 230.
  112. ↑ Ibid, p. 307.
  113. ↑ Cf. ... and for that we thank the school. Soldiers talk about educational films. In: Film and image in science, education and popular education. Journal of the Reich Office for educational films. 6th year, issue 2, February 15, 1940, pp. 17-22; See Michael Kühn:. Lessons in National Socialism: The work of the Reich Office for Educational Film / Reich Institute for Film and Image in Science and Education. Mammendorf 1998, pp. 144, 174.
  114. ↑ Cf. Cornelia A. Endler: Once upon a time ... in the Third Reich. The fairy tale film production for National Socialist lessons. Frankfurt am Main 2006, pp. 307-354. Cf. Michael Kühn: Lessons in National Socialism: The work of the Reich Office for Educational Film / Reich Institute for Film and Image in Science and Education. Mammendorf 1998, pp. 175-177.
  115. ↑ See Filmportal.de
  116. ↑ See Filmportal.de
  117. ↑ Cf. Michael Kühn: Lessons in National Socialism: The work of the Reich Office for Educational Film / Reich Institute for Film and Image in Science and Education. Mammendorf 1998, p. 171.
  118. ↑ See Filmportal.de
  119. ↑ See Filmportal.de
  120. ↑ See Sabine Hake: Film in Deutschland. History and stories since 1895. Reinbek b. Hamburg 2004, p. 160.
  121. ↑ See Klaus Kreimeier: The Ufa Story. History of a film company. Munich / Vienna 1992, p. 438.
  122. ↑ See list of existing fairy tale films from Jugendfilm-Verleih GmbH. In: Willy Wohlrabe: About the fairy tale film. Theory and practice of youth protection when attending a film. Berlin 1958.
  123. ↑ Ibid.
  124. ↑ See Filmportal.de
  125. ↑ Cf. Frau Holle (Germany 1944/48) - The Defector. In: The future needs memories. The online portal on contemporary film history, July 16, 2014.
  126. ↑ See Filmportal.de
  127. ↑ See Filmportal.de
  128. ↑ See Sabine Hake: Film in Deutschland. History and stories since 1895. Reinbek b. Hamburg 2004, p. 161.
  129. ↑ See Eberhard Berger, Joachim Giera: 77 fairy tale films. A movie guide for young and old. Berlin 1990, p. 19.
  130. ↑ Cf. Kristin Wardetzky: Fairy tales in education and teaching. In: fairytale mirror. Journal for international fairy tale research and fairy tale care. 1/2014, pp. 3-14.
  131. ↑ See Eberhard Berger, Joachim Giera: 77 fairy tale films. A movie guide for young and old. Berlin 1990, p. 19.
  132. ↑ Cf. Joachim Giera: Vom Kohlenmunk-Peter, the little Muck and his people. Fairy tale films from the DEFA film studios. In: Helge Gerndt, Kristin Wardetzky: The art of storytelling. Festschrift for Walter Scherf. Potsdam 2002, pp. 293-300.
  133. ↑ See note
  134. ↑ Christmas program: ARD shows Grimm's fairy tales. ( Memento from December 30, 2008 in the Internet Archive ) In: Frankfurter Rundschau. October 20, 2008.
  135. ^ Karl Kerényi : The divine girl. Amsterdam 1941.