Miss Nobody (film series)

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Miss Nobody was a detective film series produced by the Karl Werner Film Berlin / Cologne company in 1913.

Senta Eichstaedt played the role of the female detective Miss Nobody in these silent films . Directed by Willy Zeyn senior . The cameraman was Georg Paezel , the buildings were designed by the film architect Kurt Dürnhöfer . According to the current state of research, three episodes are known, the length of which grew from two to four to six acts.

The actress Anni Mewes also did the editing for the first episode . In the third episode, Ernst Körner, who usually worked as a unit manager, assisted director Zeyn and also took on a small role.

Other actors in the series were Josef Coenen , Hansi Dege , Fred Goebel , Karl Harbacher , Hermann Seldeneck and Adele Reuter-Eichberg .

Except for the last episode, the manuscript of which Rudolf del Zopp wrote, the authors of the scripts have not survived.

Movies

year Serial no. GECD # title Director actor manuscript file
1913 I. # 30790 The black diamond Willy Zeyn Sr. Senta Eichstaedt ? 2
1913 I. # 33419 Nobody, the black diamond ? Käthe Wittenberg ? 2
1913 II. # 23252 The Secret of Chateau Richmond Willy Zeyn Sr. Senta Eichstaedt? Käthe Wittenberg? ? 4th
1913 [III. ?] # 26288 The hunt for the hundred pound note or the journey around the world Willy Zeyn Sr. Senta Eichstaedt Rudolf del Zopp 6th

Title character

The name Nobody for the figure of the female detective was probably borrowed from the now forgotten SciFi and colportage author Robert Kraft (1869–1916), who published an 11-part series of novels between 1904 and 1906 with the title “Detective Nobody's Experiences and Travel Adventures”. It first appeared in delivery booklets and then in book form by the HG Münchmeyer publishing house in Dresden, which also published the Kolportag novels by Karl May .

“The counterpart to Stuart Webbs in German film was Nobody, played by Senta Eichstaedt. In the form of the detective, the woman already has the position of the equal free view, which the protagonists of other films more or less only developed. Consequently, this figure is also recognizable as a fictional one through and through ... ”.

“The detective Mrs. Nobody (Senta Eichstaedt) hunted criminals independently as early as 1913 and handed them over to the police. The film character Nobody moved the female gaze to the center of the action and made the "art of observation" the basis of her profession. Clearly emancipated, she took up persecutions over the roofs of houses, overcame ups and downs with a rope and sometimes disguised herself as a man in order to be the pursuer of the persecuted with equal rights in matters of clothing and footwear ”.

“What is striking in the Nobody films is the pronounced staging of the gaze in everyday situations - not any adventurous surroundings - and the accentuation of clothing, not just disguise. It is as if it is exciting enough that the woman appears in public and has dominion over the gaze, as if further attractions are not needed at the moment ”.

literature

  • Herbert Birett: Directory of films run in Germany. Film censorship decisions 1911–1920 . Saur, Berlin / Hamburg / Munich / Stuttgart 1980, ISBN 3-598-10067-1 .
  • Ivo Blom, Ivo Leopold Blom: Jean Desmet and the Early Dutch Film Trade. (= Film Culture in Transition ). Amsterdam University Press, 2000, ISBN 90-5356-463-2 , pp. 155–156, 292, 330, 394, 457. (English)
  • Thomas Elsaesser, Michael Wedel: A Second Life: German Cinema's First Decades . Amsterdam University Press, 1996, ISBN 90-5356-172-2 , pp. 145, 226, 231, 235-236, 305 note 11. (English)
  • Thomas Elsaesser, Michael Wedel: Cinema of the imperial era: between tradition and modernity. Verlag Edition Text + Critique, 2002, ISBN 3-88377-695-5 , pp. 327, 329.
  • Heinrich Fraenkel: Immortal Film. The great chronicle. From the magic lantern to the sound film. Part of the picture by Wilhelm Winckel. Kindler, Munich 1956, DNB 451329279 , pp. 387, 389.
  • John Fullerton, Jan Olsson: Allegories of Communication: Intermedial Concerns from Cinema to the Digital (= Aura, Film studies journal. Stockholm studies in cinema. Volume 7). Indiana University Press, 2004, ISBN 0-86196-651-1 . (English)
  • Sebastian Hesse: camera eye and nose. The detective in early German cinema (= KINtop-Schriften. Volume 5). Stroemfeld Verlag, Frankfurt / Basel 2003, ISBN 3-87877-765-5 , pp. 115, 117–118.
  • Oskar Kalbus: On becoming German film art. Part 1: The silent film. Cigaretten Bilderdienst Altona-Bahrenfeld, Hamburg 1935, pp. 87-89.
  • Gerhard Lamprecht: German silent films, Vols. 1-8 and general index: German silent films from the years 1903 to 1931. Deutsche Kinemathek, Berlin 1970.
  • Christoph F. Lorenz: The odyssey of Robert Kraft. A writer in the maze of colportage. In: ders .: Art pieces. Critical hikes through the adventurous and fantastic literature of the 19th and 20th centuries. (= German studies in the Blue Owl. 17). Die Blaue Eule, Essen 1994, ISBN 3-89206-120-3 , pp. 115-136.
  • Barry Salt: Early German Film. The Stylistics in Comparative Context. In: Thomas Elsaesser, Michael Wedel: A Second Life: German Cinema's First Decades. Amsterdam Univ. Press, 1996, ISBN 90-5356-172-2 , pp. 225-236. (English)
  • Heide Schlüpmann: the uncanny look. The drama of early German cinema. German Film Museum Frankfurt am Main. Verlag Stroemfeld / Roter Stern, Frankfurt / Basel 1990, ISBN 3-87877-373-0 .
  • Prohibited cinematograph images. Alphabet. Directory prohibited. Films about the Gebr. Fd police authorities u. Cinematograph holder. König, Guben o. J, DNB 587306335 .
  • Guntram Vogt, Philipp Sanke: The city in the cinema. German feature films 1900–2000. 2nd Edition. Schüren Verlag, Marburg 2001, ISBN 3-89472-331-9 , p. 66.
  • Friedrich von Zglinicki: The way of the film. History of cinematography and its predecessors. Rembrandt Verlag, Berlin 1956, DNB 455810680 .

Web links

Individual references, comments

  1. ↑ on the company history cf. Cologne in Film 1900–1914 koeln-im-film.de
  2. ↑ There is uncertainty about the first episode. GECD has two data sets for her, one of which is Senta Eichstaedt, the other of which mentions Käthe Wittenberg as the actress of Miss Nobody and Senta Eichstaedt only as a player. The latter also differs in the (ambiguous) title and does not name a game master. At IMDb Senta Eichstaedt is given as the heroine of the three episodes.
  3. ↑ cf. IMDb
  4. ↑ cf. The hunt for the hundred pound note or the journey around the world
  5. ↑ Serial numbers according to GECD
  6. ↑ To episode 2, GECD gives the actress Käthe Wittenberg as the actress of Miss Nobody and the Deutsche Bioscop (formerly: Greenbaum) No. 500 at.
  7. ↑ The third episode no longer has a serial number at GECD.
  8. ↑ Hesse p. 113.
  9. ↑ Schlüpmann p. 136.
  10. ↑ Dagmar Trüpschuch: Without an umbrella, with charm and without a bowler hat . Commissioners in German television films. In: lespress - the other women's magazine, December 2004, on line at deutsche-kinemathek.de deutsche-kinemathek.de
  11. ↑ Schlüpmann p. 138, cited above. at Stummfilm.at stummfilm.at