Swiss film

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In international comparison, Swiss film began to develop late. Up until the start of the sound film era around 1930, Switzerland had no established film industry . The cultural peculiarity of Switzerland, that it is divided into three large language areas, is certainly one of the reasons for the late start of organized filmmaking. French-speaking, Italian-speaking and German-speaking Switzerland have always oriented themselves more towards neighboring countries in the same language area than towards one another, which is why film history developed differently in each language area.

Swiss filmmaking is largely dependent on public film funding . This is primarily a federal matter (Article 71 of the Federal Constitution ).

Solothurn Film Festival : Swiss Film Today

Early history

There was no notable silent film production in Switzerland. Only a few productions before 1930 are known or worth mentioning. Although the first film screening in Switzerland, as everywhere in Europe , was carried out by the Lumière brothers in 1896, little happened at the Geneva national exhibition (exposition nationale) that was held in the same year . Two French-Swiss productions are known, the children's faces ( Visages d'enfants ) by the Belgian Jacques Feyder from 1923 to 1925 and the film Die Macht der Arbeit ( La Vocation d'André Carel ) directed by the French Jean Choux in 1925 in Switzerland .

Until the early 1930s, however, the few Swiss filmmakers were mostly active in neighboring Germany, which was well developed in terms of the film industry, as there was no film production company in German-speaking Switzerland and each film production was an individual undertaking. The lack of film production companies meant that there were no experienced film staff. A major reason for this shortcoming was the small number of inhabitants and the division of the population into three culturally separate language areas. Other countries of a comparable size, which nevertheless had an established film industry, had a higher population of the same language and cultural group (Denmark with around 5 million Danes) or had significantly larger metropolitan areas (e.g. Vienna in Austria with around 2 Million inhabitants during the silent film era), where like-minded people could meet and organize.

In order to be able to work continuously as a filmmaker, you had to go abroad. So did the production designer and director Edmund Heuberger . In contrast to their colleagues in neighboring countries, Swiss actors mostly stayed on stage. Occasionally there were trips to German film productions. So did Henry Gretler example, an amusing cameo as a yo-yo players in The Testament of Dr. Mabuse . A lively, mutual influence such as existed between Germany and Austria could not even develop due to the lack of a Swiss film scene. Up until the mid-1930s, 95 to 99 percent of Swiss cinemas played foreign films.

In 1915 the “Association of Swiss Cinematographers” was founded. Two years later it was renamed to the Swiss Film Theater Association .

Early sound film era

Initial situation and pioneers

Milton Ray Hartmann, born in Riehen in 1898, developed some activity in Bern. He was a co-founder of the Swiss School and People's Cinema (SSVK) and a partner in G. mb H. Schwarz-Filmtechnik together with Edgar Schwarz, who later founded the leading Swiss film laboratory , Schwarz Film . August Kern became known for a photo report on Secrets of the Kalmyk Steppe , 1923. He later was secretary of the SSVK. Kern must be seen as one of the most productive film people in Switzerland, measured by the number of individual films. He was also the owner of the film technology company Eoscop in Basel. The Bell & Howell Eyemo, which he acquired in 1931 through the SSVK Secretariat , has been received from Kern-Film, Basel, since 2003 . This camera was also used for Die Herrgottsgrenadiers .

In the mid-1930s there were heated discussions about whether a state-sponsored film industry should be created. Until then, the only significant Swiss film company was Terra Film in Berlin, which the Zurich construction and cinema entrepreneur Ralph Scotoni bought into in 1930 . A Swiss branch of this film company was established, which produced five lavish productions between 1932 and 1935 with the German branch of the company. Two of them - Wilhelm Tell (1934), whose leadership qualities were emphasized, and Hermine and the seven upright people / Das Fähnlein der seven upright people (1935), which was subsidized directly by the Nazi Propaganda Ministry - were trend films in the National Socialist spirit, as the Terra from the beginning Looking for closeness to the Nazi regime. In the financial crisis of the still fragmented German film industry in 1935/1936, this questionable program policy was discontinued because the "Swiss Connection" did not prove to be particularly productive for Germany.

It is thanks to a few people that a Swiss film scene emerged from the 1930s. Most important was undoubtedly Lazar Wechsler , born in Austro-Hungarian Galicia (now Poland ) , who remained Austrian until 1923 and then received Swiss citizenship and was responsible for almost all the successes of Swiss film in the late 1950s. With some of the 40 productions of his Praesens Film , he won no fewer than four Oscars and awards at all other important film festivals within a few years . The second person who shaped the development of early Swiss cinema was also an Austrian. The Viennese Leopold Lindtberg initially worked at theaters in Berlin until he fled to Switzerland to the Zurich Schauspielhaus after the National Socialists came to power . During National Socialism, this was a gathering place for anti-fascist theater people, who ultimately spurred the entire Swiss cultural life and also supported the film that Lindtberg joined in 1935.

The emergence of a Swiss film culture

The first major film production in Switzerland was made in 1930 and is basically due to the good connections of the neo-Swiss Lazar Wechsler. For his Praesens film production Frauennot - Frauenglück he made use of a European trip by the famous Russian film pioneer Sergei Eisenstein . He won it over for his film project, so that Eisenstein's preferred cameraman Eduard Tisse directed, Grigori Alexandrow wrote the script and Eisenstein took over the supervision . The film was advertised in advance as the "most banned film in history" because it took a stand against the ban on abortion, but at the same time believed that giving birth was the better alternative.

The first film to be assigned to the genre of Swiss film , which is characterized by comedy and the Swiss dialect, was Wie d'Warret Würkt (1933) by director Walter Lesch . Leopold Lindtberg was brought from the stage to film by Lazar Wechsler as a director, where he went to Jä-soo! (1935) directed a film for the first time. The cabaret then shaped the Swiss popular culture and served as the basis for this film, which was designed as a dialect farce. For this reason, the Viennese Lindtberg was assigned Walter Lesch from Zurich as co-director. Yeah-soo! Although it was well received by the Swiss audience, cinematically it was more of a teaching example of the pitfalls of cabaret as a basis for film. The film attracted attention with its papery dialogues and a "number-by-number" sequence. In terms of content, the film showed a characteristic feature of Swiss film at the time: the rural-urban divide. The city has often been portrayed as a haven of moral evil, a dangerous place for decent girls, and the home of seedy characters. At a time when the Swiss labor movement had just as much as the founding of nature associations, this is easier to explain. “Decent” Swiss families in the films were almost always petty-bourgeois, good-natured, a little slow but loyal, close to nature and with a great sense of family.

Despite all the formal weaknesses of the cabaret film, it was extremely popular with the audience. The reason was the cast of the roles. The ensemble of Cabaret Cornichon has appeared in numerous films - a “national institution” of those years. This group, which was also anti-fascist, unmasked typical federal behavior with moderate bite, so that the caught spectators could identify with the characters. Its members were Max Werner Lenz , Elsie Attenhofer , Emil Hegetschweiler , Mathilde Danegger and Zarli Carigiet .

Despite the particularly strong labor movement in Switzerland in the 1930s, the political left in Switzerland was neglected in petty-bourgeois filmmaking.

The «social film» of the labor movement

Between the global economic crisis and the post-war boom, the Social Democratic Party of Switzerland (SPS), the unions affiliated with the Swiss Federation of Trade Unions (SBG) , the cooperatives and the youth, sports and cultural organizations of the labor movement commissioned around seventy films. Because funds were always tight, it was mostly silent films. A number of the films were shot in Zurich and document the Red Zurich , such as: Demonstration of price increases in Zurich (1917), The Zurich Cooperative (1929), The Red Day (1934), The New City (1938), Zurich Builds (1938) , The city intervenes (1939) . The films differ significantly from the proletarian films of the Weimar Republic and the Russian films of the young Soviet Union. They reflect the political conditions in Switzerland ( direct democracy in Switzerland ) and were timed and thematically geared towards the next referendum, upcoming elections or member recruitment. The films were produced by the Zurich film production companies Praesens-Film AG, Central Film, Pro-Film, Turica-Film, Gloria-Film and by amateurs, and mainly lent and distributed by the Swiss Workers' Education Center in Zurich ( SABZ ). The SABZ tried to oppose the morally questionable entertainment film to the social film as part of the educational and propaganda efforts of the labor movement. The militant films made before 1935 were marked by material misery and social bitterness ( state strike in 1918), while the films after the peace agreement of 1937 were less confrontational.

The films at the time of "intellectual national defense"

On behalf of the Swiss Army , Robert Rosenthal, the owner of EOS-Film Basel, produced the silent film The Swiss Army - L'Armée Suisse in 1917 . The film premiered in Zurich on April 5, 1918. Georges Passavant later acquired the film rights from Rosenthal and made a film copy for 1,000 Swiss francs . The only copy that was in the possession of the army itself had suffered badly during the war from the countless demonstrations.

In 1937, an official cultural policy in the service of national cohesion was adopted in Switzerland, which was described as Spiritual National Defense (GLV). For the film this meant the first heyday between 1938 and 1943, since large cultural subsidies also benefited film.

The first significant production in the sense of the GLV was Leopold Lindtberg's Füsilier Wipf (1938). The film is about Swiss soldiers who guarded the border during World War I and who, after a crisis of meaning, recall their patriotic duties. The screenplay for this film, which met with great enthusiasm in the audience, was written by Richard Schweizer , who is also one of the mainstays of early Swiss film. The two other main works of the GLV were Gilberte de Courgenay (1941) by director Franz Schnyder based on a script by Richard Schweizer and Landammann Stauffacher (1941) under the staging of Leopold Lindtberg.

A clerical reactionary organization headed by former Swiss government member Jean-Marie Musy produced an aggressive anti-communist propaganda film in 1938, which consisted essentially of older, partly German documentary recordings. The film was titled The Red Plague and called on Christian Switzerland not to let up in its fight against Marxism. Directed by Musy's secretary Franz Riedweg , who emigrated to Germany soon after and became SS-Obersturmbannführer. The film is considered to be the most radical inflammatory film in Swiss film history and is therefore hardly ever seen.

Franz Schnyder's Wilder Urlaub is also an interesting work of this phase , as it deals with a topic that should not even exist in a GLV film: a Swiss deserter . The film also treats, as an exception for Swiss film, the conflict between the working class and the wealthy class in the form of a working-class son in the army who kills his superior in a dispute. The film, which had the greatest possible relevance to reality and society for a Swiss film of the time, ended with a happy ending in keeping with the Swiss truce - even the apparently slain superior is still alive. Also Sigfrit Steiner devoted himself in Steibruch (1942) a social issue. A father of two who has wrongly served a long prison term in the United States returns as an outsider to his home village to retreat to a quarry. However, his two children are causing a rethink and they want to learn to live together as a family. The film, which is considered to be one of the outstanding productions of early Swiss talkies, lives on thanks to Steiner's direction and the excellent portrayal of the family by Heinrich Gretler as the father, Max Haufler as the son and the young Maria Schell as the daughter.

In the same year, Max Haufler himself carried out an excellent social study. In People who pass by (1942) he describes the confrontation of a circus family with the traditional peasant class in the form of a tragic love story that does without any kitsch or false idyll. Adolf Manz played the ringmaster and father of his daughter, who fell in love with the farmer, played by Willy Frey .

One of the best, as it has a poetic density and detailed lyricism that is seldom seen in Swiss film, works from Old Swiss Film were created as early as 1941 and were called Romeo and Juliet in the village . The Swiss writer Gottfried Keller provided the template . Directed by Hans Trommer and Valérien Schmidely . The lovers played Margrit Winter and Erwin Kohlhund .

Also worth mentioning are Leopold Lindtberg's crime films Wachtmeister Studer (1939) and Matto regiert (1947).

International success with criticism of Switzerland and humanism: Die Praesens Film 1944–1953

In 1944 the Praesens-Film took on more critical issues, which led to problems with right-wing circles who had censorship powers. Leopold Lindtberg did better justice to his critical intentions and directed a key work in Swiss film history: The Last Chance (1945). The film depicts the adventurous escape of a multinational refugee group from Italy to Switzerland. However, the exhausted refugees only make it across the border because a border officer works for them. The film presented a long overdue confrontation with the inglorious Swiss refugee policy during the Nazi era. The film made it far beyond the borders to success and achieved impressive results in the USA from November 1945.

After Lazar Wechsler had already heard from Marie-Louise in 1944 with the refugee drama, the doors of Hollywood were open to him. In 1946, for example, Praesens-Film produced his film together with the Metro-Goldwyn-Mayer -Studios under the direction of the US star director Fred Zinnemann, who emigrated from Austria before the Nazis and meanwhile, Die Gezeichen / The Search . The film was showered with international awards. Further results of the international orientation of Prasens were Swiss Tour (1949) and Die Vier im Jeep (1951) about occupied Vienna in the post-war period, both staged by Leopold Lindtberg.

One of the last humanistic-oriented production of Praesens-Film, in coproduction with the British Rosslyn Productions , was made in 1953 with Our Village / The Village about the Pestalozzi Children's Village in Trogen . However, the film was unable to build on earlier successes, as was already apparent in the last few productions, so that no more films with humanistic content were released.

In spite of everything, only around 100 films have been made since the beginning of the sound film era in 1951.

1953 to 1964

Around 1953, Swiss film took a new direction. Inspired by the successes of the last few years, when they jumped onto the Heimatfilm wave of German-speaking countries, they continued to focus almost exclusively on commercial successes instead of artistic or contemporary topics. The films about the petty-bourgeois milieu in German-speaking Switzerland offered the Swiss population figures to identify with and also failed to address social and economic upheavals or foreign policy behavior during National Socialism. Anti-communist traits were represented in many Swiss films as a kind of defensive reflex by the bourgeoisie.

Heimatfilmblüte

After the successful recipe of the Praesens-Film of the last few years, which relied on humanitarian content, had worn out against the background of negative political developments abroad, it was possible to build on a new successful patent almost seamlessly with the home film Heidi (1952) directed by Luigi Comencini . The film was viewed more than a million times in Germany alone and was subsequently shown not only in most European countries, both in the Eastern and Western blocs, but also with 300 copies in the United States. Success called for a sequel, which followed with even greater success with Heidi and Peter (1955), the first Swiss color film. The “perfect world” kitsch of these films, with a magnificent mountain backdrop and blooming Alps in the background, was in international demand, and so Switzerland, which was spared from the war, de facto joined the German and Austrian post-war films in terms of content and style.

Franz Schnyder , the director of the Heidi sequel, experienced the peak of his career in the following years and was one of the best and busiest directors in Swiss film. The starting point for this development was his surprising success Uli the farmhand, staged in 1954, based on the novel How Uli the farmhand becomes happy by Albert Bitzius, better known as Jeremias Gotthelf . The production company was Gloria Film , which became Praesens-Film's first serious competitor in the 1950s.

Schnyder filmed other Gotthelf works such as Uli the Pächter (1955), The Cheese Dairy in the Vehfreude (1958), Anne Bäbi Jowäger - Part I: How Jakobli comes to a woman (1960), Anne Bäbi Jowäger - Part II: Jakobli and Meyeli (1961) and Money and Spirit (1964). On the one hand, the Gotthelf films were loved by the broad Swiss public because of their proximity to the ideal world cliché, and on the other, they were criticized by some media and young people for precisely this reason. The lurid BRD award title Wildwest im Emmental for Die Käserei in der Vehfreude also caused some controversy. The film attracted an almost unbelievable number of visitors in Switzerland of 1.8 million - with a population of around 5.5 million at the time. However, Schnyder suffered a big flop with Zwischen uns die Berge (1956). The film exhausted Swiss clichés too much so that it is peppered with involuntary comedy. Schnyder anticipated these consequences based on the script before shooting began, but was contractually obliged to stage the film with Praesens-Film.

Sparse discussion of questions of contemporary history

After a few examples in the 1940s, with the success of Heimatfilm, Swiss film continued to avoid sociopolitical questions in order not to have to present the social structure of Switzerland in a differentiated manner. The Swiss film almost completely owed reactions to contemporary historical topics, problematic aspects of the post-war economy or other relevant issues. An exception was Franz Schnyder's May 10th (1957). What was meant was May 10, 1940, when National Socialist Germany attacked Belgium and Holland , which terrified Switzerland. He managed to capture the hectic pace and nervousness of those days and differentiate the different reactions of the residents to the situation of the acute threat.

The illusion of Switzerland as a bulwark of anti-fascist defense should be dispelled with real events of this time. The problematic refugee policy and social contradictions were the main themes of the film. Nevertheless, the film did not quite succeed, especially since the social analysis was fuzzy and once again took into account current social contradictions, thus avoiding a serious reappraisal and invitation to public discussion. Franz Schnyder's initiative in this direction was the only exception in Swiss film of the 1950s. Since no producer could be found, Schnyder financed the film himself.

Films from the petty bourgeoisie

In addition to Franz Schnyder, Kurt Früh shaped Swiss filmmaking in the 1950s. His specialty were stories from the middle-class milieu of German-speaking Switzerland, such as Polizischt Wäckerli (1955). Such stories, which people from the petty-bourgeois environment had as a figure of identification, were usually realized with the same actors: Schaggi Streuli , Emil Hegetschweiler , Margrit Rainer , Ruedi Walter , Margrit Winter , Sigfrit Steiner and others. Kurt Früh was also responsible for the climax of this genre. In Bäckerei Zürrer (1957) a master baker was portrayed whose prejudices and illusions are overtaken by reality. It was also the only one of the petty bourgeois films that did not hide from thematizing the social and psychological symptoms of the time. The character actor Emil Hegetschweiler played the role of his life in this film.

In 1964 only one Swiss film was released: Franz Schnyder's last Gotthelf adaptation, Geld und Geist . In retrospect, the film can be seen as a swan song for the «old Swiss film», which has shaped the last 20 years in Heimatfilm style with sometimes enormous successes.

The young Swiss film

Feature film production
in Switzerland
year number
1975 15th
1985 44
1995 38
2005 47

As in Germany and Austria, Swiss film experienced a serious crisis at the beginning of the 1960s and, as a result, the beginning of a generation change and a new direction in filmmaking. In Germany this was responded to with the proclamation of the New German Film and in Austria the avant-garde film emerged as a trailblazer for new Austrian filmmaking . The reasons for this change in the entire German-language, including Swiss film, were a lack of visions and repetition of the same, seeming recipes for success that brought an artistic and qualitative stagnation. In the end, there was no longer any competition for the more varied options for spending free time in the wake of the economic miracle and the new mass medium of television. Swiss film production reached its low point in 1964 when only one film was premiered. In the following years the “Young Swiss Film” was created, while the traditional structures continued to exist in a weakened form.

The first “other” Swiss films were made from 1955 and came from the French-speaking part. The influences therefore came more from the French Nouvelle Vague than from developments in the rest of German-speaking countries, especially since the French Nouvelle Vague was already noticeable in the 1950s, while German-language film production was still focused on banal entertainment and Heimatfilm kitsch. The 25-year-old Jean-Luc Godard gave his first cinematic sign of life in 1954 with Opération Béton in Switzerland. He financed this and the follow-up film Une femme coquette (1955) himself, but then went back to Paris because of the difficult working conditions in Switzerland . A work attributable to the Junge Schweizer Film was presented in Venice as early as 1957 . Nice Time (1957), produced by Claude Gorettas and Alain Tanners in Great Britain, skilfully portrayed a modern kaleidoscope of urban life in an impressionistic manner.

Market share of Swiss films
in Swiss cinema admissions
year Total cinema visits
, in million
Market share of
Swiss films
2004 17.2 2.5%
2005 15.0 5.9%
2006 16.4 9.5%
2007 13.8 5.1%
2008 14.0 3.0%

In the following years, young Swiss filmmakers also made their debut in German-speaking Switzerland. Markus Imhoof stepped forward in 1961 with woe when we let go , Alexander J. Seiler staged Auf Weißem Grund in the same year . In 1962 Gaudenz Meili directed the documentary Gottlieb Duttweiler for the first time and Fredi M. Murer made his first film in 1963 with The Fallen Tower of Pisa .

With Peter von Gunten and the AKS group from Biel , which was made up of Urs Aebersold , Clemens Klopfenstein and Philip Schaad , avant-garde and experimental film found representatives in Switzerland with continuous work. Documentary filmmakers such as Fredi M. Murer, Alexander J. Seiler, Richard Dindo and the duo Walter Marti / Reni Mertens also shaped German-speaking Swiss filmmaking at the time. Richard Dindo, for example, reconstructed the shooting of traitor Ernst S. (1976) with Niklaus Meienberg and took up the subject of the Swiss in the Spanish Civil War (1974). Another sensational production by Dindo was the reconstruction of the death circumstances of four young people who were victims of police actions in youth riots : Dani, Michi, Renato and Max (1987).

Films from German-speaking Switzerland, which also attracted attention abroad, were by Daniel Schmid , Kurt Gloor , Markus Imhoof, Gaudenz Meili , Peter von Gunten and also Xavier Koller .

In the French-speaking part of Switzerland , Geneva television ensured a fruitful start in feature film production in the form of co-production and co-financing of film projects. In collaboration with Groupe 5 around Alain Tanner, Claude Goretta, Michel Soutter , Jean-Louis Roy and Jean-Jaques Lagrange - later replaced by Yves Yersin - films such as Chekhov ou le miroir des vies perdues (1965), A propos d ' Elvire (1965) and Charles mort ou vif (1970) as well as some TV films. In the 1970s, Francis Reusser also helped shape French-speaking Swiss films, which still bear witness to the heyday of time-related, sophisticated film in Switzerland around the 1970s. Notable examples are Alain Tanner's La salamandre (1971) and Les années lumière (1981), Michel Soutters Les arpenteurs (1972) and Claude Goretta's Pas si méchant que ça (1975).

Fredi M. Murer celebrated an international success in 1986 with Höhenfeuer , which realistically takes on mountain farming life.

Switzerland's best-known and most haunting coming to terms with the past came about in 1981 with the Swiss-Austrian-West German joint production Das Boot ist voll . The title alludes to the restrictive Swiss asylum policy in World War II. Markus Imhoof staged consistently with an excellent ensemble of actors around Tina Engel and Curt Bois and made a significant contribution to the success of the film, which was nominated for the Oscar for “best foreign language film”.

One of the most important Swiss directors today is Urs Egger , who caused a sensation and success with productions such as Opernball (Austria / Germany 1998) and The Return of the Dance Teacher (Germany / Austria 2003), and who has already received several awards.

In 2006, Swiss films achieved a market share of 9.5% on the home market - the highest figure for several decades. The upward trend reached its peak for the time being with this value, the market share fell back to 3% by 2008. In a European comparison, Switzerland ranks at the bottom of the home market in terms of the market share of national films - despite the outstanding but unique year 2006 - on a multi-year average. Only the Baltic countries, Bulgaria, Slovakia and Austria (with the exception of 2008 with an exceptional 6%) show even lower values ​​on average.

Film funding

As in other European countries, Swiss filmmaking is heavily dependent on funding from third parties, especially the public sector. The federal government plays a key role in this: its financial aid of 36.2 million francs per year (as of 2011) covers an average of 30 to 40 percent of the production costs of Swiss films. The federal benefits are substantially supplemented by the SRG SSR idée suisse (“ Pacte de l'audiovisuel ”) and, at the regional level, in particular by the Zurich Film Foundation and the Regio Films fund from Western Switzerland .

The aim of federal film policy is to promote filmmaking as well as the diversity and quality of the films on offer and to strengthen Swiss film culture as part of national culture and identity. It includes in particular:

  • the actual film funding : the federal government provides financial support for the development of projects, for the production and exploitation of Swiss film productions and for joint productions with foreign countries. Film funding is both selective and performance-based. In selective film funding, financial aid is awarded based on qualitative criteria (including artistic quality of the project, creative independence, professional implementation of the project). The success-based film funding is calculated from the number of cinema admissions.
  • the promotion of film culture : To raise public awareness, mediation movie culturally relevant topics and films as well as for the promotion of Swiss film, the federal government supports the promotion agency Swiss Films , film festivals , film magazines and projects for the conservation, development and innovation of film production and film culture. The archiving and restoration of films is also supported by the Swiss Film Archive (Cinémathèque Suisse) in Lausanne.
  • Further funding areas are the variety and quality of the film offer (financial contributions to cinemas, distribution and sales), training and further education (in particular through the support of the FOCAL Foundation and film departments at art universities) as well as co-productions and international cooperation (through co-production agreements and contributions to the European programs MEDIA and Eurimages ).

See also

literature

  • Werner Wider, Felix Aeppli: The Swiss Film 1929–1964: Switzerland as a ritual. Volume 1: Presentation; Volume 2: Materials. Limmat, Zurich 1981. ISBN 978-3-85791-034-0
  • Martin Schlappner , Martin Schaub : Past and Present of Swiss Film (1896–1987). Swiss Film Center, Zurich 1987.
  • Hervé Dumont : History of Swiss Film . Swiss Film Archive, Lausanne 1987, ISBN 2-88267-001-X .
  • Paul Meier-Kern: Criminal School or Cultural Factor? Cinema and film in Basel, 1896–1916. Helbing & Lichtenhahn, Basel 1992; 171. New Year's Gazette of the GGG , ISBN 3-7190-1235-2 .
  • Thomas Kramer, Martin Prucha: Film over time - 100 years of cinema in Germany, Austria and Switzerland. Pp. 175-181, 209-213, 265-269. Ueberreuter Verlag, Vienna 1994, ISBN 3-8000-3516-2 .
  • Thomas Schärer: Between Gotthelf and Godard: remembered Swiss film history 1958–1979. Limmat, Zurich 2014, ISBN 978-3-85791-653-3 .
  • Inland and beyond: Perspectives on Swiss Documentary Film - 14 portraits. Limmat, Zurich 2014, ISBN 978-3-85791-747-9 .
  • Andrea Sailer: Swiss film directors in close-up. Rüffel & Rub, Zurich 2011, ISBN 978-3-907625-51-4 .
  • Martin Schaub: Film in Switzerland. Pro Helvetia, Zurich 1997, ISBN 978-3-908102-27-4 .

Web links

Individual evidence

  1. Stefan Länzlinger, Thomas Schärer: Let's put this weapon in our service. Film and Labor Movement in Switzerland. Chronos Verlag, Zurich 2010, ISBN 978-3-0340-0971-3 .
  2. feature film. The Swiss Army -L'Armée Suisse. Retrieved June 14, 2020 .
  3. ^ Synchronization of "Füsilier Wipf" in the film technology laboratory Käge & Seuthe, Zurich. Schweizer Film = Film Suisse: official organ of Switzerland, accessed on June 11, 2020 .
  4. World Film Production Report (excerpt) ( Memento from August 8, 2007 in the Internet Archive ), Screen Digest, June 2006, pp. 205–207, accessed on October 3, 2015.
  5. Österreichisches Filminstitut : Press release ( Memento of the original from March 21, 2009 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.filminstitut.at archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. of the European Audiovisual Observatory (OBS) , Council of Europe Strasbourg, February 9, 2009 (accessed February 17, 2009)
  6. The above information and (with adjustments) the following text come from the message of the Swiss Federal Council on the promotion of culture in the years 2012–2015 ( hearing draft from August 2010 ( memento of the original from 29 August 2011 in the Internet Archive ) Info: The archive link was automatically used and not yet checked. Please check the original and archive link according to the instructions and then remove this note. ), p. 40 ff .; this text is in the public domain. @1@ 2Template: Webachiv / IABot / www.bak.admin.ch