World Film Locations: Berlin

Description

One of the most dynamic capital cities of the twenty-first century, Berlin also has one of the most tumultuous modern histories. A city that came of age, in many senses, with the cinema, it has been captured on film during periods of exuberance, devastation, division, and reconstruction. World Film Locations: Berlin offers a broad overview of these varied cinematic representations.

 

Covering an array of films that ranges from early classics to contemporary star vehicles, this volume features detailed analyses of forty-six key scenes from productions shot on location across the city, as well as spotlight essays in which contributors with expertise in German studies, urban history, and film studies focus on issues central to understanding Berlin cinema. Among the topics discussed are the roles of rubble, construction sites, and music in films set and shot in Berlin, as well as key personalities, including Marlene Dietrich and Leni Riefenstahl. With the help of full-color illustrations that include film stills and contemporary location shots, World Film Locations: Berlin cinematically maps the city’s long twentieth century, taking readers behind the scenes and shedding new light on the connections between many favorite and possibly soon to be favorite films.

Maps/Scenes

Scenes 1-8 1910 - 1932

Scenes 9-16 1933 - 1957

Scenes 17-24 1958 - 1981

Scenes 25-32 1982 - 2002

Scenes 33-39 2003 - 2005

Scenes 40-46 2005 - 2011

Essays

Berlin: City of the Imagination – Susan Ingram and Katrina Sark

A Broader Scope: Wilhelmine Cinema in Berlin – Nora Gortcheva

Triumphs: Berlin’s Silver Screen Blondes – Kathryn Franklin

Berlin In Ruins – Mila Ganeva

Berlin's Soundtrack – Susan Ingram

Baustelle Berlin: Post-Reunification Voids – Katrina Sark

Babelsberg: The German Dream Factory – Christina Kraenzle

Sujets

• Cinéma
• Cinéma
• Cinéma
• Cinema
• Film
• Digital
• Electronic
• General
• History of film
• General officer
• Película fotográfica

Informations

• Publié par: Intellect Books
• Date de parution: 18 avril 2013
• Nombre de lectures: 0
• EAN13: 9781841506807
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

WORLD FILM LOCATIONS BERLIN
Edited by Susan Ingram
First Published in the UK in 2012 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First Published in the USA in 2012 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
Cover photo: Berlin Calling (2008) Sabotage Films GmbH
Copy Editor: Emma Rhys
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written consent.
A Catalogue record for this book is available from the British Library
World Film Locations Series ISSN: 2045-9009 eISSN: 2045-9017
World Film Locations Berlin ISBN: 978-1-84150-631-9 eISBN: 978-1-84150-680-7
Printed and bound by Bell Bain Limited, Glasgow
WORLD FILM LOCATIONS BERLIN
EDITOR
Susan Ingram
SERIES EDITOR DESIGN
Gabriel Solomons
CONTRIBUTORS
James Bade
Aleksandra Bida
Marco Bohr
Kathryn Franklin
Mila Ganeva
Nora Gortcheva
Elke Grenzer
Todd Heidt
Todd Herzog
Jennifer Ruth Hosek
Susan Ingram
Christina Kraenzle
Nicole Perry
Carson Phillips
Markus Reisenleitner
Katrina Sark
Inga Untiks
LOCATION PHOTOGRAPHY
Susan Ingram
(unless otherwise credited)
LOCATION MAPS
Joel Keightley

PUBLISHED BY Intellect The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK T: [phone] F: [phone] E: [e-mail]
Bookends: Wings of Desire (Kobal)
This page: Run, Lola Run (Kobal)
Overleaf: One, Two, Three (Deutsche Kinemathek)
CONTENTS

Maps/Scenes

Scenes 1-8 1910 - 1932

Scenes 9-16 1933 - 1957

Scenes 17-24 1958 - 1981

Scenes 25-32 1982 - 2002

Scenes 33-39 2003 - 2005

Scenes 40-46 2005 - 2011

Essays

Berlin: City of the Imagination Susan Ingram and Katrina Sark

A Broader Scope: Wilhelmine Cinema in Berlin Nora Gortcheva

Triumphs: Berlin s Silver Screen Blondes Kathryn Franklin

Berlin In Ruins Mila Ganeva

Berlin s Soundtrack Susan Ingram

Baustelle Berlin: Post-Reunification Voids Katrina Sark

Babelsberg: The German Dream Factory Christina Kraenzle

Backpages
Resources
Contributors
Filmography
ACKNOWLEDGEMENTS
Every editor should be as lucky as I have been with this project to have had such knowledgeable and conscientious contributors. My thanks to them for their extraordinary responsiveness, to Julia Riedel and her colleagues at the Deutsche Kinemathek in Berlin for help in accessing their valuable resources, and to series editor Gabriel Solomons and all the good folk at Intellect for the expertise and assistance that went into making this volume not only a reality but a stunningly beautiful one.
SUSAN INGRAM
INTRODUCTION
World Film Locations Berlin
THE WORLD FILM LOCATIONS series casts film in a new light: a kind of backlighting which encourages filmgoers to attend to the parameters of the dreamworlds films transport them to, that is, the backdrops against which plots and characters take shape and which new mobile technologies like GPS make ever more accessible. Each volume provides a primer for a specific city and that city s cinematic imaginary, offering access to the levels of meaning that locations add on account of the histories they have been part of and the memories they evoke.
Berlin may be relatively young, at least for a European city, but it is hard to think of a city with a more tumultuous history in the modern period, or one whose history has been as relentlessly captured on film. The traces that live on in the city s fabric are brought to light in the analyses collected in this volume of 46 key scenes from films shot on location in Berlin. Beginning with early street scenes by Oskar Messter and Max Mack from before World War I and continuing up to contemporary star vehicles like Matt Damon s The Bourne Supremacy (Paul Greengrass, 2004), Tom Cruise s Valkyrie (Bryan Singer, 2008) and Cate Blanchett s Hanna (Joe Wright, 2011), our selections cinematically map Berlin s long twentieth century for filmgoers and are supplemented by short essays on key transitional periods in the history of Berlin cinema, on music in Berlin films, on Studio Babelsberg, and on two of Berlin s brightest leading ladies, who embody the city s profound political tensions: Marlene Dietrich and Leni Riefenstahl.
Because it would not have been possible to provide an exhaustive accounting of Berlin film even had we been able to include 4,600 films, we have tried with our sampling to give readers a sense of what is unique and determinative about Berlin s cinematic imaginary. While one won t find here films associated with Berlin but not actually shot in the city, such as The Spy Who Came in from the Cold (Martin Ritt, 1965) and Grand Hotel (Edmund Golding, 1932) (the former was shot in Dublin while the latter was a Hollywood production), one will find a Cold War thriller ( The Quiller Memorandum [Michael Anderson, 1966]) and a quintessential Berlin hotel film ( Der letzte Mann/The Last Laugh [F.W. Murnau, 1924]). One will also find the films that have done so much to imprint Berlin on the global imagination that they are now as well known by their English titles as the German originals (such as Ruttmann s 1927 Berlin: Die Symphonie der Gro stadt/Berlin: Symphony of a Great City , Wender s 1987 Der Himmel ber Berlin/Wings of Desire and Tykwer s 1998 Lola Rennt/Run Lola Run ), as well as a range of lesser-known works, including a 1982 short by the Hungarian avant-garde director G bor B dy and a 2005 short made to promote Prada perfume by Ridley Scott and daughter Jordan.
The Berlin that emerges in this volume is not a city of love or a city of angels, but rather the gritty, pragmatic place that gave birth to the Love Parade (in the summer before the fall of the Wall in 1989). As one will notice in the location shots accompanying each scene review, which were mostly taken in the fall of 2011, it is the epitome of a Baustelle , where everything, including personal relationships, always seems to be under construction . Berlin backdrops are about renegotiating boundaries, borders, barriers and ownership (as attested to by the current spate of baby-carriage vandalism and car torchings). We hope both long-time Berlin fans and those new to Berlin will find much of interest here and that the volume will encourage further fl neuring and film watching.
Susan Ingram, Editor
BERLIN
City of the Imagination
Text by SUSAN INGRAM AND KATRINA SARK

CINEMA S INVENTION at the end of the nineteenth century came at a good time for Berlin. The city s rollercoaster ride through the twentieth and now on into the twenty-first could thus be captured on celluloid, video, and, more recently, digitally. In this volume we see the city transform from an upstart industrial metropolis, capital of a warmongering imperial nation, to an economically ravaged one with the collapse and chaos that followed the loss of World War I. This in turn led to its crazy, glitzy Weimar heyday during the 1920s; the rise of Hitler and the Third Reich; the pummelling the city received at the end of World War II by Allied bombers that left it decimated and divided among the French, British, American and Soviet occupying forces, a division which took concrete form from 13 August 1961 to 9 November 1989. With the fall of the Wall, Berlin regained its status as capital and has been a construction site ever since, one increasingly present globally in no small part due to its booming film industry and glamorous international film festival.
Despite being a city whose only constant has been rapid, disorienting change - a city, as Karl Scheffler s 1910 bon mot has it, condemned forever to become and never to be - Berlin from the perspective of its cinematic history seems to be a remarkably stable place. Sites and even characters return decades later, bearing the memories of their earlier appearances. The youthful suicide in Rossellini s 1948 Germania, anno zero/Germany Year Zero is an homage to the one in the socially critical Kuhle Wampe (Sl tan Dudow, 1932) that results in one worker fewer , and makes viewers appreciate all the more the resolve of the young girl in Ostkreuz (Michael Klier, 1991); the clown Emil Janning is reduced to playing in Der blaue Engel/The Blue Angel (Josef von Sternberg, 1930) reappears in a spy s disguise at the beginning of Octopussy (John Glen, 1983), the only James Bond film shot in Berlin; the Neuk lln swimming pool, which proves decisive to the spy-protagonist in his quest for neo-Nazis in The Quiller Memorandum (Michael Anderson, 1966), returns appropriately outfitted with a swastika in Valkyrie (Bryan Singer, 2008); the pedestrian bridge over the Ringbahn that Sunny crosses in Solo Sunny (Konrad Wolf and Wolfgang Kohlhaase, 1980) is the same one the son jogs over in Sommer vorm Balkon/Summer in Berlin (Andreas Dresen, 2005). Places like Alexanderplatz and Potsdamer Platz, the Brandenburger Tor and the Reichstag, the Olympic Stadium and Zoo Station recur from one decade to the next, sometimes the better, sometimes the worse for wear but nevertheless anchoring and lending historical texture to Berlin s urban fabric.

Funeral in Berlin (1966) Kobal / Above 2010 Celluloid Dreams, Constantin Film Produktion, Rat Pack Filmproduktion
The durability of cinematic Berlin could well have something to do with the city s mediality. Spaces long since destroyed endure in older films and are reconstructed and re-signified in newer ones and by new technologies. With each technological innovation we re-imagine our relationship with the city and its spaces. The Skladanowskys camera was the first to do this, while iPhone apps and GPSs are the most recent, making the history of Berlin film implicitly also a history of technology. Thanks to online services like Google maps and Flickr, it has become eas