Marika Rökk s Bilingual Legs: German Movies, Un-German
Behaviour, and Meaning of Cinema-Going

k 2016

Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going

SKOPAL, Pavel

Základní údaje

Originální název

Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going

Název česky

Dvojjazyčné nohy Mariky Rökkové: německé filmy, neněmecké chování a význam návštěvy kina

Autoři

SKOPAL, Pavel

Vydání

Cinema, War and Democratic Agency: Exhibition, Moviegoing and Everyday Resistance, 1939-1945, Norway, 24-25 November 2016, 2016

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

Písemnictví, masmedia, audiovize

Stát vydavatele

Norsko

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/16:00088602

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

film reception; Protectorate Bohemia and Moravia; Nazi cinema

Štítky

rivok

Změněno: 26. 4. 2017 07:54, doc. Mgr. Pavel Skopal, Ph.D.

Anotace

V originále

In the case of the history of cinema reception in the Protectorate of Bohemia and Moravia, the myth of a passive resistance of cinemagoers to the German film production often persists. In fact, the attendance was strikingly rising during the era, despite strangling of the indigenous production by the Nazis. And the memories of roughly 90 dedicated cinemagoers we have interviewed about the Nazi era indicate that aside from the Czech movies, the most popular cinema entertainment was represented by the German colour spectacles, melodramas, comedies, and musicals (Münchhausen, Damals, Die Frau meiner Träume, etc.). My research on the reception in the Soviet occupation zone of Germany after the war implies that the German audiences denied the imposed Soviet movies as “primitive” in contrast to the German tradition of “well made movies”. Establishing such opposition served the audiences for a confirmation of the fundamentally shaken national identity under the occupation. However, such register was not universally available for the Czech audiences because of the high production values of most of the German movies. The Czechs used a satirizing denial in relation to newsreels and to the most ideological films – but the audiences were not resistant to the entertainment genre production. Nevertheless, we can recognise some strategies how the Czech cinemagoers coped with the “Germaness” of the movies and how they rewrote the national indications of the cinema experience – the stars of non-German origin were of the most popular (Zarah Leander, or, unbeatably, Marika Rökk), and the Wien-film production was highly appreciated; significantly, even the German stars and movies are sometimes “misremembered” by the narrators as Austrian one. With taking the general distribution system and the local exhibition practices into account, the paper intends to understand the preferences of the audiences and their attitudes towards the German production.

Návaznosti

GA16-13375S, projekt VaV

Název: Česká filmová kultura a německá okupace: procesy kulturního transferu

Investor: Grantová agentura ČR, Česká filmová kultura a německá okupace: procesy kulturního transferu

Citovat

SKOPAL, Pavel. Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going. In Cinema, War and Democratic Agency: Exhibition, Moviegoing and Everyday Resistance, 1939-1945, Norway, 24-25 November 2016. 2016.

@proceedings{1369384,
   author = {Skopal, Pavel},
   booktitle = {Cinema, War and Democratic Agency: Exhibition, Moviegoing and Everyday Resistance, 1939-1945, Norway, 24-25 November 2016},
   keywords = {film reception; Protectorate Bohemia and Moravia; Nazi cinema},
   language = {eng},
   title = {Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going},
   year = {2016}
}

TY  - CONF
ID  - 1369384
AU  - Skopal, Pavel
PY  - 2016
TI  - Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going
KW  - film reception
KW  - Protectorate Bohemia and Moravia
KW  - Nazi cinema
N2  - In the case of the history of cinema reception in the Protectorate of Bohemia and Moravia, the myth of a passive resistance of cinemagoers to the German film production often persists. In fact, the attendance was strikingly rising during the era, despite strangling of the indigenous production by the Nazis. And the memories of roughly 90 dedicated cinemagoers we have interviewed about the Nazi era indicate that aside from the Czech movies, the most popular cinema entertainment was represented by the German colour spectacles, melodramas, comedies, and musicals (Münchhausen, Damals, Die Frau meiner Träume, etc.). My research on the reception in the Soviet occupation zone of Germany after the war implies that the German audiences denied the imposed Soviet movies as “primitive” in contrast to the German tradition of “well made movies”. Establishing such opposition served the audiences for a confirmation of the fundamentally shaken national identity under the occupation. However, such register was not universally available for the Czech audiences because of the high production values of most of the German movies. The Czechs used a satirizing denial in relation to newsreels and to the most ideological films – but the audiences were not resistant to the entertainment genre production. Nevertheless, we can recognise some strategies how the Czech cinemagoers coped with the “Germaness” of the movies and how they rewrote the national indications of the cinema experience – the stars of non-German origin were of the most popular (Zarah Leander, or, unbeatably, Marika Rökk), and the Wien-film production was highly appreciated; significantly, even the German stars and movies are sometimes “misremembered” by the narrators as Austrian one. With taking the general distribution system and the local exhibition practices into account, the paper intends to understand the preferences of the audiences and their attitudes towards the German production.
ER  -

SKOPAL, Pavel. Marika Rökk s Bilingual Legs: German Movies, Un-German Behaviour, and Meaning of Cinema-Going. In \textit{Cinema, War and Democratic Agency: Exhibition, Moviegoing and Everyday Resistance, 1939-1945, Norway, 24-25 November 2016}. 2016.

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