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THE UFA STORY: A HISTORY OF GERMANY'S GREATEST FILM COMPANY, 1918-1945 (WEIMAR
AND NOW: GERMAN CULTURAL CRITICISM) TASCHENBUCH – 26. OKTOBER 1999

von Klaus Kreimeier (Author), Robert Kimber (Translator), Rita Kimber
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Universum-Film AG—best known by its signature logo, Ufa—was once the largest
film company in Europe. Founded by the German High Command as a propaganda
medium during World War I and always central to Germany's nationalistic
big-business interests, Ufa was also home to the most innovative talents of the
Weimar Republic. Fritz Lang, Marlene Dietrich, Emil Jannings, and Ernst Lubitsch
were Ufa stars; Metropolis, The Blue Angel, and Dr. Mabuse were only a few of
its finest works. From its dazzling theaters to its state-of-the-art studios and
processing labs, from its comprehensive multimedia publicity campaigns to its
avant-garde art films, Ufa challenged Hollywood for cultural dominance and
market share in Jazz Age Europe. But the story grows darker after the
simultaneous advent of sound films and National Socialism. The story of Ufa
under Hitler, when technically suberb films continued to be made, is the story
of the corruption and destruction of this vital company by the state that
brought it into existence.

Mehr lesen




--------------------------------------------------------------------------------

Previous page
 1. Seitenzahl der Print-Ausgabe
    
    459 Seiten
 2. Sprache
    
    Englisch
 3. Herausgeber
    
    University of California Press
 4. Erscheinungstermin
    
    26. Oktober 1999
 5. Abmessungen
    
    16.51 x 3.18 x 22.86 cm
 6. ISBN-10
    
    0520220692
 7. ISBN-13
    
    978-0520220690
 8. Alle Details anzeigen

Next page



























REZENSIONEN DER REDAKTION


PRESSESTIMMEN

"Billy Wilder and Fritz Lang are but two names from among scores of film artists
who fled Germany and brought their talents to American movies. Ufa's legacy
appears in retrospect to be at least as meaningful to the United States as to
Germany. It's hard to imagine the shape of American cinema without the
contribution of Ufa's exiles." -- Robert Sklar, New York Times Book Review

"Kreimeier connects the Ufa of the 1920s and its grandiose movie palaces,
floodlit premieres, and impressive stage sets with the political, social, and
artistic crises of the Weimar years." -- J.S. Marcus, New York Review of Books


ÜBER DIE AUTORENSCHAFT UND WEITERE MITWIRKENDE

Klaus Kreimeier was cultural editor for Der Spiegel and has taught at the German
Film and Television Academy. A freelance journalist, he lives in Berlin.

--------------------------------------------------------------------------------


PRODUKTINFORMATION

 * Herausgeber ‏ : ‎ University of California Press; Reprint Edition (26.
   Oktober 1999)
 * Sprache ‏ : ‎ Englisch
 * Taschenbuch ‏ : ‎ 459 Seiten
 * ISBN-10 ‏ : ‎ 0520220692
 * ISBN-13 ‏ : ‎ 978-0520220690
 * Artikelgewicht ‏ : ‎ 494 g
 * Abmessungen ‏ : ‎ 16.51 x 3.18 x 22.86 cm

 * Amazon Bestseller-Rang: Nr. 2,788,037 in Bücher (Siehe Top 100 in Bücher)
    * Nr. 329 in Filmproduktion & -finanzierung
    * Nr. 6,598 in Filmgeschichte & -kritik
    * Nr. 10,394 in Medienwissenschaft

 * Kundenrezensionen:
   4,0 4,0 von 5 Sternen 7 Sternebewertungen




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INFORMATIONEN ZUM AUTOR

Folge Autoren, um Neuigkeiten zu Veröffentlichungen und verbesserte Empfehlungen
zu erhalten.
Folgen


KLAUS KREIMEIER

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KUNDENREZENSIONEN

4,0 von 5 Sternen
4 von 5
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REZENSIONEN FILTERN NACH

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John Colaresi
3,0 von 5 Sternen Top heavy with historical, financial, and political info
Rezension aus den Vereinigten Staaten vom 12. Mai 2017
Verifizierter Kauf
If you’re looking for a detailed book about Germany’s Ufa film studio, this is
the one you want. However, it might not be what you expected, at least for me as
I have mixed reservations about it. My main complaint about ‘The Ufa Story’ is
that it’s top heavy with historical, financial, and political info. It’s very
thorough in those aspects, maybe too thorough because they make for slow
reading. You can find shorter and less detailed accounts of the studio and that
info elsewhere, but not to this extreme if that’s your choice.

Klaus Kreimeier’s book begins with how the studio was founded in 1918 by the
German Army Supreme Command that wanted morale-boosting films made to counteract
Germany’s defeat, but they evolved to become "Germany's very German response to
Hollywood” as theaters were dominated by American films and others from France
and Scandinavian countries and preferred by audiences. Plots became based more
on German folklore, culture, and literature to promote pride in the nation’s
past. When certain films received international acclaim in the 1920’s, many
artists, like Emil Jannings, Pola Negri, Ersnt Lubitsch, and F W Murnau left for
Hollywood; Marlene Dietrich departed in the early 1930’s. After the Nazis took
over, filmmaking became “an instrument of the state.” Audiences wanted
entertainment instead of political speeches and parading stormtroopers although
you can find some kind of propaganda in almost any feature film. Of the over
1,100 films produced between 1933 and 1945, a very small percentage can be
labeled pure propaganda and most of them were not big box office hits. There's a
difference between a harmless nationalist film promoting love of country and its
basic virtues (Heimat and mountain films), and a propaganda film promoting a
political agenda and hate (JUD SUSS, HEIMKEHR). Some films blurred the line
between these two types such as a few by Luis Trenker. Ufa cultivated its own
star system and many films were artistically and technically well made because
not all the best talent left Nazi Germany.

I wanted to read more about films and who worked in front of and behind the
camera on them, but in fairness to Kreimeier, this wasn’t his intent. Most films
are mentioned in passing so you’ll have to look elsewhere to learn about them if
they are unfamiliar to you and too many are omitted. Occasionally you’ll find a
few paragraphs or pages devoted to a famous film or person and learn something
new about them. In the pages covering Murnau’s FAUST (1926), you’ll learn how
the technical effects were executed, and how Ufa barely avoided creating a
national scandal when the film’s intertitles written by Germany’s greatest
living author at the time, Gerhart Hauptmann, were judged inferior and replaced.
Although the film is now considered a classic of German cinema, most people
don’t know it was an expensive failure like Fritz Lang’s METROPOLIS debuting a
year later. These costly flops and others almost bankrupted Ufa and led Alfred
Hugenberg, an important German businessman and early Hitler supporter, to
purchase the company in 1927 and later transfer ownership to the Nazi Party in
in 1933.

Another example of good research providing new info for me and maybe others is
found in several pages devoted to the fantasy AMPHITRYON that became 1935’s
biggest hit: “Jupiter’s wife, Juno (Adele Sandrock) has Mercury (Paul Kemp)
refer to her as Highest Lady... an allusion to the actress Emmy Sonnemann, whom
the Reich Air Marshall [Herman Goring] had recently married. [Director Reinhold]
Schunzel and his team permitted themselves the national joke. Ufa’s managers bet
they could get away with it; the censors raised timid objections or looked the
other way; and [Reich Minister of Propaganda Joseph] Goebbels was delighted to
have his rival Goring exposed to public ridicule. Like all despotic agencies
with power, the Nazi censorship offices functioned perfectly and irrationally at
the same time, working feverishly yet also at crossed purposes.” That in-joke
about Goring’s wife was a very risky move for Schunzel who was half-Jewish and
only allowed to work under a special permit because of his previous successes
like 1933’s VIKTOR UND VIKTORIA.

As for actors, we learn that Hans Albers, who was Germany’s biggest male star
during the 1930’s and 1940’s, was contractually obligated to make an occasional
propaganda film during the Nazi years like 1941’s CARL PETERS, an anti-British
and anti-Semitic story about Germany’s lost colonies in Africa. Kreimeier says
of Albers who despised the Nazis and made them pay big money for his work:
“Aloof, audacious, and not without a touch of cynicism, Albers lost no sleep
over the question of who commissioned his films and he brought to his national
Socialist roles the unmistakable Albers touch—with its mixture of devil-may-care
and adventure, of rough-and-tumble elegance and magical invincibility… Albers
and the roles he played kept this explosive combination intact, and it was his
artful ambivalence that kept him, one of the few authentic folk stars of the NS
cinema, from becoming a Fascist figurehead.” Other actors like Gustaf Grundgens
and Trenker, who were also directors and whom Goebbels had plenty to say about
in his diaries, are barely mentioned and deserve more attention.

In summation - As much as I like Kreimeier’s book, I have to agree with
Publisher Weekly’s review quoted above: “A plus for his account is that he sets
it within the context of the larger German culture. While it is packed with
detail and interesting historical references, it is too prolix and discursive
for general readers.”

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kevymack
5,0 von 5 Sternen The German Contribution
Rezension aus den Vereinigten Staaten vom 5. Februar 2011
Verifizierter Kauf
This is an excellent book which details the always fascinating story of UFA ,
the greatest film company IN Germany and all of Europe which for qite some time
gave Hollywood a run for its' money as the film capital of the world. It also
shows how many of the great directors, writers , film technicians etc. fled
Germany for the freedom of Hollywood and the tremendous contribution they made
to American cinema.

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Julie D
4,0 von 5 Sternen Four Stars
Rezension aus den Vereinigten Staaten vom 2. April 2017
Verifizierter Kauf
fascinating history of German filmaking

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P. Scrivener
1,0 von 5 Sternen Wasted Opportunity
Rezension aus dem Vereinigten Königreich vom 17. April 2012
Verifizierter Kauf
I have read somewhere that there is not a culture of popular written history in
Germany, rather it is written as an academic subject. This book is a prime
example. I have picked this book up several times to try and advance a few
pages, but once I reached page 85 and read this:

'What can be said with certainty is that this "gothic" film style does not offer
the possibility of salvation but seems confining, claustrophobic, psychically
undigested, anxiety-producing. It expresses a rebellion of provinces and small
cities against industrial culture and its superficial rationality'

I'm afraid I laughed and gave up. If you want to cloak your opinions in a florid
academic pastiche of knowledge fine, but don't expect me to read it.

Some of the book, turgid as the writing is has moments of lucidity, but it is
soon awash again in knee deep lists of actors, film shareholders and the
academic opinion of third parties it endlessly breaks up the flow of the text
and any sense of linear history that the author might be trying to achieve.

I was tempted first of all to blame the translation, which appears to be literal
rather than interprative. But the further I read I realised that anything other
than what was done would have required a complete re-write of the text. This
book badly needs an english language editor.

I do not normally write negative reviews. A bad book is just let go. However,
this was such a disappointment given the subject matter and my interest in
German history that I have vented my annoyance. I am currently reading Sebastian
Haeffner's 'Defying Hitler'. The prose is beautiful and an object lesson in
writing and translation.

I was tempted for two stars simply because of the plates. Any book with picture
of the lovely Lilian Harvey should be worth that at least. But I'm afraid not.

A major disappointment.

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