I decided it might be a good idea to get out of the apartment and do something remotely academic before my brain shrinks with age (my birthday’s six days away… and I have no plans yet). The Deutsche Kinemathek was having a symposium called “Kamera als Waffe” (“Camera as Weapon”) on the propaganda films of World War II, so I cast in my lot and registered for it, thinking I might meet some interesting people there. Turns out I was right.
The first day (Thursday), I grabbed a coffee at the beginning of the conference and stood near another gentleman, who asked me in which room it was to take place. We struck up a conversation and we were nearly inseparable for the rest of the night. He was Herr Göres, a former GDR customs-agent-turned-journalist who had worked for Den Tagesspiegel among other newspapers. He was also one of the most outspoken people in the audience, who’d make loud comments to people sitting next to them (i.e., me) during other people’s academic talks… as if it were a press conference or something. The summary of the papers were as follows: Rainer Rother, director of the Berlinale, introduced the whole shebang. Klaus Kreimeier depicted war propaganda newsreels as a kind of sensory-motor means of warfare, inciting people toward war activities through the creation of a coherent fantasy world with all the clichés. According to Kreimeier, the films were shot with a “secret screenplay” in mind, not as documentation. Miriam Arani showed us some gruesome pictures and told us about how the Germans pretended dead Poles whom they killed were dead ethnic Germans (kind of like The Gleiwitz Case). Klaus Hesse, a big guy at the Topographie des Terrors, showed us some private photos of propaganda photographer Arthur Grimm that illustrated German occupation in Poland as a kind of civilized police activity – all staged for the cameras. There’s a kind of collapse between public and private sphere there. Then Karl Prümm introduced Feldzug in Polen as a symphonic newsreel designed to make the invasion of Poland itself seem like a work of art.
On the second day (today/Friday) Ralf Forster from the Filmmuseum Potsdam demonstrated how the newsreel production process was a well-oiled, highly modern machine that, well, more or less delivers on the “camera as weapon” thesis. Matthias Struch provided an array of clips to show how authorship and individual directorial signatures could be found in the films of Walter Frentz, Hans Ertl and Heinz von Jaworsky. Dirk Alt highlighted a few newsreels fragmentarily shot in color and why WWII wasn’t generally shot in color. Hans-Peter Fuhrmann elaborated on the acoustic dimension of the newsreels and how music and/or sound effects frame the works’ sense of realism. Brian Winston introduced The True Glory as a very effective piece of indirect propaganda: acknowledging the negative and cynical sides of reality before turning to its myth-making, collectivist project.
After tonight’s screening, I had the pleasure of having a beer with Mr. Winston, Kay Hoffmann and another very nice woman who worked heavily with documentary film. It turns out that this is THE Brian Winston who wrote Misunderstanding Media as well as Lies, Damn Lies and Documentaries, and who produced this classic Paper Tiger analysis of TV news. So now that I understood that I was gossiping with one of the luminaries of documentary ethics and Communication Studies, I realized that when he talked about “Ricky” needing to get his autobiography out, he meant Richard Leacock, and when he referred to “Bobby” or “Stuart,” he meant Robert Flaherty and Stuart Hall respectively. He’s currently working on the documentary on Flaherty, which caused a lot of discussion about Nanook of the North (1922) and Louisiana Story (1948). I learned maybe more in that one hour than in several Kamera als Waffe conferences, but so it goes.
Naturally, I remain without a student U-bahn pass and I’m cheap so I hoofed it back to my apartment from Potsdamer Platz after the beer. My 30-minute nighttime journey on foot revealed the following items of note:
• A row of aggressive prostitutes near the Bülowstrasse U-Bahn station (but I was on the other side of the street)
• A hookah bar covered in a pale haze that was sucked outside as soon as someone opened the door.
• An older man with an open bottle of Baileys who nearly wandered into traffic.
• A local barber shop has a lot of activity behind its steel doors at night, meaning I think it’s a front for something else
Ah, the City of Sand.
Feldzug in Polen (1939/40, dir. Fritz Hippler)
Fritz Hippler, that lovely cutting-room documentarist who later put together the anti-Semitic montage The Eternal Jew (1940), worked together with Herbert Windt, composer of the score for Triumph of the Will (1935), on the first major documentary about the German blitzkrieg victory in Poland. With enthusiastic marches, maps with big arrows on them, and exciting house-to-house fighting footage that may or may not have been staged, the film shows us how the Wehrmacht kicked the living tar out of the Polish army. The general dynamic revolves around A) the continuous victory of the advancing German army and B) the continuous retreat of the cowardly-but-threatening Polish army, conspicuously eliding the presence of both German casualties and the nuances of Polish defeat (something about concentration camps?). In my humble opinion, it reminded me of a music video: structured more around its own self-gratifyingly simplistic narrative and the foregrounded symphonic music than around documentation of an event or the commemoration of something significant in detail.
The True Glory (1945, dir. Carol Reed)
An epic piece of propaganda filmmaking that kicks the living tar out of Feldzug in Polen, The True Glory provides a picture of the WWII battle on the western front toward victory told entirely through voice-over by real troops and General Eisenhower. It is, in a word, gripping. Ken Burns’ The War (2007) shows the message hasn’t changed a bit from when the U.S. and the UK hadn’t even defeated Japan yet: the war was hard and fought by regular people called to do a great, global act of goodness requiring epic bravery, etc., etc. The point is that, after this film, you feel both educated about the basic military history of the UK/American/Russian victory and certainly feel very good that all those Nazis are conquered, even though the Nazi Germans are not necessarily portrayed in a negative light. Another key difference from Feldzug in Polen: the bodies of American and British soldiers are depicted, which forces how “hard” the war was. See this to see from where Saving Private Ryan (1998) effectively culled its most powerful material for the first 20 minutes.
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