Book Chapter by Wolfgang Fuhrmann
Menrath, Manuel. Afrika im Blick. Afrikabilder im deutschsprachigen Europa, 1870-1970. Zürich: Chronos Verlag, 237-254., 2012
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Ufa international: Ein deutscher Filmkonzern mit globalen Ambitionen, 2021
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Memorias: XIX Congreso Colombiano de Historia , 2021
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in : A. Finger, G. Kathöfer, and C. Larkosh (eds), KulturConfusão: On German-Brazilian Interculturalities , 2015
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In: Cinematic Settlers. The Settler Colonial World in Film , 2020
The article is published in: Janne Lahti and Rebecca Weaver-Hightower eds), Settler Colonial Wor... more The article is published in: Janne Lahti and Rebecca Weaver-Hightower eds), Settler Colonial World in Film, London: Routledge 2020, 87-98.
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
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Anais do Textos Completos do XXII Encontro da SOCINE 2018, Saõ Paulo: Socine, 1084-1089., 2019
Muito pouco se sabe sobre a rede internacional de uma das mais famosas companhias cinematográfica... more Muito pouco se sabe sobre a rede internacional de uma das mais famosas companhias cinematográficas
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
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Anais do Textos Completos do XXIII Encontro Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) 2019, Saõ Paulo: Socine 2020, 1043-1049., 2020
O objetivo principal deste artigo é apresentar a biografia do correspondente estrangeiro, cineast... more O objetivo principal deste artigo é apresentar a biografia do correspondente estrangeiro, cineasta e escritor alemão Klaus Manfred Eckstein. Investiga como Eckstein se envolveu em produções do Cinema Novo nos anos 60 e 70 como Macunaíma (Joaquim Pedro de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) ou Como era gostoso o meu francês (Nelson Pereira dos Santos 1971).
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
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Die Erforschung des frühen nichtfiktionalen Films ist erst seit geraumer Zeit in das Interesse fi... more Die Erforschung des frühen nichtfiktionalen Films ist erst seit geraumer Zeit in das Interesse filmwissenschaftlicher Forschung gerückt.1 Im Gegensatz zum fiktionalen Film, der mit Hilfe von Modellen der Narration erschlossen werden kann, scheint sich der nichtfiktionale Film auf seine reine Abbildfunktion zu beschränken. In seiner Machart wirkt der frühe nichtfiktionale Film als banal, womit sich eine differenzierte Auseinandersetzung mit seiner Asthetik und gesellschaftlichen Bedeutung zu erübrigen scheint. Am Beispiel der Kinematographenkampagne der Deutschen Kolonialgesellschaft möchte ich im Folgenden zeigen, wie der frühe nichtfiktionale Film aus film-und zeithistorischer Perspektive als historische Quelle erschlossen werden kann.
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SOCINE (ed.), Anais do Textos Completos do XXI Encontro da SOCINE 2017, Saõ Paulo: Socine 2018, 316-321., 2018
Resumo: O artigo visa discutir a imagem do Brasil no cinema alemão nos anos 50 e 60 tendo como pa... more Resumo: O artigo visa discutir a imagem do Brasil no cinema alemão nos anos 50 e 60 tendo como pano de fundo um pequeno grupo de produções cinematográficas alemães: Stefanie (Josef von Báky, 1958), Stefanie no Rio (Curtis Bernhardt, 1960) e Weit ist der Weg (Wolfgang Schleif, 1960). Todos os três filmes, como vou argumentar, estão interligados por um motivo comum que coloca diretamente o Brasil como um possível modelo de referência na agenda política cultural da Alemanha após a Segunda Guerra Mundial. Abstract: The article discusses the image of Brazil in three German films from the 1950s and the 1960s: Stefanie (Josef von Báky, D 1958), Stefanie no Rio (Curtis Bernhardt, D 1960), and Weit ist der Weg (Wolfgang Schleif, D 1960). All three films are, as I will argue, interconnected through one common motif that presents Brazil as a role model for Germany on the country's cultural poltical agenda after the Second World War.
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Resumo: Neste artigo, discutimos a possibilidade de uma historiografia do cinema transnacional te... more Resumo: Neste artigo, discutimos a possibilidade de uma historiografia do cinema transnacional tendo como pano de fundo um conflito político-cultural entre o Brasil e a Alemanha. Apesar de diferenças estruturais entre os dois cinemas (p. ex. cronologia ou força econômica), vamos argumentar que escrever uma historiografia de uma perspectiva transnacional permite abrir não só novas áreas da pesquisa históricas do cinema como também entender melhor acontecimentos do cinema e da história nacional.
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
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Cinema CH # 58, 93-100., 2013
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I. Warnke (ed.), Deutsche Sprache und Kolonialismus. Aspekte der nationalen Kommunikation zwischen 1884 und 1919, Berlin, New York: de Gruyter, 349-364., 2009
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M. Bechhaus-Gerst and S. Gieseke (eds), Koloniale und postkoloniale Konstruktionen von Afrika und Menschen afrikanischer Herkunft in der deutschen Alltagskultur, Frankfurt: Peter Lang Verlag, 251-268., 2007
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R. Johler, C. Marchetti and M. Scheer (eds), Doing Anthropology in Wartime and War Zones. World War I and the Cultural Sciences in Europe, Bielefeld: Transcript, 337-351. , 2010
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Book Chapter by Wolfgang Fuhrmann
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
"Unser Haus in Kamerun" (Our House in Cameroon) from 1961 is one of the few German films of the 1950s and 1960s that explicitly deals with Germany’s colonial past. The film tells the story of a German settler family that has been living for generations in Tanganyika [sic], the former German East Africa. This article analyzes the film against the background of post-colonial discourses in Germany during the post-World War II era, especially in regard to Ralph Giordano’s provoking two-part TV report Heia Safari from 1966.
alemãs, a Ufa (Universum Film AG). O Brasil era um importante mercado de exportação para a companhia.
O artigo discute a perspectiva alemã da estratégia de marketing da Ufa no Brasil na década de 1920 até a
década de 1930. Ele introduz os parceiros de distribuição da Ufa no Brasil, grandes locais como o Ufa-Palácio
de São Paulo e o plano de expansão da Ufa para o Brasil no final da década de 1930
English: The article introduces the life and work of the German foreign correspondent, filmmaker, and author Klaus Manfred Eckstein. It investigates how Eckstein got involved in productions of Cinema Novo in the sixties and seventies such as Macunaima (Joaquim Pedro
de Andrade, 1969), Os deuses e os mortos (Ruy Guerra, 1970) or Como era gostoso o meu francÊs (Nelson Pereira dos Santos 1971).
Abstract: The paper discusses the possibility of a transnational film historiography on the background of a political-cultural conflict between Brazil and Germany. Despite the structural differences between the two national cinemas (e.g. chronology or economic strength), the paper argues that writing a historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events and of national history.
último monográfico, dedicado al cine de
propaganda nazi en América Latina. Editado
por las investigadoras del CONICET María
Valeria Galván y Marina Moguillansky,