II. Anmerkungen zum Buchtext, Teil II - Einsnull
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II. Anmerkungen zum Buchtext, Teil II - Einsnull

II. Anmerkungen zum Buchtext, Teil II - Einsnull II. Anmerkungen zum Buchtext, Teil II - Einsnull

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Telefon: 04821/604550 Homepage: E-Mail: tentmaster@oasis235.de 7. THEM THAR HILLS Tent, Oasis # 246 Michael Buelow Ludwigstraße 15 64846 Groß-Zimmern Homepage: www.tuttibooking.de/stanollie/intro.htm E-Mail: Deutsches Werbeheft (Titelblatt) von 1934 zur Premiere der deutschen assung DIE «WÜSTEN»- SÖHNE (SONS O THE DESERT, 1933)

XXI. English Summary or International Readers Das Dick und Doof Buch by Norbert Aping English Summary by Dr. Ulrich Rüdel with a special tip of the bowler to Glenn Mitchell Part I ilm, as entertainment or as art, does not exist ouside of a cultural context. It is determined by economical, political and social factors, and any step from planning, production, casting, shooting, releasing and marketing has an impact on the success of a film project. Censorship, too, is such a force. If their films had not been submitted for rating, Laurel and Hardy could never have been introduced to the German audience in the 20s and 30s of the last century. Nowadays, the surviving censorship records from that era allow us to reconstruct the release history of Laurel and Hardy in Germany, an exemplary case of how the intricacies of film import and export can shape the reception of films and film history. That is the story traced in this book; it is the story of how the American comedy team Laurel and Hardy became Dick und Doof. German film censorship goes back to 19 th century control of theatrical and stage events; thus it was a present force from the nascent days of the film medium, when Skladanowsky presented the world’s first film exhibition on November 1, 1895 in the Berlin Wintergarten. But only in 1906, when a film was to be released about Karl Rudolf Henning, a murderous robber just sentenced to death, authorities stepped in and banned the release of a film for the first time This move that was followed by a number of further decrees, essentially establishing a censorship system. Yet, when Philip Scheidemann announced a German republic in his November 12, 1918 speech, he also stated: «Censorship will not take place. Theatrical censorship will stop.» The German film industry reacted immediately to these new liberties, launching a wave of sexand crime films. Thus, it was not very long before the reintroduction of censorship was demanded by various groups comprising, among others, teachers and theologists. On May 11, 1920 the new Lichtspielgesetz («ilm Law») was passed. Of course, nowadays these years in German film history are remembered rather as the days of Expressionist Cinema, as it was to be called later, as the time of sinister Dr. Caligari and Dr. Mabuse, where film geniuses like ritz Lang dealt with their WWI experiences in masterpieces like DESTINY, and where Murnau invented horror cinema as we know it with NOSERATU. Meanwhile, in the United States, an equally remarkable event took place in films, yet its significance only became clear in hindsight ... that is, the first chance encounter of Laurel and Hardy, in the 1921 film THE LUCKY DOG. Previously considered to date back as far as 1917-19, this film has recently been found to be of later vintage and, while featuring a brief joint appearance, actually is quite a typical example of the films of Stan Laurel’s solo years. Laurel was an aspiring star comedian. In contrast, Hardy, a film comedy pioneer as early as 1914, had by now found his niche as a supporting actor, a comic villain, or ‹heavy›, specifically in the films of Larry Semon, Jimmy Aubrey or the vastly underrated, then highly successful Chaplin imitator Billy West. Here, Hardy made a brief appearance as a villain threatening Laurel. But whatever a German title of LUCKY DOG might have been, no documentation to support a contemporary German release of the film can be located. This may not be surprising, considering that even this minor film’s US release history has never been conclusively documented.

Telefon: 04821/604550<br />

Homepage:<br />

E-Mail: tentmaster@oasis235.de<br />

7. THEM THAR HILLS Tent, Oasis # 246<br />

Michael Buelow<br />

Ludwigstraße 15<br />

64846 Groß-Zimmern<br />

Homepage: www.tuttibooking.de/stanollie/intro.htm<br />

E-Mail:<br />

Deutsches Werbeheft<br />

(Titelblatt) von<br />

1934 zur Premiere<br />

der deutschen assung<br />

DIE «WÜSTEN»-<br />

SÖHNE (SONS O THE<br />

DESERT, 1933)

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