Liesl Frank, Charlotte Dieterle and the European Film Fund. Martin Sauter

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СКАЧАТЬ Focusing once more on Frank and Dieterle, I show how the EFF disintegrated as a result of the withdrawal of these two central figures and, additionally, for political reasons triggered by the post-1945 Communist witch-hunt in the US. Chapter Six also demonstrates how the ‘hierarchy of privilege’ illustrated in Chapters Three and Four continued until the EFF’s transformation into the European Relief Fund, until which point a small number of illustrious émigrés - Alfred Doblin and Heinrich Mann, for instance - continued to receive financial support from the EFF.

      Footnotes

      ¹ Rashomon: A film by Akira Kurosawa (Japan 1951).

      ² Lawrence Weschler is the grandson of exiled composer Ernst Toch.

      ³ Oral history Marta Feuchtwanger: Volume 3, tape 23, August 1975, Marta Feuchtwanger Collection, Feuchtwanger Memorial Library, University of Southern California, Los Angeles.

      ⁴ Key works on American film history I drew on include: Alper, Benjamin Leontief. Dictators, Democracy, and American Public Culture. Chapel Hill/ NC: 2003; Birdwell, Michael E. Celluloid Soldiers - Warner Bros.'s Campaign Against Nazism. New York/ NY: New York University Press, 1999; Gabler, Neal. An Empire Of Their Own - How The Jews Invented Hollywood. New York/ NY: Anchor Books, 1988; Giovacchini, Saverio. Hollywood Modernism - Film and Politics in the Age of the New Deal. Philadelphia: Temple University Press, 2001; Schatz, Thomas. The Genius of the System - Hollywood Filmmaking in the Studio Era. New York/ NY: Pantheon Books, 1988; Shaw, Tony. Hollywood's Cold War. Edinburgh: Edinburgh University Press, 2007; Books and studies on contemporary politics of the 1930s and 40s I consulted include: Dell, Robert Edward. After Evian (In: Manchester Guardian, July 16, 1938, page 12; Friedländer, Saul. Nazi Germany And The Jews. London: Weidenfeld & Nicolson, 1997. Kaplan, Marion A. Between Dignity and Despair - Jewish Life in Nazi Germany. New York/ NY: Oxford University Press, 1999; King, Desmond. Making Americans. London: Harvard University Press, 2000; Marrus, Michael & Paxton, Robert O. Vichy France and the Jews. Stanford/ CA: Stanford University Press, 1995; Morse, Arthur. While Six Million Died - A Chronicle of American Apathy. New York/ NY: Random House, 1968; Zucker, Bat-Ami. In Search Of Refuge - Jews and US Consuls in Nazi Germany 1933 - 1941. London: Vallentine Mitchell, 2001.

      ⁵ It is worth pointing out at this stage that due to the fact that the EFF was based in Hollywood, the literature I consulted pertains primarily to exile in the United States. There exists, however, a number of studies which examine exile in other countries such as the UK. See, for instance: Bergfelder, Tim & Cargnelli, Christian (eds.). Destination London - German-Speaking Émigrés and British Cinema 1925 -1950. New York/ NY: Berghahn, 2008; Bergfelder, Tim, Harris, Sue, Street, Sarah. Cinema and the Transnational Imagination - Set-Design in 1930s European Cinema. Amsterdam: Rodopi, 1999.

      ⁶ In German: '[...] das den Umkreis der Verbrannten und Verbotenen absteckt', an allusion to the book's title.

      ⁷ Paul Andor's real name was Wolfgang Zilzer, but he also went by the name of John Voight. Carl Esmond's birth name was Willi Eichberger.

      ⁸ One inaccuracy, for instance, concerns Horak's claim that Lion Feuchtwanger and Franz Werfel had received a writers' contract from the studios, which is incorrect as according to a letter by Liesl Frank to John Spalek, 'Lion Feuchtwanger [and] Franz Werfel were offered contracts, [but] chose not to accept them' (see: Letter by Liesl Frank-Mittler-Lustig to John Spalek, 18^th July, 1971, Private Collection, John Spalek, Albany, NY). The reason for that was that both Feuchtwanger and Werfel had a wide readership in the US and thus did not have to rely on the German market for the sale of their books.

      ⁹ Since 1984, Cinegraph has also published the Lexikon zum deutschsprachigen Film, which is regularly updated.

      ¹⁰ Email from Jan-Christopher Horak to the author, 18^th June 2007.

      ¹¹ Taylor, John Russell. Hitch: The Life and Times of Alfred Hitchcock. New York/ NY: Pantheon Books, 1981; Preston Sturges. London: Secker and Warburg, 1967; Ingrid Bergman. London: St. Martin's Press, 1983.

      ¹² For instance, the M.E. Grenander Department of Special Collections at the University of Albany was inaugurated in 1996; The Kinemathek in Berlin acquired the Paul Kohner Archive in 1989, the year after Kohner's death. Similarly, it was a year before her death in 1988, that Marta Feuchtwanger bequeathed her husband's papers and documents to the University of Southern California which has subsequently turned it into the Feuchtwanger Memorial Library. Access to these sources later facilitated exile research, however, at the time Horak embarked on his pioneering study, these sources were not yet available.

      ¹³ For instance: Ernst Jünger. Paris: Hachette, 1996; Piscator et le théatre politique. Paris: Payot, 1983.

      ¹⁴ Paul Schrader's Notes on Film Noir (In: Belton, John (ed.). Movies and Mass Culture. London: The Athlone Press, 1999) were first published in 1971.

      ¹⁵ Aufbau was one of the main émigré publications. Founded in 1934, it was based in New York. Many émigrés including Hannah Arendt, Hans Sahl, and Carl Zuckmayer contributed articles.

      ¹⁶ One example is Mayerling, Anatole Litvak, France 1935, written by Irmgard von Cube, and produced by Seymour Nebenzal.

      ¹⁷ In 1931, Kurt Gerron directed 6 cabaret films, Kabarett-Programm 1 - 6.

      ¹⁸ Siegfried Kracauer, Von Caligari zu Hitler, Frankfurt/ Main: Suhrkamp, 1984 (translation by Ruth Baumgarten and Karsten Witte).

      ¹⁹ Zuckmayer, Carl, Der Hauptmann von Koepenick. Berlin: Propylaen Verlag, 1931; The Captain from Köpenick, Richard Oswald, Germany 1931

      Example: Horak, Jan-Christopher. Anti-Nazi Filme der deutschsprachigen Emigration 1939 - 1945. Muenster: MAKS, 1984.

      ²¹ Ernst Lubitsch, for example, worked for Warner Bros. as early as 1924; thirty years later, émigré director Andre de Toth also still made films for Warner Bros.

      ²² Universal had their own production offices in Berlin which they closed in Spring 1934.

      ²³ Between 1925 and 1927 Paramount and MGM were affiliated with UFA through ParUfaMet, a deal that proved disadvantageous for UFA as in exchange for a much needed loan, UFA had to agree to very injurious screening slots of its own films both in Germany and in the US.

      ²⁴ Although the team of Pasternak, Koster, Jackson and Durbin collaborated on only two films, Koster directed altogether six of Durbin's films while Pasternak was the producer of seven of her films. Jackson, who would become Durbin's husband, wrote two Durbin musicals and later, after Pasternak had left Universal for MGM, he took over as producer of five of Durbin's films. For a complete listing see: Filmography.

      ²⁵ The song, 'Meet Me In St. Louis', was written by Andrew B. Sterling and Kerry Mills specifically for the World Fair in 1904 which took place in St. Louis.

      ²⁶ Louis B. Mayer, vice president and General Manager of MGM from 1924 - 1951.

      ²⁷ In December 2000, the French media conglomerate Vivendi acquired Universal Studios. As a result, the Universal archives were closed down in order to cut costs.

      ²⁸ Letter by Liesl Frank to Marta Mierendorff, 25^th June, 1971, Akademie der Künste, Berlin, Walter Wicclair Archiv, Box 5, EFF files.

      ²⁹ Author's emphasis

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