Alternate Versions. Rate This. In their first cinematic adventure, Apache chief Winnetou and mountain man Old Shatterhand pursue a gang of murderous outlaws who will stop at nothing to find the legendary treasure of Silver Lake. Director: Harald Reinl. Writers: Karl May novel , Harald G. Petersson screenplay as H. Non-Hollywood Westerns I have seen. You must be a registered user to use the IMDb rating plugin. Learn more More Like This. Winnetou Certificate: K Western Adventure. Blood-Red Fury!
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Language: German. Runtime: min. Sound Mix: Mono. Color: Color Eastmancolor. Edit Did You Know? Trivia This was the very first movie to receive the "Golden Screen" Goldene Leinwand for having over 3 million visitors within 12 months. The movie also received the Bambi-award as best box-office-production, handed over on 19 April at the Schwarzwaldhalle, Karlsruhe. The movie also received a sum of For that time that was very unusual, especially for a film music-track without any singers.
The theme later also was recorded as vocal track by several singers, including a version by the movie's actor Pierre Brice Winnetou. The set-location was in Yugoslavia that doesn't have any Alps, as some foreign critics seem to believe.
Earlier movies after his novels were all set in the Near East. They did not have children. The marriage dissolved in May then married Klara Ploehn, a widow, who was over 20 years his junior. He had met Klara and her husband already and they had become his close friends. In May moved to Blasewitz. With the appearance of his short story collections and novels, May gained fame in the s, becoming one of the world's all-time best-selling fiction writers.
His breakthrough idea was to produce Indian novels after the manner of Fenimore Cooper. In the last quarter of the 19th century, May was perhaps the most popular author of boys' books in Germany. May himself claimed that his tales of the frontier were based on his own experiences, but he did not travel in the United States until the later period of his life. May wrote from over 70 books. Among his best-known novels is Winnetou , published in three volumes between and May's oriental cycle of novels resonated with German colonial imagination. He used the explorer and physician Eduard Schnitzer , a.
Emin Pascha as an example of a modern colonialist, who wanted to raise the prosperity of his subjects.
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Before his death in the third book, Winnetou abandons Indian gods and becomes a Christian. In May bought a house in Radebeul, which he named 'Villa Shatterhand'. It remained his home for the rest of his life. The careful recreation of the everyday look of the GDR down to the smallest detail might have added a touch of exoticism for the Western viewer, but resulted in nostalgic recognition — at once wistful and amused — for East Germans.
At the same time, the presentation of history in Sonnenallee is framed by scenes which draw attention to its anachronism and its artificiality. The well-chosen placement of GDR products — which are currently traded as memorabilia — invites East German viewers to indulge in genuine reminiscing but at the same time mocks this feeling of Ostalgie.
However, for East German viewers, these images will also result in amused recognition of the lack of space, the social control and the more basic living conditions they had to bear under socialism. Many East Germans today not only feel treated as second-class citizens but also like immigrants or exiled people in the new unified Germany see Staudt Socialist internationalism is the butt of laughter in a farcical sequence showing an FDJ meeting with an overseas guest speaker — proudly shown off by the FDJ leaders who cheerfully choose to ignore the absurdity of the situation.
Neither the audience in the film nor we as spectators can see or understand the guest speaker properly as she is dwarfed by the lectern and gives her speech in Vietnamese. East German spectators are invited — by the meticulously reconstructed sets, uniforms and props — to share an amused moment of recognition. At the same time, the farcical exaggeration of this sequence, which highlights the futility of such officially staged rituals, invites their bonding through laughter — combined with a sense of relief that those times are over — underpinned by their privileged knowledge of the ideological background of such shared experiences.
As in good cabaret, the satire in Sonnenallee thus plays to a specific and privileged sense of an East German group identity, with in-jokes as signifiers of group belonging and differentiation from those who do not share their superior knowledge.
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Moreover, the self-reflective tongue-in-cheek trip down memory lane is constantly related to post- Wende East-West relations, including well-known stereotypes of Wessis and Ossis. Moreover, they positively re-appropriate some of the negative post- Wende stereotypes of the East Germans. This take on GDR citizens at grass roots level, according to Decker , counters the current discourse of the repressed insecure East German.
The filmmakers deconstruct the myth of life under socialism as dominated by an omnipotent and all-pervasive state control, oppressing all East Germans on all levels most of the time. Sonnenallee celebrates the superior wit of the East German underdog — on and off screen — not just in dealing with the GDR authorities but also in relation to the visiting Wessis , such as uncle Heinz — and by implication vis-a-vis any potentially arrogant Besserwessis in post-unification Germany today.
Huhu, Ossi! Mach mal winke-winke! The image of East Germans as animals kept in a zoo for the amusement of Wessi visitors is reminiscent of post- Wende East German cabaret sketches and their sarcastic and self-deprecating treatment of Ossi-Wessi antagonism. Was sehen wir auf dem Bild? Aber Monika, so sieht doch kein Mensch aus!
Das ist ein Ossi. Die Farbe des Ossi ist grau. The term Ossi did not exist in the s, it was not coined until after the Wende. Linked as it is to the post- Wende context, this scene also serves as a reminder for West German viewers and a defiant self-defence for East German viewers that not all aspects of life in the GDR were negative, in fact some were better there than they are today in unified Germany.
The film also plays to the Western prejudice of the materially deprived socialist East. After the fall of the Wall, the western media and some leftist intellectuals, including Otto Schily, suggested that East Germans had not really been angry about their lack of democratic liberties but about their lack of freedom to consume. Many Western viewers would perhaps read this gag simply as a comically exaggerated take on a couple of typically backward Ossis , ultimately confirming the stereotype. In an even more grotesque spectacle, which sends up the Western misconception of the GDR as an uncivilized country, Micha and Mario perform a double act as third-world beggars for a tourist bus with Western visitors.
Again here voice-over narration is used as an ironical distancing device. But, at the same time, it also invites us to accept what we have seen as just as valid a recollection of lived experience as any other — including those dwelling on the darker aspects of life under socialism. While the tumbleweed reappears, the street literally turns into a waste land and the screen, drained of colour, gradually turns to black and white. Again, the use of these lyrics at this point in Sonnenallee is ambiguous and, I would argue, can work on different levels for East Germans and viewers from the West.
The latter might read the reference as meaning that only the prettification of history through the colourful medium of film can transfigure the drabness of life under socialism. Moreover, Sonnenallee offers specific references as points of privileged entry for East Germans inviting a laughter of complicity Bergson It is perhaps no surprise then that it has since become a cult film in Eastern parts of Germany not unlike its predecessor Die Legende von Paul und Paula.
Ethnos Berlin: Aufbau. Bergson, Henri Laughter. An Essay on the Meaning of the Comic.
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New York: Doubleday Anchor Books. Berghahn, Daniela Hollywood behind the Wall. The cinema of East Germany. Manchester: Manchester University Press. Journal of Popular Culture 34, Frankfurt am Main: Fischer. Die Zukunft als Chance.
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Cafferty, Helen Sonnenallee : taking German comedy seriously in unified Germany. Halverson; Kristie. Berlin-New York: de Gruyter, German Life and Letters 56, Coury, David N. Seminar 33, Berlin: Das Neue Berlin. Engler, Wolfgang Die Ostdeutschen. Kunde von einem verlorenen Land. Broadcast by ZDF, 19 March New German Critique 82, Halbwachs, Maurice; Lewis A.
Coser eds On Collective Memory. Chicago: Chicago University Press. An interview with Freitag. Berlin: Quadriga. Weinheim: Juventa. Taking leave of the GDR? Debatte , 12, Journal of Communist Studies , Horak, Jan-Christopher German film comedy. London: BFI, Reconstructing German Identities.
Karl May Oder Die Macht Der Phantasie by Helmut Schmiedt 9783406717765
Princeton: Princeton University Press. Berlin: Rowohlt. King, Geoff Film Comedy.