Jump to ContentJump to Main Navigation
Show Summary Details
Weitere Optionen …

Communications

The European Journal of Communication Research

Hrsg. v. Averbeck-Lietz, Stefanie / d'Haenens, Leen


IMPACT FACTOR 2018: 0.707
5-year IMPACT FACTOR: 1.151

CiteScore 2018: 0.86

SCImago Journal Rank (SJR) 2018: 0.460
Source Normalized Impact per Paper (SNIP) 2018: 0.580

Online
ISSN
1613-4087
Alle Formate und Preise
Weitere Optionen …
Band 44, Heft 3

Hefte

Babylon Berlin: Pastiching Weimar cinema

Sara F. Hall
  • Korrespondenzautor
  • The University of Illinois at Chicago Department of Germanic Studies College of Liberal Arts and Sciences USA Chicago USA
  • E-Mail
  • Weitere Artikel des Autors:
  • De Gruyter OnlineGoogle Scholar
Online erschienen: 24.08.2019 | DOI: https://doi.org/10.1515/commun-2019-2061

Abstract

Centered on Richard Dyer’s model of pastiche, this essay posits that the German television series Babylon Berlin engages in a unique and timely practice of cultural reproduction shaped by a specific combination of historical subject matter and the present media-historical moment. Through digital effects, narrational layering, and multivalent location choices, Babylon Berlin pastiches Weimar cinema, and self-consciously invites comparisons between the so-called golden age of German cinema and the present. It activates cinephilic recall, establishes an intermedial dialogue between analog and digital forms, and affectively engenders a historically oriented conversation about the fragility of modern democracy in the Brexit/Trump era. The cultural work of pastiche it performs warrants the series’ inclusion in the conversation around the European remake.

Keywords: Weimar cinema; Babylon Berlin; remake; digital effects; democracy; pastiche

References

  • Alberge, D. (2017, August 19). Nazis, noir and Weimar decadence. Babylon Berlin recreates an era for TV detective drama. The Guardian. Retrieved May 1, 2018 from https://www.theguardian.com/tv-and-radio/2017/aug/20/babylon-berlin-nazis-noir-weimar-decadence-volker-kutscher-sky-atlantic.Google Scholar

  • Anderson, A. (2017, November 5). Rome film fest: Tom Tykwer on what’s next for Babylon Berlin. The Hollywood Reporter. Retrieved May 1, 2018 from https://www.hollywoodreporter.com/news/rome-film-fest-tom-tykwer-what-s-next-babylon-berlin-1055077.Google Scholar

  • ARD Mediathek (2018, September 29). Making-of Babylon Berlin [Video file]. Retrieved May 1, 2018 from https://www.youtube.com/watch?v=lfTGtHrgr0Y.Google Scholar

  • Aufderheide, P. (1998). Made in Hong Kong: Translation and transmutation. In A. Horton & S. McDougal (Eds.), Play it again Sam: Retakes on remakes (pp. 191–199). Berkeley: University of California Press.Google Scholar

  • Brownlow, K. (1994). Preface. In P. C. Usai, Burning passions: An introduction to the study of silent cinema. London: BFI Publishing.Google Scholar

  • Buhrstein, K. (2018, January 29). From burlesque to Bauhaus, here’s where to find the roaring ’20 s in Berlin today. Vogue. Retrieved May 1, 2018 from https://www.vogue.com/article/babylon-berlin-burlesque-bauhaus-guide.Google Scholar

  • Carroll, R. (2009). Affecting fidelity. In R. Carroll (Ed.), Adaptation in contemporary culture: Textual infidelities (pp. 34–45). London: Bloomsbury.Google Scholar

  • Curtis, N. (2017, November 5). The story of Hitler’s rise to power is told in a gripping new detective drama. Radio Times. Retrieved May 1, 2018 from https://www.radiotimes.com/news/tv/2017-11-05/the-story-of-hitlers-rise-to-power-is-told-in-a-gripping-new-detective-drama/.Google Scholar

  • Daub, A. (2018, February 14). What Babylon Berlin sees in the Weimar Republic. The Atlantic. Retrieved February 16, 2018 from https://newrepublic.com/article/147053/babylon-berlin-sees-weimar-republic.Google Scholar

  • Dowling, S. (2017, November 9). Sex, drugs and crime in the gritty drama ‘Babylon Berlin’. The New York Times (p. C1). Retrieved November 9, 2017 from https://www.nytimes.com/2017/11/07/arts/television/sex-drugs-and-crime-in-the-gritty-drama-babylon-berlin.html.Google Scholar

  • Dyer, R. (2007). Pastiche. London: Routledge.Google Scholar

  • Elsaesser, T. (2000). Weimar cinema and after: Germany’s historical imaginary. London: Routledge.Google Scholar

  • Forrest, J., & Koos, L. (2012). Dead ringers: The remake in theory and practice. New York: SUNY Press.Google Scholar

  • Forster, R. (2002). Das Berliner Scheunenviertel. Dokumente aus sechzig Jahren Kiezgeschichte (1920–1980) [The Berlin neighborhood Scheunenviertel. Documents from sixty years of neighborhood history (1920–1980)]. Filmblatt, 8(17), 35.Google Scholar

  • Fuller, G. (2018). The musical masterstrokes of Netflix’s ‘Babylon Berlin’. Culture Trip. Retrieved May 1, 2018 from https://theculturetrip.com/north-america/articles/the-musical-masterstrokes-of-netflixs-babylon-berlin/.Google Scholar

  • Greengrass, M., & Kutscher, V. (2018, January 5). A Waterstones Q&A with Babylon Berlin’s Volker Kutscher. Waterstones. Retrieved May 1, 2019 from https://www.waterstones.com/blog/a-waterstones-exclusive-qanda-with-babylon-berlins-volker-kutscher.Google Scholar

  • Hanisch, M. (2017). Das Babylon: Geschichten um ein Berliner Kino mit Abschweifungen [The Babylon. Stories about a Berlin cinema with digressions]. Retrieved May 1, 2018 from https://babylonberlin.eu/geschichte-des-babylon.Google Scholar

  • Heinze & Krämer (2015). Remakes and Remaking: Concepts-Media-Practices. Bielefeld: transcript.Google Scholar

  • Hoesterey, I. (2001). Pastiche: Cultural memory in art, film, literature. Bloomington: Indiana University Press.Google Scholar

  • Horton, A., & McDougal, S. (1998). Play it again, Sam: Retakes on remakes. Berkeley: University of California Press.Google Scholar

  • Isenberg, N. (2018, April 20). Voluptuous panic. New York Review of Books, NYR Daily. Retrieved April 21, 2018 from https://www.nybooks.com/daily/2018/04/28/voluptuous-panic/.Google Scholar

  • Jage-Bowler, F. (2017, January 8). Berlin’s little Hollywood. Exberliner. Retrieved May 1, 2018 from http://www.exberliner.com/features/history/berlin/.Google Scholar

  • Jysch, A., & Kutscher, V. (2017). Der nasse Fisch [The wet fish]. Hamburg: Carlsen Verlag.Google Scholar

  • Kaes, A. (2009). Shell shock cinema: Weimar culture and the wounds of war. Princeton: Princeton University Press.Google Scholar

  • Kracauer, S. (1947). From Caligari to Hitler. Princeton: Princeton University Press.Google Scholar

  • Kracauer, S. (1963). Das Ornament der Masse. Essays [The mass ornament. Essays]. Frankfurt: Suhrkamp Verlag.Google Scholar

  • Kutscher, V. (2018). Babylon Berlin: Book 1 of the Gereon Rath mystery series. London: Picador.Google Scholar

  • Loew, K. (2015). Magic mirrors: The Schüfftan process. In M. Duffy, D. North & B. Rehak (Eds.), Special effects: New histories, theories, contexts (pp. 662–677). London: BFI.Google Scholar

  • Loock, K., & Verevis, C. (Eds.) (2012). Film remakes, adaptations and fan productions: Remake/remodel. London: Palgrave Macmillan.Google Scholar

  • Mitchell, A. J. (2013). Visual effects for film and television. Burlington: Focal Press.Google Scholar

  • Neue Kammerspiele (n.d.). Retrieved October 15, 2018 from https://neuekammerspiele.de/kino.Google Scholar

  • Polaschegg, A., & Weichenhan, M. (Eds.) (2017). Berlin-Babylon: Eine deutsche Faszination [Berlin-Babylon. A German fascination]. Berlin: Verlag Klaus Wagenbach.Google Scholar

  • Quaresima, L. (2004). Introduction to the 2004 edition: Rereading Kracauer. In S. Kracauer, From Caligari to Hitler (rev. ed.). Princeton: Princeton University Press.Google Scholar

  • RBB24 (2018a, August 31). Drehort Geyer Kopierwerke. An den Geyer-Filmwerken [Location Geyer copy works. At the Geyer film studios]. Retrieved October 15, 2018 from https://www.rbb24.de/kultur/thema/2018/babylon-berlin/beitraege/drehortkarte-babylon-berlin-geyer-kopierwerk.html.Google Scholar

  • RBB24 (2018b, August 31). Drehort Kammerspiele Kleinmachnow. Im Kiez-Kino [Location Kleinmachnow Chamber Theater. In the neighborhood cinema]. Retrieved October 15, 2018 from https://www.rbb24.de/kultur/thema/2018/babylon-berlin/beitraege/drehortkarte-babylon-berlin-kiez-kino---kino-kleinmachnow.html.Google Scholar

  • RBB24 (2018c, August 31). Drehort Stummfilmkino Delphi. Moka Efti [Location silent movie cinema Delphi. Moka Efti]. Retrieved October 15, 2018 from https://www.rbb24.de/kultur/thema/2018/babylon-berlin/beitraege/drehortkarte-babylon-berlin-stummfilmkino-delphi.html.Google Scholar

  • Renner, K. (2017, 13 November). Regisseur-Trio: Das haben wir bei “Babylon Berlin” gedacht [Director trio: What we were thinking of “Babylon Berlin”]. Berliner Morgenpost. Retrieved May 1, 2018 from https://www.morgenpost.de/kultur/tv/article212224669/Regisseur-Trio-Das-haben-wir-bei-Babylon-Berlin-gedacht.html.Google Scholar

  • Rogowski, C. (Ed.) (2010). The many faces of Weimar cinema: Rediscovering Germany’s filmic legacy. Rochester: Camden House.Google Scholar

  • Skvirsky, S. (2008). The price of heaven: Remaking politics in All that heaven allows, Ali: Fear eats the soul and Far from heaven. Cinema Journal, 47(3), pp. 90–121.Google Scholar

  • Smith, I. (2017). The Hollywood meme: Transnational adaptations in world cinema. Edinburgh: University of Edinburgh Press.Google Scholar

  • Stiasny, P. (2009). Das Kino und der Krieg: Deutschland 1914–1929 [Cinema and the war: Germany 1914–1929]. Munich: Edition text + kritik.Google Scholar

  • Süchsland, R. (director and narrator) (2014). Von Caligari zu Hilter: Das deutsche Kino im Zeitalter der Massen [From Caligari to Hitler: German cinema in the age of the masses] [film]. Berlin: LOOKSfilm, ARTE, Zweites Deutsches Fernsehen.Google Scholar

  • Tambunan, S. M. G. (2018). Appropriating South Korean popular culture: I-pop and K-drama remakes in Indonesia. In M. Budianta, M. Budiman, A. Kusno & M. Moriyama (Eds.), Cultural dynamics in a globalized world (pp. 291–296). London: Routledge.Google Scholar

  • Theater im Delphi (n.d.). Geschichte [Delphi Theater. History]. Retrieved October 15, 2018 from https://theater-im-delphi.de/haus/.Google Scholar

  • Tykwer, T., & von Borries, A. (2018, September 13). Tykwer und von Borries über ihr “Babylon Berlin” [Tykwer and von Borries on their “Babylon Berlin”]. NDR. Retrieved May 1, 2018 from https://www.ndr.de/kultur/film/Tykwer-und-von-Borries-ueber-ihr-Babylon-Berlin,babylonberlin142.html.Google Scholar

  • u/pillgrim (2018, February 9). r/Babylon Berlin [Msg 16]. Message posted to https://www.reddit.com/r/BabylonBerlin/comments/7wefai/i_am_pretty_sure_the_countess_performance_is/.Google Scholar

  • Usai, P. C. (2001). The death of cinema: History, cultural memory and the digital dark age. London: BFI Publishing.Google Scholar

  • Vallen, M. (2018). The truth about Babylon Berlin. Mark Vallen’s art for a change: Events, theory, commentary [weblog comment]. Retrieved May 1, 2018 from http://art-for-a-change.com/blog/2018/04/the-truth-about-babylon-berlin.html.Google Scholar

  • Verevis, C. (2006). Film remakes. Edinburgh: Edinburgh University Press.Google Scholar

  • VFX World (2018, September 7). Rise reel Babylon Berlin [video file]. Retrieved October 15, 2018 from https://www.youtube.com/watch?v=8eS5_QLHUQs&t=16s.Google Scholar

  • Voigts, E. (2018). Memes, GIFs and remix culture. Compact appropriation in everyday digital life. In D. Cutchins, K. Krebs & E. Voigts (Eds.), The Routledge companion to adaptation. London: Routledge.Google Scholar

  • von Borries, A. (director/writer), Handloegten, H. (director/writer), & Tykwer, T. (director/writer) (2017). Babylon Berlin [television broadcast]. Berlin: X-Filme Creative Pool, ARD Degeto Film, Beta Film, Sky.Google Scholar

  • Weisbrod, L. (2018, February 12). How Babylon Berlin Turned 1920 s German Into a Wild, Historical Fiction Fantasy World. Vulture. Retrieved May 1, 2018 from https://www.vulture.com/2018/02/babylon-berlin-netflix-tom-tykwer-interview.html.Google Scholar

  • Wilkinson-Weber, C. (2010). A need for redress: Costume in some recent Hindi film remakes. BioScope: South Asian Screen Studies, 1(2), 125–145.Google Scholar

  • Wong, D. (2012). The remake as translation: Localism, globalism and the afterlife of horror movies. Translation Quarterly, 66, 21–30.Google Scholar

  • Wright, N. S. (2009). “Tom Cruise? Tarantino? E.T.? … Indian!”: Innovation through imitation in the cross-cultural Bollywood remake. In I. R. Smith (Ed.), Cultural borrowings, reworking, transformation (pp. 194–210). Nottingham: Scope.Google Scholar

Artikelinformationen

Online erschienen: 24.08.2019

Erschienen im Druck: 25.09.2019


Quellenangabe: Communications, Band 44, Heft 3, Seiten 304–322, ISSN (Online) 1613-4087, ISSN (Print) 0341-2059, DOI: https://doi.org/10.1515/commun-2019-2061.

Zitat exportieren

© 2019 Walter de Gruyter GmbH, Berlin/Boston.Get Permission

Kommentare (0)