33rd International Film History Conference

CINEMA, WAR, AND TULIPS
GERMAN-DUTCH FILM RELATIONS

20.11. – 22.11.2020, 9.30 – 16.00 Uhr
im Kommunalen Kino Metropolis (Kleine Theaterstrasse 10, 20354 Hamburg)

A registration is required to participate.

When it comes to football, the Netherlands and Germany are seen to be old rivals, but in terms of film studies, the neighbors have seldom been seen together. This juxtaposition offers us the opportunity to look into the connections between them in film history, including production, people involved and how films were received. As always, this comparative balance between clichés and reality, is an important part of the XVII. cinefest – International Festival of German Film Heritage.

Due to the popularity of German films in the Netherlands as early as the 1910s, many copies of early German cinema have survived in Collections such as that of distributor Jean Desmet, preserved by the EYE Film Museum. Through film collections like Huis Doorn, we have a more detailed picture of the exile of Kaiser Wilhelm II. Also important were the close connections between avant-garde and documentary filmmakers in Berlin and Amsterdam (Joris Ivens, Hans Richter, Walther Ruttmann) around 1930. 

In the 1920s and 30s, many Dutch filmmakers worked in German studios or produced German-Dutch co-productions. Popular German Stars such as Adele Sandrock, Lil Dagover and Ilse Werner had roots in the Netherlands and its colonies. Dutch celebrities romped around in the studios in Berlin and Babelsberg (Truus van Aalten, Johannes Heesters, Lien Deyers, Frits van Dongen). For some filmmakers, Amsterdam was a first stop in their exile from Germany, e.g. for Richard Oswald with BLEEKE BET, Hermann Kosterlitz/Henry Koster with DE KRIBBEBIJTER and Detlef Sierck/Douglas Sirk with BOEFJE. A majority of the films were made in Cinetone Studios (which became the Ufa film studios in Amsterdam during the Second World War). Director Ludwig Berger made one of the best Dutch films with ERGENS IN NEDERLAND – completed one month before the German invasion in 1940 and survived the German occupation in Amsterdam. German producer Rudi Meyer was also a key figure in Dutch film production between the 1930s and 60s.

Similarities in the relationship of Dutch and Czechoslovak film production under German occupation will also be looked into at the festival. One example of this happened during World War II, when Disney fans Hitler and Goebbels wanted to have their own German cartoon production and used production studios and staff in Prague and Amsterdam to produce German cartoons.
After the war, life in the Netherlands under German occupation was the subject of numerous feature films, although both the method of depiction and perspective changed over the years.

In the 1960’s, many of the people who created and influenced New German Cinema were Dutch, including producers Rob Houwer and Laurens Straub, and cinematographers Robby Müller and Gérard Vandenberg. Actors like Renée Soutendijk and Chiem van Houweninge became stars in West German film and television. Dutch documentary filmmakers such as Joris Ivens and Joop Huisken and actress Cox Habbema also worked in the GDR.

Der 33. Internationale Filmhistorische Kongress ist Teil des Festivals, bei dem die Themen des Festivals in Vorträgen und Diskussionen vertieft werden. Der Kongress wird am 19.11.2020 eröffnet und tagt vom 20.-22.11.2020, jeweils von 9:00 – 16:00 Uhr, im Kommunalen Kino Metropolis Hamburg.

Vorgesehene Referent*innen:

  • Rommy Albers, Amsterdam
  • Katja S. Baumgärtner, Berlin
  • Ivo Blom, Amsterdam
  • Kathinka Dittrich van Weringh, Köln
  • Karl Griep, Berlin
  • Evelyn Hampicke, Berlin
  • Leenke Rippmeester, Amsterdam
  • Anna Schober-de Graaf, Klagenfurt
  • Annette Schulz, Amsterdam
  • Timur Sijaric, Wien
  • Anke Steinborn, Frankfurt/Oder
  • Tobias Temming, Münster
  • Thomas Tode, Hamburg
  • Michael Töteberg, Hamburg
  • André van der Velden, Utrecht

 

Die Vorträge sind auf ca. 20 Minuten angesetzt und werden anschließend im Plenum diskutiert. Die Konferenzsprachen sind Deutsch oder Englisch (es gibt keine Live-Übersetzung).
Aufgrund der Einschränkungen durch die Maßnahmen zur Eindämmung des Coronavirus planen wir dieses Jahr für den Kongress auch eine Teilnahme über Live-Streaming anzubieten. 
Im Anschluss an den Kongress werden die überarbeiteten Vorträge in einem Buch veröffentlicht, das im Herbst 2021 bei edition text+kritik erscheint. 

cinefest - 17th International Festival of German Film Heritage and the 33rd International Film History Conference are organized by CineGraph Hamburg and Bundesarchiv, in close cooperation with Eye Filmmuseum, Amsterdam, and the support and collaboration of numerous international institutions.

Der 33. Internationale Filmhistorische Kongress ist integraler Bestandteil des XVII. cinefest – Internationales Festival des deutschen Film-Erbes (13. – 22.11.2020). Er wird am Abend des 19.11.2020 im Metropolis-Kino eröffnet. Während der Veranstaltung werden auch die Willy Haas-Preise für eine bedeutende internationale Publikation (Buch und DVD) verliehen. Die Vorträge des Kongresses finden vom 20. – 22.11.2020, jeweils von 9.30 – 16.00 Uhr, im Kommunalen Kino Metropolis statt. Referenten und Teilnehmer aus dem In- und Ausland vertiefen in Vorträgen und Diskussionen (Kongress-Sprachen: Deutsch oder Englisch) das Thema des Festivals in sechs thematisch abgestimmten Panels. Ab 17.00 Uhr laufen im Metropolis-Kino die Filmvorführungen, die die Vorträge ergänzen. Für die Teilnahme am Kongress ist eine vorherige Akkreditierung erforderlich. Die Vorträge des Kongresses werden in überarbeiteter Form in einem CineGraph Buch veröffentlicht.

Concept: Hans-Michael Bock, Swenja Schiemann, Erika Wottrich
Consulting Petra Rauschenbach, Ivo Blom, Rommy Albers, Jörg Schöning
Organisation Erika Wottrich, Swenja Schiemann
Coordination Bundesarchiv: Daniela Tamm
Technical Support George Riley        

For more information please contact kongress@cinegraph.de