Book contents
- Frontmatter
- Contents
- Acknowledgments
- Introduction: Toward Generic Histories—Film Genre, Genre Theory, and German Film Studies
- 1 Parallel Modernities: From Haunted Screen to Universal Horror
- 2 The Essay Film and Its German Variations
- 3 The Limits of Futurity: German Science-Fiction Film over the Course of Time
- 4 The Situation Is Hopeless, but Not Desperate: UFA's Early Sound Film Musicals
- 5 Resisting the War (Film): Wicki's “Masterpiece” Die Brücke and Its Generic Transformations
- 6 Ironizing Identity: The German Crime Genre and the Edgar Wallace Production Trend of the 1960s
- 7 From Siodmak to Schlingensief: The Return of History as Horror
- 8 Producing Adaptations: Bernd Eichinger, Christiane F., and German Film History
- 9 Exceptional Thrills: Genrification, Dr. Mabuse, and Das Experiment
- 10 The Heimat Film in the Twenty-First Century: Negotiating the New German Cinema to Return to Papas Kino
- 11 The Romantic Comedy and Its Other: Representations of Romance in German Cinema since 1990
- 12 Yearning for Genre: The Films of Dominik Graf
- Bibliography
- Notes on the Contributors
- Index
8 - Producing Adaptations: Bernd Eichinger, Christiane F., and German Film History
Published online by Cambridge University Press: 05 December 2013
- Frontmatter
- Contents
- Acknowledgments
- Introduction: Toward Generic Histories—Film Genre, Genre Theory, and German Film Studies
- 1 Parallel Modernities: From Haunted Screen to Universal Horror
- 2 The Essay Film and Its German Variations
- 3 The Limits of Futurity: German Science-Fiction Film over the Course of Time
- 4 The Situation Is Hopeless, but Not Desperate: UFA's Early Sound Film Musicals
- 5 Resisting the War (Film): Wicki's “Masterpiece” Die Brücke and Its Generic Transformations
- 6 Ironizing Identity: The German Crime Genre and the Edgar Wallace Production Trend of the 1960s
- 7 From Siodmak to Schlingensief: The Return of History as Horror
- 8 Producing Adaptations: Bernd Eichinger, Christiane F., and German Film History
- 9 Exceptional Thrills: Genrification, Dr. Mabuse, and Das Experiment
- 10 The Heimat Film in the Twenty-First Century: Negotiating the New German Cinema to Return to Papas Kino
- 11 The Romantic Comedy and Its Other: Representations of Romance in German Cinema since 1990
- 12 Yearning for Genre: The Films of Dominik Graf
- Bibliography
- Notes on the Contributors
- Index
Summary
Until his sudden death in 2011 at the age of sixty-one, Bernd Eichinger was not only the most significant German film producer, but also a singular figure in German filmmaking, a man who more than anyone else shaped the course of German cinema over the last forty years. An active player since the early 1970s, Eichinger devoted himself to the commercial renewal of German film. as a self-styled mogul who consciously adopted the ideas and habits of classical Hollywood producers, Eichinger was an auteur producer who played a central role in all aspects of the films he made. First acquiring the story, he then also oversaw script development, casting, selection of the crew including the director, location scouting, the shoot, editing, visual effects, and postproduction, as well as advertising, publicity, and distribution. When he was unhappy with these, he regularly intervened. As such, his vision left an indelible imprint on the dominant narrative and stylistic trends in contemporary German and international film.
Eichinger began his career by founding the independent production company Solaris in 1974. In 1979 he took over the moribund German production and distribution company Constantin-Film. At the reinvented neue Constantin, Eichinger introduced an emphasis on narrative filmmaking and epic stories, at a moment when art cinema held sway in postwar Germany. Eichinger's formula for success involved tailoring his films to the demands of international audiences, while simultaneously creating new expectations at home for a highly commercialized cinema that could compete with the best that global film industries have to offer.
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- Generic Histories of German CinemaGenre and its Deviations, pp. 173 - 196Publisher: Boydell & BrewerPrint publication year: 2013