Advertisement

Renegade Films, Defa Musicals, and the Genre Cinema: Heißer Sommer (Hot Summer, Joachim Hasler, 1968)

  • Sebastian Heiduschke

Abstract

George Cukor’s My Fair Lady opened in East Germany on October 8, 1967, less than a year before the DEFA musical film Heißer Sommer. Joachim Hasler’s summer blockbuster came into East German cinemas on June 21, 1968, and attracted over two million spectators, almost the Hollywood musical’s film attendance, which drew close to 2.25 million viewers.’ Convenient screening locations, a storyline teenagers and young adults could identify with, contemporary tunes from the East German music charts and their singers as lead actors, and the presentation of East Germany as visually appealing homeland all contributed to the success that made Heißer Sommer a cult film and a timeless classic of East German cinema.

Keywords

Socialist Society German Nation Revue Film Rock Band Theater Attendance 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    See also chapter 2 for more details on the import of US and West German films. Other interesting sources are, for example, Hans Joachim Meurer, Cinema and National Identity in a Divided Germany 1979–1989: The Split Screen (Lewiston, NY: Edwin Mellen Press, 2000)Google Scholar
  2. and Rosemary Stott, Crossing the Wall: The Western Feature Film Import in East Germany (Oxford: Peter Lang, 2011).Google Scholar
  3. 2.
    See http://germanhistorydocs.ghi-dc.org/sub_document.cfm?document_id=79 for an excerpt of the constitution in English translation. The entire constitution (in German) was reprinted in Volker Gransow and Konrad Jarausch, eds. Die Deutsche Vereinigung: Dokumente zu Bürgerbewegung, Annäherung und Beitritt (Cologne: Verlag Wissenschaft und Politik, 1991), 40–41.Google Scholar
  4. 6.
    Helga Balach. Wir tanzen um die Welt: Deutsche Revuefilme 1933–1945 (Munich: Hanser, 1979).Google Scholar
  5. 9.
    Mary Wauchope, “The Other ‘German’ Cinema,” in Framing the Fifties: Cinema in a Divided Germany, ed. John Davidson and Sabine Hake (New York: Berghahn, 2007), 220.Google Scholar
  6. 12.
    Andrea Rinke, “Eastside Stories: Singing and Dancing for Socialism,” Film History 18 (2006): 73.CrossRefGoogle Scholar
  7. 14.
    Andrea Rinke, “Film Musicals in the GDR,” in Film’s Musical Moments, ed. Ian Conrich and Estelle Tincknell (Edinburgh: Edinburgh University Press, 2006), 190.Google Scholar
  8. 17.
    For more about Gert Natschinski, see, for example, Manfred Haedler, “Der weiße Fleck: Musikfilm: Gespräche mit dem Regisseur Horst Bonnet und dem Komponisten Gerd Natschinski,” in Kino-und Fernseh-Almanach: Prisma 07, ed. Horst Knietzsch (Berlin: Henschel, 1976), 64–80.Google Scholar

Copyright information

© Sebastian Heiduschke 2013

Authors and Affiliations

  • Sebastian Heiduschke

There are no affiliations available

Personalised recommendations