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Hans-Jürgen Syberberg

December 01, 2023

Hans-Jürgen Syberberg (German pronunciation: [ˈhans ˈjʏʁɡn̩ ˈzyːbɐbɛʁk]; born 8 December 1935) is a German film director, whose best known film is his lengthy feature Hitler: A Film from Germany.

Hans-Jürgen Syberberg in the film The Ister, 2004.

Early life edit

Born in Nossendorf, Pomerania, the son of an estate owner, Syberberg lived until 1945 in Rostock and Berlin. In 1952 and 1953 he created his first 8 mm takes of rehearsals by the Berliner Ensemble. In 1953 he moved to West Germany, where he in 1956 began studies in literature and art history, completing them the following year. He earned his doctorate in Munich with his thesis on "The Absurd in Dürrenmatt." In 1963 Syberberg began producing documentary films about Fritz Kortner and Romy Schneider for Bavarian Radio and others.

Cinema edit

For Syberberg, cinema is a form of Gesamtkunstwerk. Many commentators, including Syberberg himself, have characterized his work as a cinematic combination of Bertolt Brecht's doctrine of epic theatre and Richard Wagner's operatic aesthetics. Well known philosophers and intellectuals have written about his work, including Susan Sontag,[1] Gilles Deleuze[2] and Philippe Lacoue-Labarthe.

In 1975 Syberberg released Winifried Wagner und die Geschichte des Hauses Wahnfried von 1914–1975 (English title: The Confessions of Winifred Wagner), a documentary about Winifred Wagner, an Englishwoman who had married Richard Wagner's son Siegfried.[3] The documentary attracted attention because it exposed Mrs Wagner's unrepentant admiration for Adolf Hitler. The film thus proved an embarrassment to the Wagner family and the Bayreuth Festival (which she had run from 1930 until the end of the Second World War). Winifred Wagner objected to the inclusion in the film of conversations she did not know were being recorded.[4]

Syberberg is also noted for an acclaimed visual interpretation of the Wagner opera Parsifal in 1982.

Controversy edit

Syberberg's work has attracted criticism at least since the publication of the film script of Hitler: A Film from Germany, particularly from the Left, who were amongst many targets of his criticism in that book. In later essays, although he never presented himself as a conservative or sympathizer with German nationalism, his comments began to scandalize a broad spectrum of writers and critics in Germany and elsewhere. [5] Even Susan Sontag, who had written the introduction to the English translation of the book version of Hitler: A Film from Germany, was reportedly shocked by some of his later statements, though she claimed that her feelings about his films were unaffected.[6]

In one notorious example Syberberg wrote in Vom Unglück und Glück der Kunst in Deutschland nach dem letzten Kriege (On the Misfortune and Fortune of Art in Germany after the Last War, 1990):

"Whoever joined the Jews and the leftists was successful, and it did not necessarily have anything to do with love, or understanding, or even inclination. How could Jews tolerate that, being that these others only wanted power."[7]

Ian Buruma, in the New York Review of Books, quotes several of Syberberg's controversial statements. Syberberg described modern German art as "filthy and sick... in praise of cowardice and treason, of criminals, whores, of hate, ugliness, of lies and crimes and all that is unnatural." He also wrote that:

"The Jewish interpretation of the world followed upon the Christian, just as the Christian one followed Roman and Greek culture. So now Jewish analyses, images, definitions of art, science, sociology, literature, politics, the information media, dominate. Marx and Freud are the pillars that mark the road from East to West. Neither are imaginable without Jewishness. Their systems are defined by it. The axis USA-Israel guarantees the parameters. That is the way people think now, the way they feel, act and disseminate information. We live in the Jewish epoch of European cultural history. And we can only wait, at the pinnacle of our technological power, for our last judgment at the edge of the apocalypse…. So that's the way it looks, for all of us, suffocating in unprecedented technological prosperity, without spirit, without meaning... Those who want to have good careers go along with Jews and leftists [and] the race of superior men [Rasse der Herrenmenschen] has been seduced, the land of poets and thinkers has become the fat booty of corruption, of business, of lazy comfort."

Buruma writes:

"It is not for his aesthetics, however, that Syberberg has been attacked, but for his politics. The strongest criticism of his book was published in Der Spiegel, the liberal weekly magazine. Syberberg's views, wrote the critic, were precisely those that led to the book burning in 1933, and prepared the way for the Final Solution of 1942. In fact, he went on, they are worse, for "now we know that they are caked with blood…. They are not just abstruse nonsense, they are criminal." The Spiegel critic compared Syberberg to the young Hitler, the failed art student in Vienna, who rationalized his failure by blaming it on a conspiracy of left-wing Jews. Syberberg feels he is an unappreciated genius, and he too blames it on the same forces.

"Frank Schirrmacher, the young literary editor of the Frankfurter Allgemeine Zeitung, and the scourge of woolly thinkers of all political persuasions, is equally opposed to Syberberg and draws similar parallels with the Twenties and Thirties. And like the critic in Der Spiegel, he singles out for special censure an interview with Die Zeit in which Syberberg claimed that he 'could understand' the feeling of the SS man on the railway ramp of Auschwitz, who, in Himmler's words, 'made himself hard' for the sake of fulfilling his mission to the end. He did not admire this feeling, but he could understand it. Just as he could understand its opposite, the rejection of principles to act humanely."[8]

Personal life edit

Syberberg currently resides mainly on his family estate in Nossendorf which he has bought back and restored, but has a secondary residence in Munich.

Awards edit

Filmography edit

Syberberg is featured at length in the film The Ister (2004).

Bibliography edit

  • Interpretationen zum Drama Friedrich Dürrenmatts: Zwei Modellinterpretationen zur Wesensdeutung des modernen Dramas. Uni-Druck, Munich 1965.
  • Fotografie der 30er Jahre: Eine Anthologie. Schirmer-Mosel Verlag, Munich 1977, ISBN 978-3-921375-14-3.
  • Filmbuch – Filmästhetik – 10 Jahre Filmalltag – Meine Trauerarbeit für Bayreuth – Wörterbuch des deutschen Filmkritikers. Fischer Taschenbuch, 1979, ISBN 3-596-23650-9.
  • Die freudlose Gesellschaft-Notizen aus dem letzten Jahr. Hanser Verlag Munich 1981, ISBN 3-446-13351-8.
  • Kleist, Penthesilea. Hentrich, Berlin 1988, ISBN 3-926175-49-4.
  • Vom Unglück und Glück der Kunst in Deutschland nach dem letzten Kriege. Matthes & Seitz, Munich 1990, ISBN 3-88221-761-8.
  • Der verlorene Auftrag – ein Essay. Karolinger, Vienna 1994, ISBN 978-3-85418-068-5.
  • Das Rechte – tun. Kronenbitter, Munich 1995, ISBN 3-930580-02-0.
  • Film nach dem Film. Verlag für moderne Kunst, Nuremberg 2008, ISBN 3-940748-12-9.

References edit

  1. ^ Susan Sontag, "Syberberg's Hitler"
  2. ^ Deleuze, Gilles (1986). Cinema. Hugh Tomlinson, Barbara Habberjam, Robert Galeta. Minneapolis: University of Minnesota. ISBN 0-8166-1399-0. OCLC 12947233.
  3. ^ "Hans-Jürgen Syberberg, Antisemite". Tablet Magazine. 15 July 2022. Retrieved 16 February 2023.
  4. ^ "Hans-Jürgen Syberberg, Antisemite". Tablet Magazine. 15 July 2022. Retrieved 16 February 2023.
  5. ^ "Hans-Jürgen Syberberg, Antisemite". Tablet Magazine. 15 July 2022. Retrieved 16 February 2023.
  6. ^ Diedrich Diederichsen; Peter Cametzky, "Spiritual Reactionaries after German Reunification: Syberberg, Foucalt and Others", October, Vol 62, pp. 65–83.
  7. ^ Syberberg, "Vom Ungluck und Gluck", p. 14.
  8. ^ Ian Buruma, "There's No Place Like Heimat," New York Review of Books, Vol. 37, no. 20 (20 December 1990).
  9. ^ (PDF). Archived from the original (PDF) on 25 March 2009. Retrieved 29 May 2011.{{cite web}}: CS1 maint: archived copy as title (link)
  10. ^ Kracht, C., & Woodard, D., Five Years (Hanover: Wehrhahn Verlag, 2011), p. 200.

Further reading edit

  • Guido Goossens Verloren zonsondergangen. Hans Jürgen Syberberg en het linkse denken over rechts in Duitsland, Amsterdam University Press, 2004.
  • Solveig Olsen Hans Jürgen Syberberg and his Film of Wagner's Parsifal, University Press of America, 2006.
  • Klaus Phillips, et al. New German Filmmakers, Frederick Ungar Publishing, 1984.
  • Petrus H. Nouwens, Hans Jürgen Syberberg und das Modell Nossendorf / Räume und Figuren ohne Ort und Zeit, Shaker Verlag, Aachen 2018, ISBN 978-3-8440-5867-3.
  • Dalibor Davidović, Nach dem Ende der Welt, Altstadt-Druck, Rostock 2020, ISBN 978-3-00-067826-4
  • Dalibor Davidović, After the End of the World (On Syberberg's installation Café Zilm), in: M. Milin et al. (eds.): Music in Postsocialism: Three Decades in Retrospect, Belgrade: Musicological institute SASA, 2020, 121-136, ISBN 978-86-80639-60-4

External links edit

December 01, 2023
hans, jürgen, syberberg, german, pronunciation, ˈhans, ˈjʏʁɡn, ˈzyːbɐbɛʁk, born, december, 1935, german, film, director, whose, best, known, film, lengthy, feature, hitler, film, from, germany, film, ister, 2004, contents, early, life, cinema, controversy, per. Hans Jurgen Syberberg German pronunciation ˈhans ˈjʏʁɡn ˈzyːbɐbɛʁk born 8 December 1935 is a German film director whose best known film is his lengthy feature Hitler A Film from Germany Hans Jurgen Syberberg in the film The Ister 2004 Contents 1 Early life 2 Cinema 3 Controversy 4 Personal life 5 Awards 6 Filmography 7 Bibliography 8 References 9 Further reading 10 External linksEarly life editBorn in Nossendorf Pomerania the son of an estate owner Syberberg lived until 1945 in Rostock and Berlin In 1952 and 1953 he created his first 8 mm takes of rehearsals by the Berliner Ensemble In 1953 he moved to West Germany where he in 1956 began studies in literature and art history completing them the following year He earned his doctorate in Munich with his thesis on The Absurd in Durrenmatt In 1963 Syberberg began producing documentary films about Fritz Kortner and Romy Schneider for Bavarian Radio and others Cinema editFor Syberberg cinema is a form of Gesamtkunstwerk Many commentators including Syberberg himself have characterized his work as a cinematic combination of Bertolt Brecht s doctrine of epic theatre and Richard Wagner s operatic aesthetics Well known philosophers and intellectuals have written about his work including Susan Sontag 1 Gilles Deleuze 2 and Philippe Lacoue Labarthe In 1975 Syberberg released Winifried Wagner und die Geschichte des Hauses Wahnfried von 1914 1975 English title The Confessions of Winifred Wagner a documentary about Winifred Wagner an Englishwoman who had married Richard Wagner s son Siegfried 3 The documentary attracted attention because it exposed Mrs Wagner s unrepentant admiration for Adolf Hitler The film thus proved an embarrassment to the Wagner family and the Bayreuth Festival which she had run from 1930 until the end of the Second World War Winifred Wagner objected to the inclusion in the film of conversations she did not know were being recorded 4 Syberberg is also noted for an acclaimed visual interpretation of the Wagner opera Parsifal in 1982 Controversy editSyberberg s work has attracted criticism at least since the publication of the film script of Hitler A Film from Germany particularly from the Left who were amongst many targets of his criticism in that book In later essays although he never presented himself as a conservative or sympathizer with German nationalism his comments began to scandalize a broad spectrum of writers and critics in Germany and elsewhere 5 Even Susan Sontag who had written the introduction to the English translation of the book version of Hitler A Film from Germany was reportedly shocked by some of his later statements though she claimed that her feelings about his films were unaffected 6 In one notorious example Syberberg wrote in Vom Ungluck und Gluck der Kunst in Deutschland nach dem letzten Kriege On the Misfortune and Fortune of Art in Germany after the Last War 1990 Whoever joined the Jews and the leftists was successful and it did not necessarily have anything to do with love or understanding or even inclination How could Jews tolerate that being that these others only wanted power 7 Ian Buruma in the New York Review of Books quotes several of Syberberg s controversial statements Syberberg described modern German art as filthy and sick in praise of cowardice and treason of criminals whores of hate ugliness of lies and crimes and all that is unnatural He also wrote that The Jewish interpretation of the world followed upon the Christian just as the Christian one followed Roman and Greek culture So now Jewish analyses images definitions of art science sociology literature politics the information media dominate Marx and Freud are the pillars that mark the road from East to West Neither are imaginable without Jewishness Their systems are defined by it The axis USA Israel guarantees the parameters That is the way people think now the way they feel act and disseminate information We live in the Jewish epoch of European cultural history And we can only wait at the pinnacle of our technological power for our last judgment at the edge of the apocalypse So that s the way it looks for all of us suffocating in unprecedented technological prosperity without spirit without meaning Those who want to have good careers go along with Jews and leftists and the race of superior men Rasse der Herrenmenschen has been seduced the land of poets and thinkers has become the fat booty of corruption of business of lazy comfort Buruma writes It is not for his aesthetics however that Syberberg has been attacked but for his politics The strongest criticism of his book was published in Der Spiegel the liberal weekly magazine Syberberg s views wrote the critic were precisely those that led to the book burning in 1933 and prepared the way for the Final Solution of 1942 In fact he went on they are worse for now we know that they are caked with blood They are not just abstruse nonsense they are criminal The Spiegel critic compared Syberberg to the young Hitler the failed art student in Vienna who rationalized his failure by blaming it on a conspiracy of left wing Jews Syberberg feels he is an unappreciated genius and he too blames it on the same forces Frank Schirrmacher the young literary editor of the Frankfurter Allgemeine Zeitung and the scourge of woolly thinkers of all political persuasions is equally opposed to Syberberg and draws similar parallels with the Twenties and Thirties And like the critic in Der Spiegel he singles out for special censure an interview with Die Zeit in which Syberberg claimed that he could understand the feeling of the SS man on the railway ramp of Auschwitz who in Himmler s words made himself hard for the sake of fulfilling his mission to the end He did not admire this feeling but he could understand it Just as he could understand its opposite the rejection of principles to act humanely 8 Personal life editThis section needs expansion You can help by adding to it March 2009 Syberberg currently resides mainly on his family estate in Nossendorf which he has bought back and restored but has a secondary residence in Munich Awards edit1979 Bavarian Film Award Best Production Design 9 Filmography edit1965 Funfter Akt Siebte Szene Fritz Kortner probt Kabale und Liebe 1965 Romy Anatomy of a Face Romy Anatomie eines Gesichts 1966 Fritz Kortner spricht Monologue fur eine Schallplatte 1966 Wilhelm von Kobell 1966 Die Grafen Pocci einige Kapitel zur Geschichte einer Familie 1969 Scarabea How Much Land Does a Man Need Scarabea Wieviel Erde braucht der Mensch 1970 Sex Business Made in Pasing 1970 San Domingo 1970 Nach meinem letzten Umzug 1972 Ludwig Requiem for a Virgin King Ludwig Requiem fur einen jungfraulichen Konig 1972 Theodor Hierneis oder Wie man ehem Hofkoch wird 1974 Karl May 1975 The Confessions of Winifred Wagner Winifred Wagner und die Geschichte des Hauses Wahnfried von 1914 1975 Original 302 min US version 104 min 1977 Hitler A Film from Germany 1982 Parsifal 1985 Die Nacht 1985 Edith Clever liest Joyce 1986 Fraulein Else 1987 Penthesilea 1989 Die Marquise von O 1993 Syberberg filmt Brecht 1995 A Dream What Else Ein Traum was sonst 10 1997 Hohle der ErinnerungSyberberg is featured at length in the film The Ister 2004 Bibliography editInterpretationen zum Drama Friedrich Durrenmatts Zwei Modellinterpretationen zur Wesensdeutung des modernen Dramas Uni Druck Munich 1965 Fotografie der 30er Jahre Eine Anthologie Schirmer Mosel Verlag Munich 1977 ISBN 978 3 921375 14 3 Filmbuch Filmasthetik 10 Jahre Filmalltag Meine Trauerarbeit fur Bayreuth Worterbuch des deutschen Filmkritikers Fischer Taschenbuch 1979 ISBN 3 596 23650 9 Die freudlose Gesellschaft Notizen aus dem letzten Jahr Hanser Verlag Munich 1981 ISBN 3 446 13351 8 Kleist Penthesilea Hentrich Berlin 1988 ISBN 3 926175 49 4 Vom Ungluck und Gluck der Kunst in Deutschland nach dem letzten Kriege Matthes amp Seitz Munich 1990 ISBN 3 88221 761 8 Der verlorene Auftrag ein Essay Karolinger Vienna 1994 ISBN 978 3 85418 068 5 Das Rechte tun Kronenbitter Munich 1995 ISBN 3 930580 02 0 Film nach dem Film Verlag fur moderne Kunst Nuremberg 2008 ISBN 3 940748 12 9 References edit Susan Sontag Syberberg s Hitler Deleuze Gilles 1986 Cinema Hugh Tomlinson Barbara Habberjam Robert Galeta Minneapolis University of Minnesota ISBN 0 8166 1399 0 OCLC 12947233 Hans Jurgen Syberberg Antisemite Tablet Magazine 15 July 2022 Retrieved 16 February 2023 Hans Jurgen Syberberg Antisemite Tablet Magazine 15 July 2022 Retrieved 16 February 2023 Hans Jurgen Syberberg Antisemite Tablet Magazine 15 July 2022 Retrieved 16 February 2023 Diedrich Diederichsen Peter Cametzky Spiritual Reactionaries after German Reunification Syberberg Foucalt and Others October Vol 62 pp 65 83 Syberberg Vom Ungluck und Gluck p 14 Ian Buruma There s No Place Like Heimat New York Review of Books Vol 37 no 20 20 December 1990 Archived copy PDF Archived from the original PDF on 25 March 2009 Retrieved 29 May 2011 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Kracht C amp Woodard D Five Years Hanover Wehrhahn Verlag 2011 p 200 Further reading editGuido Goossens Verloren zonsondergangen Hans Jurgen Syberberg en het linkse denken over rechts in Duitsland Amsterdam University Press 2004 Solveig Olsen Hans Jurgen Syberberg and his Film of Wagner s Parsifal University Press of America 2006 Klaus Phillips et al New German Filmmakers Frederick Ungar Publishing 1984 Petrus H Nouwens Hans Jurgen Syberberg und das Modell Nossendorf Raume und Figuren ohne Ort und Zeit Shaker Verlag Aachen 2018 ISBN 978 3 8440 5867 3 Dalibor Davidovic Nach dem Ende der Welt Altstadt Druck Rostock 2020 ISBN 978 3 00 067826 4 Dalibor Davidovic After the End of the World On Syberberg s installation Cafe Zilm in M Milin et al eds Music in Postsocialism Three Decades in Retrospect Belgrade Musicological institute SASA 2020 121 136 ISBN 978 86 80639 60 4External links editSyberberg s Homepage Hans Jurgen Syberberg at IMDb Hans Jurgen Syberberg Bibliography via UC Berkeley The Ister a Film Featuring Syberberg Bernard Stiegler Jean Luc Nancy and Philippe Lacoue Labarthe Retrieved from https en wikipedia org w index php title Hans Jurgen Syberberg amp oldid 1161257061, wikipedia, wiki, book, books, library,

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