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Wien-Film

January 01, 1970

Wien-Film GmbH ("Vienna Film Limited") was a large Austrian film company, which in 1938 succeeded the Tobis-Sascha-Filmindustrie AG (Sascha Film Company) and lasted until 1985. Until 1945 the business was owned by the Cautio Trust Company (Cautio Treuhandgesellschaft), a subsidiary of the German Reichsfilmkammer, and was responsible for almost the entire production of films in the territory of the Ostmark, as Austria was called at that time.

History edit

Nazi Era edit

The German Anschluss of Austria in 1938 put an end to the country's independent film production. The German-Austrian Tobis-Sascha-Filmindustrie AG, which had already been sold, under pressure, to the Cautio Trust Company, was transformed on 16 December into Wien-Film.

The new company was officially presented with a new mission statement, signed by Joseph Goebbels: "In competition with the other arts, the purpose of film is to give form to what satisfies human hearts and what makes them shudder, and by the revelation of the eternal, transports them into better worlds."[1] The company's expected propaganda function was thus made unmistakably clear. Jews had been forbidden to work in the Austrian film industry since 1935, as the German Reichsfilmkammer had threatened to ban the import of Austrian films unless the industry kept to German terms.

In the drama films produced by the new company Austrian themes dominated, typified by the standard Viennese light romantic comedy, the Wiener Film, lavish in music, costumes and sets, which mostly portrayed past times in rosy hues. From 1943/44, Wien-Film also made colour films, a privilege previously restricted to the UFA company. Wien-Film also produced cultural films.

Besides the production of dramas and cultural films, Wien-Film concentrated on the management of cinemas. Across Austria, the company owned 14 cinemas in Vienna, Berndorf, Linz, Steyr and Steyrermühl. The Vienna cinemas were the "Scala", the "Apollo", the "Busch" and the "UFA-Ton", which were used for premieres. Wien-Film also ran the cinemas formerly owned by KIBA (Wiener Kinobetriebsanstalt) and UFA, under the newly established Ostmärkische Filmtheater Betriebsgesellschaft m.b.H. ("Ostmark Film Theatre Company Ltd").

The film production programme laid down by Berlin was to make films that were rooted in the soil of the Ostmark and provided distraction, in line with the government slogan Kraft durch Freude ("Strength Through Joy").

After WWII edit

After the end of World War II, Wien-Film was confiscated by the Allies as "German property". After Vienna had been divided up into five zones of occupation it became apparent that the film studios in Sievering and the main offices in Siebensterngasse came under the American administration, but that the film workshops at Rosenhügel were in the Soviet sector. The Sievering film studios, it was believed, were to be liquidated by the Americans, in the interests of eliminating all possible competition to Hollywood productions.

At the end of 1945, the former head of Vienna film production, Karl Hartl, was nominated the industry's business leader. While the Soviets, according to the provisions of the Potsdam Agreement, took over all former "German" businesses as war reparations, the western occupying powers - Great Britain, the United States and France - waived their rights in this regard. For the newly refounded Wien-Film, this meant that they could continue work at the studios in Sievering and Schönbrunn, but had to write off the studios and workshops at Rosenhügel. These were incorporated into USIA, the Soviet body responsible for administering Austrian assets as war reparations, and operated from then on as "Wien-Film am Rosenhügel".

On 21 August 1945, Wien-Film and the State Department for Reconstruction (Staatsamt für Wiederaufbau) signed a contract for a documentary about the restoration works in Vienna.

After the Austrian State Treaty of 1955, the company passed into state ownership. Since the returns on production and the renting out of the studios were becoming less and less profitable, Wien-Film was wound up as a state company in 1985, leaving only a small holding company to maintain rights over earlier productions.

Personnel edit

The first directors of Wien-Film were general director Fritz Hirt, Paul Hach and the Viennese film director Karl Hartl, who also remained chief of production right to the end. The making of cultural films was under the direction of Dr. Josef Lebzelter of the former Selenophon-Film company. Overall control of film productions – from the initial idea to the screening - was the responsibility of the Reichsfilmdramaturg and later the Reichsfilmintendant.

The first board meeting took place on 16 December 1938, at which the advisers were also appointed. These were:

  • Friedrich Merten, Chief Executive of Film-Finanz, Berlin
  • Dr. Josef Joham, board member of the Creditanstalt, Vienna
  • Willi Forst, film director, Vienna
  • Carl Froelich, film director and president of the Reichsfilmkammer, Berlin
  • Dr. Karl Ott, Ministerialdirektor, Berlin
  • Hermann Burmeister, Ministerialrat, Berlin
  • Heinrich Post, bank director, Berlin

The stars of Wien-Film until 1945 were Wolf Albach-Retty, Elfriede Datzig, Marte Harell, Hans Holt, Olly Holzmann, Attila Hörbiger, Paul Hörbiger, Winnie Markus, Hans Moser, Rudolf Prack, Jane Tilden and Paula Wessely.

The directors most used by Wien-Film were Gustav Ucicky, experienced in getting across National Socialist propaganda content, and E. W. Emo, who between them produced a third of Wien-Film's 60 or so drama films. Not far behind them in productivity were Willi Forst, who was responsible for the best productions of this period, Géza von Bolváry and Hans Thimig, followed by the brothers Ernst and Hubert Marischka, as well as Géza von Cziffra, who with The White Dream (1943) achieved the most commercially successful of Wien-Film's productions.

The most frequently used cameramen were Günther Anders, Georg Bruckbauer, Hans Schneeberger and Jaroslaw Tuzar. Wien-Film's principal composers were Anton Profes and Willy Schmidt-Gentner. Erich von Neusser and Fritz Podehl were producers.

Studios edit

For premises the only two large studio complexes in Austria - the former Sascha-Film studios in Sievering and the former Vita-Film workshops at Rosenhügel - were acquired. In addition to these, there was also the small workshop formerly belonging to Wiener Kunstfilm in the Bauernmarkt in the Innere Stadt and another small studio in Schönbrunn.

In the three years between 1939 and 1941 next to the Rosenhügel Studios a synchronisation complex was built, with a large and a small synchronisation hall, cutting rooms and offices.

Film productions edit

Between 1939 and 1945, fifty films were made. There were also a number of delegated productions, which were carried out under the names of Forst-Film, Emo-Film, and Styria-Film.

See also edit

Notes edit

  1. ^ "Wetteifernd mit den übrigen Künsten soll der Film gestalten, was Menschenherzen erfüllt und erbeben läßt, und sie durch Offenbarung des Ewigen in bessere Welten entrückt".

References edit

this article is a translation of the equivalent on the German Wikipedia, retrieved on 16 November 2007
  • Franz Antel, Christian F. Winkler, Hollywood an der Donau. Geschichte der Wien-Film in Sievering, Wien (Edition S, Verlag der Österreichischen Staatsdruckere) 1991
  • Wilhelm Guha, Die Geschichte eines österreichischen Filmunternehmens. Von der Sascha-Film-Fabrik in Pfraumberg in Böhmen zur Wien-Film, Vienna 1976
  • Günter Krenn: Die Kulturfilme der Wien-Film, 1938-1945. Österreichisches Filmarchiv, Vienna 1992.
  • Helene Schrenk, Die Produktion der Wien-Film zwischen 1939 und 1945, Vienna 1984
  • Walter Fritz, Die Wien-Film. Geboren 1910! Gestorben 1986?; in: Sterz 36, Graz 1986, pp. 12f
  • Walter Fritz, Hollywood in Wien – oder die „Wien-Film“ ein Auftrag im Dritten Reich; in: Rathkolb, Duchkowitsch, Hausjell, Die veruntreute Wahrheit, Salzburg 1988, pp. 35–42

External links edit

  • Wien-vienna.at: Filmstadt Wien
  • Wien-Film in Austria-Forum (in German) (at AEIOU)

January 01, 1970
wien, film, gmbh, vienna, film, limited, large, austrian, film, company, which, 1938, succeeded, tobis, sascha, filmindustrie, sascha, film, company, lasted, until, 1985, until, 1945, business, owned, cautio, trust, company, cautio, treuhandgesellschaft, subsi. Wien Film GmbH Vienna Film Limited was a large Austrian film company which in 1938 succeeded the Tobis Sascha Filmindustrie AG Sascha Film Company and lasted until 1985 Until 1945 the business was owned by the Cautio Trust Company Cautio Treuhandgesellschaft a subsidiary of the German Reichsfilmkammer and was responsible for almost the entire production of films in the territory of the Ostmark as Austria was called at that time Contents 1 History 1 1 Nazi Era 1 2 After WWII 2 Personnel 3 Studios 4 Film productions 5 See also 6 Notes 7 References 8 External linksHistory editNazi Era edit The German Anschluss of Austria in 1938 put an end to the country s independent film production The German Austrian Tobis Sascha Filmindustrie AG which had already been sold under pressure to the Cautio Trust Company was transformed on 16 December into Wien Film The new company was officially presented with a new mission statement signed by Joseph Goebbels In competition with the other arts the purpose of film is to give form to what satisfies human hearts and what makes them shudder and by the revelation of the eternal transports them into better worlds 1 The company s expected propaganda function was thus made unmistakably clear Jews had been forbidden to work in the Austrian film industry since 1935 as the German Reichsfilmkammer had threatened to ban the import of Austrian films unless the industry kept to German terms In the drama films produced by the new company Austrian themes dominated typified by the standard Viennese light romantic comedy the Wiener Film lavish in music costumes and sets which mostly portrayed past times in rosy hues From 1943 44 Wien Film also made colour films a privilege previously restricted to the UFA company Wien Film also produced cultural films Besides the production of dramas and cultural films Wien Film concentrated on the management of cinemas Across Austria the company owned 14 cinemas in Vienna Berndorf Linz Steyr and Steyrermuhl The Vienna cinemas were the Scala the Apollo the Busch and the UFA Ton which were used for premieres Wien Film also ran the cinemas formerly owned by KIBA Wiener Kinobetriebsanstalt and UFA under the newly established Ostmarkische Filmtheater Betriebsgesellschaft m b H Ostmark Film Theatre Company Ltd The film production programme laid down by Berlin was to make films that were rooted in the soil of the Ostmark and provided distraction in line with the government slogan Kraft durch Freude Strength Through Joy After WWII edit After the end of World War II Wien Film was confiscated by the Allies as German property After Vienna had been divided up into five zones of occupation it became apparent that the film studios in Sievering and the main offices in Siebensterngasse came under the American administration but that the film workshops at Rosenhugel were in the Soviet sector The Sievering film studios it was believed were to be liquidated by the Americans in the interests of eliminating all possible competition to Hollywood productions At the end of 1945 the former head of Vienna film production Karl Hartl was nominated the industry s business leader While the Soviets according to the provisions of the Potsdam Agreement took over all former German businesses as war reparations the western occupying powers Great Britain the United States and France waived their rights in this regard For the newly refounded Wien Film this meant that they could continue work at the studios in Sievering and Schonbrunn but had to write off the studios and workshops at Rosenhugel These were incorporated into USIA the Soviet body responsible for administering Austrian assets as war reparations and operated from then on as Wien Film am Rosenhugel On 21 August 1945 Wien Film and the State Department for Reconstruction Staatsamt fur Wiederaufbau signed a contract for a documentary about the restoration works in Vienna After the Austrian State Treaty of 1955 the company passed into state ownership Since the returns on production and the renting out of the studios were becoming less and less profitable Wien Film was wound up as a state company in 1985 leaving only a small holding company to maintain rights over earlier productions Personnel editThe first directors of Wien Film were general director Fritz Hirt Paul Hach and the Viennese film director Karl Hartl who also remained chief of production right to the end The making of cultural films was under the direction of Dr Josef Lebzelter of the former Selenophon Film company Overall control of film productions from the initial idea to the screening was the responsibility of the Reichsfilmdramaturg and later the Reichsfilmintendant The first board meeting took place on 16 December 1938 at which the advisers were also appointed These were Friedrich Merten Chief Executive of Film Finanz Berlin Dr Josef Joham board member of the Creditanstalt Vienna Willi Forst film director Vienna Carl Froelich film director and president of the Reichsfilmkammer Berlin Dr Karl Ott Ministerialdirektor Berlin Hermann Burmeister Ministerialrat Berlin Heinrich Post bank director Berlin The stars of Wien Film until 1945 were Wolf Albach Retty Elfriede Datzig Marte Harell Hans Holt Olly Holzmann Attila Horbiger Paul Horbiger Winnie Markus Hans Moser Rudolf Prack Jane Tilden and Paula Wessely The directors most used by Wien Film were Gustav Ucicky experienced in getting across National Socialist propaganda content and E W Emo who between them produced a third of Wien Film s 60 or so drama films Not far behind them in productivity were Willi Forst who was responsible for the best productions of this period Geza von Bolvary and Hans Thimig followed by the brothers Ernst and Hubert Marischka as well as Geza von Cziffra who with The White Dream 1943 achieved the most commercially successful of Wien Film s productions The most frequently used cameramen were Gunther Anders Georg Bruckbauer Hans Schneeberger and Jaroslaw Tuzar Wien Film s principal composers were Anton Profes and Willy Schmidt Gentner Erich von Neusser and Fritz Podehl were producers Studios editFor premises the only two large studio complexes in Austria the former Sascha Film studios in Sievering and the former Vita Film workshops at Rosenhugel were acquired In addition to these there was also the small workshop formerly belonging to Wiener Kunstfilm in the Bauernmarkt in the Innere Stadt and another small studio in Schonbrunn In the three years between 1939 and 1941 next to the Rosenhugel Studios a synchronisation complex was built with a large and a small synchronisation hall cutting rooms and offices Film productions editBetween 1939 and 1945 fifty films were made There were also a number of delegated productions which were carried out under the names of Forst Film Emo Film and Styria Film Immortal Waltz 1939 E W Emo A Mother s Love 1939 Gustav Ucicky Woman in the River 1939 Gerhard Lamprecht Donauschiffer 1939 40 Robert A Stemmle Der Postmeister 1939 40 Gustav Ucicky Das jungste Gericht 1939 Franz Seitz senior So gefallst Du mir 1940 41 Hans Thimig Rudolf Schaad Operetta 1940 Willi Forst My Daughter Lives in Vienna 1940 E W Emo Love Is Duty Free 1940 41 E W Emo Krambambuli Die Geschichte eines Hundes 1940 Karl Kostlin Ein Leben lang 1940 Gustav Ucicky Beloved Augustin 1940 E W Emo Wir bitten zum Tanz 1941 Hubert Marischka Vienna 1910 1941 42 E W Emo Destiny 1941 42 Geza von Bolvary Heimkehr 1941 Gustav Ucicky Dreimal Hochzeit de 1941 Geza von Bolvary Bruderlein fein 1941 42 Hans Thimig Two Happy People 1942 E W Emo Whom the Gods Love 1942 Karl Hartl Spate Liebe 1942 43 Gustav Ucicky Sommerliebe 1942 Erich Engel Die heimliche Grafin 1942 Geza von Bolvary Das Ferienkind 1942 43 Karl Hans Leiter Agram die Hauptstadt Kroatiens 1943 Oktavijan Miletic Black on White 1943 E W Emo Schrammeln 1943 44 Geza von Bolvary Romantische Brautfahrt 1943 Leopold Hainisch Reisebekanntschaft 1943 E W Emo Gluck bei Frauen 1943 44 Peter Paul Brauer Freunde 1943 44 E W Emo Die kluge Marianne 1943 Hans Thimig The White Dream 1943 Geza von Cziffra Am Ende der Welt 1943 44 Gustav Ucicky Viennese Girls 1944 45 released 1949 Willi Forst Wie ein Dieb in der Nacht 1944 45 Hans Thimig Umwege zu Dir 1944 45 Hans Thimig Ulli and Marei 1944 45 released 1948 Leopold Hainisch Liebe nach Noten 1944 45 Geza von Cziffra Ein Mann gehort ins Haus 1944 45 Hubert Marischka Die goldene Fessel 1944 Hans Thimig Der gebieterische Ruf 1944 Gustav Ucicky Das Herz muss schweigen 1944 Gustav Ucicky Season in Salzburg 1952 Ernst Marischka 1 April 2000 1952 Wolfgang Liebeneiner See also editCinema of AustriaNotes edit Wetteifernd mit den ubrigen Kunsten soll der Film gestalten was Menschenherzen erfullt und erbeben lasst und sie durch Offenbarung des Ewigen in bessere Welten entruckt References editthis article is a translation of the equivalent on the German Wikipedia retrieved on 16 November 2007 Franz Antel Christian F Winkler Hollywood an der Donau Geschichte der Wien Film in Sievering Wien Edition S Verlag der Osterreichischen Staatsdruckere 1991 Wilhelm Guha Die Geschichte eines osterreichischen Filmunternehmens Von der Sascha Film Fabrik in Pfraumberg in Bohmen zur Wien Film Vienna 1976 Gunter Krenn Die Kulturfilme der Wien Film 1938 1945 Osterreichisches Filmarchiv Vienna 1992 Helene Schrenk Die Produktion der Wien Film zwischen 1939 und 1945 Vienna 1984 Walter Fritz Die Wien Film Geboren 1910 Gestorben 1986 in Sterz 36 Graz 1986 pp 12f Walter Fritz Hollywood in Wien oder die Wien Film ein Auftrag im Dritten Reich in Rathkolb Duchkowitsch Hausjell Die veruntreute Wahrheit Salzburg 1988 pp 35 42External links editWien vienna at Filmstadt Wien Wien Film in Austria Forum in German at AEIOU Retrieved from https en wikipedia org w index php title Wien Film amp oldid 1104805049, wikipedia, wiki, book, books, library,

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