When a television series triggered shock waves – News Culture: Television

adminJanuary 8, 2019




A TV series is running, and then people with different eyes see. History books, such as cast shelves a short time ago, sell at one time, memorials are well-present, discussion groups and loan research groups are founded. The public opinion swings around, the series is used as an argument in parliamentary debates, and finally the title is the word of the year 1979. A word that, like a late-born, expects it to have been part of the regular use for a long time: the Holocaust.

The ARD television leaders didn't want to show the story of the Weiss Jewish family at all. She would probably not see anyone before: for left-wing intellectuals, she was commercial kitsch, historians saw their research trivialized in an alleged soap opera. The neo-Nazis tried to stop the broadcast at the last moment with explosive attacks on the transfer towers. Others worked on random details, according to the Süddeutscher Zeitung from the sending day on January 22, 1979, plagued by the when SWR television game director Peter Schulze-Rohr remembers the public that in the series a Hitler Youth is wearing the summer dress for Christmas. Never was TV so controversial. But when the phones in the subsequent audience called for broadcasting, many were forced to rethink their assumptions.

Since yesterday, the WDR, NDR and SWR series are out of the archive. The Holocaust, sent by NBC in the United States back in April 1978, is now the story itself, a television event from a prolonged media world. In the first scene in the Holocaust, the Jewish medical family Weiss celebrates the wedding of his son with a Christian. The harassment of the Nazis increases, eventually the family members are deported and experience each other almost every major event in the Holocaust. Only one survives the murder machine. WDR provided brief documentation for the series for explanation.

Video: Excerpts from the "Holocaust"


Video: YouTube / TeeVees Greatest

Cologne's station once sat with its former television game manager, Günter Rohrbach, and bought and broadcast the series against the massive rejection of other ARD institutions. The documentary film by Alice Agneskirchner takes about fifteen minutes for prehistory, the internal headline does not thematize anymore. Another 15 minutes is reserved for the adventures of the creators: the actors meet again after decades and tell, among other things, the emotional shots of Mauthausen's actual gas chambers. The last third is about the reactions that were more numerous and so different from what many had predicted.

Clou was the change in perspective

Because the series triggered a shock wave. Of course, most Germans had learned something about the mass murder of European Jews for more than 30 years since the end of the war. There was absolutely no lack of material about it. But many did not understand the Holocaust emotionally. Just now they anticipate the suffering, at least a little bit. The Holocaust monastery was a change in perspective: German historiography had previously been predominantly with the perpetrators, the mass murder of the Jews was considered part of many war history. In the series, however, the Holocaust was for the first time seen by a Jewish family – or better: to sympathize with it. Producers Robert Berger, director Marvin J. Chomsky and screenwriter Gerald Green created this Weiss family bourgeois urban, assimilated Jews. The characters looked like the people sat in front of the TV, they just prayed a little differently, in some scenes.

The result was clear: boxes were received by spectators, most positive. More than 23,000 people called in subsequent discussion talks and asked questions that were previously thought to be general school knowledge. Even historians had to admit that their work reached too few people. Reluctantly they opened the door to understand that most are so constructed that their minds forget the facts too quickly, unless emotions appeal to them.

Anti-Semitic attitude was common

In a small selection of the countless letters that the WDR archive makes available, viewers fear that by sending in the third programs of the ARD, which was paired for five consecutive days, had seen too few the Holocaust. In fact, 20 million looked at, almost half of those over 14, at least in the first episode. Today, with substantially more than three programs, only the most important football games surpass this value. The negative letters show how much right extremist and anti-Semitic attitudes were common among ordinary people.

"The Germans are unable to do so in their simplicity."A spectator

A woman tells of hearsay that American Jews forced the Germans to broadcast the Holocaust, and naively adds, "Is that true?" By the way, she has nothing against Jews. A man bounces indignantly in the typewriter that the cruelty depicted in the Holocaust could not even be invented in this country: "The Germans are unable to do so in their simplicity." He knew that his writing had no purpose "when Germany's death was determined The reason for our enemies is" At that time, people took such confused confessions to the mailbox, even franking, rather than spitting them into the internet in the influence.

If before the series a majority rejected the plan not to let the murder be blocked, it was different afterwards, and then it was finally law. A broad mass taught to be a shame for the Jewish victims. It can be argued that this is not enough today, especially if empathy is primarily for dead Jews, but not necessarily for living, but even then it was new. Forty years after the first broadcast, the Holocaust is once again seen in the memory of the memory once again being heavily infested, and the AfD leader Alexander Gauland rejects the Nazi era as just a "birdhouse" in German history. Are belittlers getting rid of it because the mass has forgotten the facts or because the emotional anchor has broken? Or are public discussions like the one that is missing on this series?

Sophisticated technique of emotionalization

The legitimate criticism that the horrors of the Holocaust really cannot be represented by means of entertainment is today a marginal note. Some of the largest German television and serial productions in recent years, including Babylon Berlin, The Boat or Ku & # 39; dust, spend the time before, during or after World War II, of course, as a material. Perhaps Hitler Youth now has uniforms that fit for the season, but much of what seemed scandalous in the US series has been granted by German productions. The techniques of emotionalization are more sophisticated today. German history TV has long since become an export hit here, and abroad it sometimes provokes more serious criticism than at home, like Our mothers, our fathers in Poland.

A series of German history that did not originate in Germany, however, has never received so much attention since the Holocaust in Germany – and it has such a big impact.

WDR Television: Holocaust – Part 1, January 7, 22:00, Holocaust – Part 2; January 8 at 22:10; Document How & # 39; Holocaust & # 39; came on TV, January 14, 10:10; Holocaust – Part 3, 10:55; The Holocaust – Part 4, January 15. 10:10.

NDR Television: Holocaust – Part 1; January 7, 10:00; Holocaust – Part 2, 3 and 4; on January 14, 21 and 28 at 11:15 pm; How the & # 39; Holocaust & # 39; arrived on TV, January 16 at 11:45.

SWR Television: The Holocaust, four parts on 9, 16, 23 and 30 January at. 22.00 each; How the & # 39; Holocaust & # 39; arrived on TV, January 16, 23:35. (Editors Tamedia)

Created: 08.01.2019, 17:47



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