Montag, 10.05.2021 03:10 Uhr

The Mystery of Film Funding

Verantwortlicher Autor: Sharon Oppenheimer Berlin, 21.04.2021, 15:55 Uhr
Fachartikel: +++ Special interest +++ Bericht 3053x gelesen

Berlin [ENA] Broadcasting levies are compulsory levies and these must be paid by every household in Germany, regardless whether they own a television set or not, apart from a few exceptions. Film funding also finances many movies that leave a bad aftertaste and the questionable allocation of funds is an eternal mystery. The citizen doesn´t have a say in either case - nor is it obvious which criteria are used for film funding.

Germany is struggling with its past. Examples of the typical historical reappraisal on German television and German films that are funded with tens of millions are movies like "The Collini Case", where the latin lover Elyas M`Barek is allowed to hunt down an old Nazi, according to the motto "We have learned from the past!". Incidentally, the book for this film was written by Ferdinand von Schirach. Ferdinand von Schirach is the grandson of the Reich Youth Leader Baldur von Schirach, great-grandson of the Hitler photographer Heinrich Hoffmann and grandson of the entrepreneur and Nazi politician Fritz Kien. The latter became extremely rich through the Aryanization(=the forced transfer of Jewish property into German hands during the 3rd Reich)

Or “Jud Suess - Film Without a Conscience” is a confusing film biography from 2010: The content of the film has almost nothing in common with reality: In the movie Ferdinand Marian has a Jewish wife, who he did not have in reality, because his wife Maria Byk was German with Aryan proof. In the film, however, she was made, allegedly for artistic reasons, a “half-Jew” (half-Jewish is a term from Nazi jargon) Anna Marian, who suffered a completely made-up death in a concentration camp.

Lars Kraume's film "The State Against Fritz Bauer" reduces the historical merits of Bauer, the initiator of the Auschwitz trials in Germany and encourages anti-Semitic clichés: Fritz Bauer flies to Israel to ominous meetings with the Mossad in the matter of Adolf Eichmann and accuses his fellow jews of being anti-Semitic. A secondary character in the plot is a fictional young public prosecutor who falls in love with a transvestite and becomes blackmailable – all of this never happened in reality. Instead, the film focuses on Bauer's alleged homosexuality and not on his services to bring Nazi criminals to justice.

There were a few rumors about Fritz Bauer's sexuality, nothing more. The real Fritz Bauer actually died in the bathtub (in the film he survives). Suicide, accident or even murder - the circumstances have not yet been clarified. The order from Bauer's deputy to apply for a judicial opening of the corpse was disregarded by the Frankfurt public prosecutor's office responsible for this, for an unknown reason, and immediately released the body for cremation. This is the real scandal, not his alleged homosexuality.

Correspondingly typical, but completely unacceptable, is the behavior of the TV stations that do not want to co-finance the movie “Germany in Winter” by Dr. Uwe Boll, because it is obviously too tough and controversial for them. "Germany in Winter" is the name of Boll´s new film project and it takes place in a time after the Merkel era. It shows a world in which the good does not win, but a world in which right-wing extremists, racists and conspiracy theorists gain the upper hand. Right now, during the corona pandemic, we are witnessing how radicals and Jew haters are spreading rumors on the internet, gathering in the thousands for demonstrations and gaining new followers every day. An ideal breeding ground for extremists of all kinds.

The Tv channel PRO 7 considers such a scenario to be unrealistic. The station's executives can be described as unrealistic, but there may be other motives behind it. Nor does the Bolls film project fit into the softened program of the public broadcasters. For what all these fees are paid for, one wonders. Perhaps ARD and ZDF buy expensive sports rights and broadcast daily soaps like the “Traumschiff”, the German version of the 1970-80ies “Love boat” American soap opera! Feel-good TV from tax money according to the motto: everything that offends and shows how deeply rooted racism is in Germany is not promoted.

The "quality television", which lives on compulsory levies, prefers to produce the Helene-Fischer- Show and crime drams like “Der Alte” all day long. But when a film like “Auschwitz” by Uwe Boll comes out that realistically depicts the horror in the gas chambers, then it neither funded nor shown at the Berlinale or bought by German television. In Yad Vashem, the most important memorial, which commemorates the Nazi extermination and documents it scientifically, it is considered to be some of the most important films on the Holocaust.

Thousands still die of Corona and the Germany government continues to fail miserably with the vaccination. The majority of Germans will no longer stand by this government if the Vaccination disaster continues. Uwe Boll´s film project "Germany in Winter" shows, because it is set in the future, how quickly you can gamble away democracy and freedom.

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