728:
507:
development of the uprising comprehensible to the reader. The feature film, on the other hand, aims to describe the uprising itself, so that individual actions are not always fully revealed to the viewer. However, in the film, the female characters, who in
Seghers' work were mainly absorbed in stereotypical roles in the household and at the hearth, are more strongly exposed and actively involved in the economic and political struggle. While Seghers' narrative is characterized by an emphatically unsentimental, sober form of representation, Piscator is primarily concerned with awakening the revolutionary consciousness of a working-class community in the masses and calling for a united struggle.This can be clearly seen in the "somewhat unrealistic victory of the fishermen over the soldiers" at the end of the film, after an unequal battle with bare hands and sticks against machine guns. Although Seghers' original was "attuned to the inevitable tragedy of defeat" from the outset, her work is nevertheless not at odds with Piscator's intentions. Also in her case, the men did not give up hope for the uprising and by the following year the uprising was still "squatting in the town squares".
922:, published in Moscow, that Revolt of the Fishermen lacked "clarity and was difficult to understand", but also decisively rejected Brik's argument. Piscator had "dared to portray the cause instead of the occasion, instead of the external, superficial tension of the plot its inner lawfulness with all consistency in artistic and political terms." The following year, Mezhrabpomfilm distributed an export version of Revolt of the Fishermen, for which subtitles were produced in several languages. The export version could not be shown in Nazi Germany, but - even after the dissolution of Meschrabpom-Film in July 1936 - it was shown in several major Western European cities such as Zurich, Brussels and Paris. A Spanish film poster from 1936 points to screenings in Spain. There may also have been screenings in Copenhagen and Warsaw, as copies of the film were later found there.
406:
the mourners at the grave. The situation at the gravesite threatens to get out of hand. The fishermen's displeasure at a sermon by the priest, who strongly condemns
Kedennek's actions, erupts in a cry from the widow, Marie Kedennek. Marie Kedennek knocks the Bible out of the clergyman's hand and tears it up. Meanwhile, the soldiers in St. Barbara are looking for the revolutionary sailor Hull from Port Sebastian, whom Bredel has identified as the real ringleader of the strike movement. The soldiers trash Desak's pub and rape Marie, a prostitute who works for Desak as a temporary help and who is having an affair with Andreas. The funeral is interrupted by explosions on Bruyk's ship, which Andreas has caused. The explosions are the signal for a revolt by the coastal fishermen against the shipowner and the summoned military, who approach the cemetery in firing lines.
474:
611:. For example, the "furious beginning" of the film shows "a wealth of details of fishing at sea, salvaging and landing in the harbor." At the same time, however, this presentation of different forms of work revealed "an almost naïve trust on the part of the filmmakers in the physical strength of the workers, which pointed beyond the films." Apart from the technological side of the topic of "work", these film sequences would have given the cinema audience of the time interesting insights into the everyday life of Soviet working environments. In this respect, these images had their own documentary value beyond the film itself. The treatment of the topic of work quickly shifts from the initial focus on concrete work processes to aspects such as the intensification of work, organized labour disputes and their violent suppression.
470:, as it meant nothing less than a "deconstruction of her narrative text". To this end, as he later summarized, Piscator had introduced a seamen's union in his film adaptation, who worked on the "trawlers sent out by large fisheries and had started a strike over the removal of the fourth man in a work group." Meanwhile, the small-scale fishermen continued to work and had thus essentially become strikebreakers; a series of won and lost strikes followed. According to Piscator, however, "since the organized helped the unorganized, even when it was no longer about their own cause, these strikes turned from purely economic to political actions and - at least I hoped so - into a call against a system like the one the Nazis intended."
398:
Bredel offers the small-scale fishermen in the area the prospect of one hundred percent more pay for their catch. The small-scale fishermen then set sail for Bredel, but lose half of their catch in stormy seas. The deep-sea fishermen, on the other hand, win their case against the shipping company and initially resume work. Bredel breaks his promise to pay the coastal fishermen a wage supplement. When the coastal fishermen realize that Bredel does not intend to keep his promise, they finally join forces with the deep-sea fishermen from Port
Sebastian. In Desak's inn in the small coastal town of St. Barbara, the deep-sea and coastal fishermen discuss a joint labor dispute. However, the meeting is blown up by an act of arson.
867:, criticized the film for its "consistent pathos", the "diverging styles" and the "lack of dramatically growing tension." Brik blamed the management of Mezhrabpomfilm for the supposed failure of the project - a common approach for attacks on unpopular film projects at the time. The film company had not supported Piscator sufficiently in his foray into film directing and had not familiarized him with the actual needs of the Soviet cinema audience. Jasmin Arnold assumes that Brik carried out his attack on Meschrabpom "with the approval of state authorities." The communication scientist Hermann Haarmann also interpreted the criticism as part of a "staged press campaign", which Brik had started under official pressure.
402:
company, ambush
Kerdhuys and his comrades-in-arms. Kedennek tries to stop Kerdhuys from breaking the strike with a knife. When Kedennek attacks Kerdhuys, he is struck down by a bullet from one of the soldiers mobilized by the garrison commander. The next morning, there is another direct confrontation in the dunes between strikers and a group of coastal fishermen led by the well-off boat owner Bruyk, who - like Kerdhuys the day before - want to set sail for Bredel. Andreas, a young fisherman who lives with the Kedennek family, also joins the strikebreakers for the sake of appearances. Secretly, however, Andreas is planning an explosive attack on Bruyk's fishing boat.
503:
characterization of the figures. However, the decisive difference between the story and the film lies at the end, namely the revolt of armed sailors, which does not occur in
Seghers. While Seghers retrospectively depicts a failed uprising, in Piscator's film armed sailors come to the aid of the poorly prepared and organized fishermen. After the final battle, the film ends "with a victory song, beaming faces and a happy ending for everyone except the Bredel shipping company and its hired soldiers." Here, behind the camera, one senses the film director's "deeply felt, one might almost say desperate, call for activism in times of crisis."
656:
capitalists or the sailors - this is shown primarily visually." Their actions are then depicted in the following decisive stages: how they allow themselves to be misled into breaking the strike by Bredel's false promises, how most of them do not want to understand that they have long been proletarianized despite their material plight, and how only several deaths in their own ranks bring them to desperate joint action. At the end of the film, even the moderate fisherman and unsuccessful strikebreaker
Kerdhuys finally realizes that only a joint industrial action can lead to success.
776:
677:
524:
emphasized as striking film-aesthetic design elements: "The close-up and detail shots repeatedly bring order to the crowd scenes and constantly force the viewer to make a personal statement. It is both symbolic and at the same time of expressive atmospheric power." The author of the information sheet refers, for example, to the opening symbol of the dying shark devouring a fish with its last convulsions, to a knife flashing in the sand as the workers' fronts face each other, and to the soldiers' boots that freeze Marie shortly before the rape sequence.
1046:(2013/14). Voss based his work on the experience of the failure of Piscator's intention - at the time of the film's premiere, the NSDAP, against which the film was supposed to be directed, was already in power. Voss worked with a video and overhead projector and ink drawings on film. According to the journalist Hili Perlson, Voss' phantasmagorical reconstruction of Piscator's film project of the 1930s was not lost to history, "but rather sets its failure as a starting point for the present." In its "Retrospective 2012: The Red Dream Factory", the
946:
842:. The poster thus focuses on the two contrasting positions within the communities of coastal fishermen, some of whom, following Kedennek, join the sailors' strike or, like the relatively well-off boat owner Bruyk, set out as "strikebreakers" to fish for Bredel. The upper image segment contains details of other film artists involved. (Western) European distribution companies advertised the subtitled export version for the (Western) European market, in some cases with their own film poster.
998:
Camera, the cinema of the State Film
Archive of the GDR, in East Berlin. An information sheet from the GDR State Film Archive characterized the Revolt of the Fishermen as one of the "top works of the sound film era in the Soviet Union" and placed the film in a row with other masterpieces: "With its thrillingly topical message, the magnificently adequate form that compels passionate partisanship, it has earned an honorable place in film history alongside such masterpieces as '
591:
silhouettes also confirm the use of strongly symbolizing light." At the same time, the intense "emphasis on the elements (sea with ebb and flow, rising and subsiding storm, moonlit night and bright day)" intensifies the "impressive play of light. These motifs from nature converge in the demonstrative intensification of the social conflict as a quasi-naturally developing conflict between the strikers, the strikebreakers and the soldiers bought by the state, the church and the
1815:"New films only reached Moscow and Leningrad in a truly reliable way. The provincial towns and especially the rural population very often found themselves in a 'cinema desert'. Films did not even arrive, were already damaged, were shown with defective projectors, often without sound. The existing distribution system was prone to errors, so that not every cinema really got the films that its respective viewers wanted or should see." Nembach, Eberhard (2001)
851:
394:. Four men per shift are to be employed again. When the captain rejects this demand, the deep-sea fishermen decide to go on strike. The fishing fleet had to return to the port of the main town of Port Sebastian. At the shipping company office in Port Sebastian, the sailors are deprived of their wages. The garrison commander and the shipowner Bredel witness the orderly departure of the striking sailors. The commander deploys soldiers.
387:
come on board as by-catch and tries to eat a small fish while it is still dying. The sailors gutting the fish are repeatedly told to work faster. The pace of work on the ships in Bredel's fishing fleet has increased considerably, as the shipowner now only employs three men per shift instead of four. When a worker cuts off his thumb with a shark knife, the fishermen spontaneously stop working in protest.
820:), proved difficult. In the fall of 1932, the film was shot in the rebuilt Mezhrabpomfilm studios in Moscow. In the spring of 1933, the National Socialists' rise to power finally shattered Piscator's intention of reaching a wider German audience with a political film. It was not until the fall of 1933 that he was able to take on the film music, but had to replace the composer
664:, Piscator placed particular emphasis on small-scale fishermen in line with the classical theory of fascism, which "holds the social status between the classes, between the bourgeoisie and the proletariat, responsible for the National Socialist conflagration". However, Haarmann interprets the underlying political intention of the film project as deceptive. Given a divided
838:
poster shows three characters from the film, the strike leader
Kedennek, the boatman Bruyk with his characteristic tobacco pipe and the prostitute Marie in the background, on a sea background in strong yellow and green tones. Kedennek and Bruyk are identified as sailors and coastal fishermen by features such as striped clothing, slouch hats, pipes and
539:, the still young sound direction is also cited: "The sound becomes particularly effective in the functional incorporation of songs and battle songs, which are heard again and again at the climax of the action." The choir of deep-sea fishermen forms a counterpoint to the action surrounding the small-scale fishermen as a static, reflective element.
1019:) such as Eisenstein and Pudovkin, but also independently develops the young medium in terms of visual and sound dramaturgy. Against Eisenstein's advice, Piscator insists on moving the camera. He attaches it to the bow of a ship or lets it go on a roundabout. Cross-fades are another creative device. However, this was by no means acceptable to
937:, took the opposite view. In Lania's view, Piscator had broken new aesthetic ground as a film director, similar to his theater work, as the Revolt of the Fishermen combined various stylistic elements into a work of art that could claim to convey "important approaches for the further development of a great political mass drama".
929:, who had attended a closed screening in Zurich, criticized the film in the Parisian exile press in view of its "profound dishonesty", as Piscator unrealistically assumed that the long road from the mass misery of the fishermen to the victorious revolution would be without complications. The investigative journalist
727:
748:. The Russian version of the screenplay was written by the scenarist Georgi Grebner. Although Piscator had virtually no experience in the film industry, Meschrabpom-Film had set aside just five or at most six months to work on the script and shoot the film, which meant that considerable problems were inevitable.
1058:. Seven decades after its premiere, the film remained dramaturgically effective, as documented by the impressions of one critic: "When the lights go on in the hall, you feel a little disheveled. With the ears still in a time when something was about to happen, with the eyes already back in festival mode ."
523:
in its "Film Sheets" series, according to which
Piscator, a man of the theater, had mastered the wide range of cinematic expression in his only film. The constant alternation between close-ups, long shots and long tracking shots, the atmospheric lighting direction and the symbolic visual language are
490:
of the uprising: Long after the uprising of the fishermen, the insurrection had "still sat on the empty, white summer-bare marketplace" and "calmly thought of its own, whom it had born, raised, cared for and sheltered for what was best for them". This allegorical moment is missing in
Piscator's film,
434:
against Nazi Germany. The director pointed out that he had initially moved the plot of the film "from northern Spain to northern Germany", thus enabling the main characters "to come into contact with those who had a similar social position at the time It corresponded to the small fisherman, the small
321:
The film deals with a strike among the workers of the Bredel shipping company. The strike is triggered by an accident during fish processing, which the workers attribute to the excessive pace of work on the shipping company's fishing fleet. After the death of a strike leader, the strike escalates and
1103:
The plot is based on reconstructed copies of the film, which are based on the subtitled export version from 1935. Copies of the export version exist both in the state feature film archive Gosfilmofond in Belyje Stolby near Moscow and in various Western European film archives. It is not known whether
546:
describes the preferred use of "editing effects and montage" as characteristic of Piscator's film: "The latter is used both contrastively (while the priest invokes the divine right of power, the soldiers rage) and symbolically reinforcing (surf as an illustration of the uprising). Close-ups and long
862:
by the Soviet critic Sergei Dinamov, who was captivated by the artistic quality of the film and "completely spellbound". Nevertheless, Dinamov complained that the plot was so complicated that "in the middle of the film, all the threads get tangled up and it becomes difficult to follow the story." A
807:
about the desperate production conditions and the poor supervision of the ambitious film project by Mezhrabpomfilm. At the beginning of 1932, the Mezhrabpomfilm directors informed Piscator that the plan for a German version of the film would be dropped and that only a Russian version could be shot.
791:
instead, but material shortages and transportation difficulties for the decoration led to delays. The director spent a considerable amount of his time waiting "for the provision of financial resources, film crews and material". Disputes arose over the scope of the buildings for the St. Barbara film
582:
the cinematic use of the chorus, which is often "too static and wooden", shows Piscator's origins in theater directing. Schemel also refers to the special effect of rear projection that Piscator uses in the assassin Andreas' escape from the military: "Andreas' escape and his pursuit by the soldiers
551:
also emphasizes the rapid camera movements and tracking shots - unusual for the time -, oblique camera work and rapid editing sequences. However, Piscator's film always maintained a "balance between aesthetic innovation and outdated schematization", especially with regard to the rather conventional
409:
Fierce fighting breaks out between the insurgent fishermen and their wives and the military, during which the saboteur Andreas is shot dead as he flees. After conquering strategically important military positions, the numerically superior insurgents led by strike leader Hull win the unequal battle.
405:
The mood in the coastal fishing communities is tense. The mourning fishermen from the entire coastal region flock to Martin Kedenek's funeral. The shipowner Bredel arranges for more soldiers to be sent to St. Barbara as he fears an escalation of the conflict. Bredel asked the clergyman to hold back
397:
Strike leader Hull calls for a joint strike between the deep-sea fishermen from Port Sebastian and the coastal fishermen from the surrounding area, whose economic situation is slightly better than that of the deep-sea fishermen. However, joint industrial action does not materialize as the shipowner
837:
The film poster for the original Russian version from 1934 was designed by commercial artist Michail Weksler. The poster for the black-and-white film is designed in color. The film title is set off from the actual illustration at the top edge of the poster in white letters on a red background. The
481:
Seghers expert Helen Fehervary also concludes that Piscator deconstructs an essential element of his literary model: the subject of Seghers' model is the "failed strike of the fishermen against the shipping company that controls their wages and their entire lives. In the end, the boats leave under
401:
A group led by the moderate fisherman Kerdhuys decides against going on strike and wants to go fishing for Bredel the day after the unsuccessful meeting in St. Barbara. In the morning, Martin Kedennek, an individualist from St. Barbara, and his people, who want to go on strike against the shipping
386:
deals with a strike among the impoverished deep-sea fishermen and sailors of the coastal town of Port Sebastian (also: San Sebastian), which is triggered by deteriorating working conditions on the ships of the shipowner Bredel. The fishermen on one of Bredel's ships bring in the catch. A shark has
997:
described the film on the occasion of the television premiere as an "irreplaceable document of German film history" and praised Piscator's "further development of Eisenstein's and Pudowkin's montage principles." The official premiere in the GDR followed on May 1, 1965, in the "Archivfilmtheater"
577:
recognizes a film aesthetic innovation in the fact that Piscator interspersed the "sounds of the ships with words, chants and choirs." With regard to the montage principles, she points out that Piscator did not use them everywhere, but only where they seemed appropriate. He left long discussions
439:
also interprets the completed Russian film version from 1934 as a " virtually placeless, but clearly non-Russian film." Piscator originally wanted to reach a German film audience and the unionized and politically unorganized classes in Germany, who seemed to him to be particularly susceptible to
696:. According to the German scholar Klaus Gleber, however, the realization of an elaborate film with revolutionary content in Germany would have faced "considerable difficulties, especially as the 'Münzenberg Group' did not have the necessary means of production." The left-wing media entrepreneur
626:
policy of the time, for which the petty bourgeois classes were to be won over. Based on the labour dispute between the deep-sea fishermen and the petty-bourgeois coastal fishermen, who, unlike the deep-sea fishermen, owned their means of production, with the shipping company, Piscator wanted to
989:
praised the masterful direction of the images: "When a clenched fist stretches towards the ceiling and is captured by the camera together with a lamp, when the Bible of the unctuous clergyman is torn apart at the funeral and the sharp sea wind drives the leaves across the cemetery - the image
910:
was the first sound film that fulfilled the expectation of a "differentiated, so to speak psychologically deeper, so to speak three-dimensional characterization". This can be seen in the impressive performance of the female characters as well as in the many nuances of the political characters.
631:
by big capital and increasingly so during the crisis, was becoming a potential accomplice of fascism, which promised a solution to the crisis but concealed its means of solving it. Here, "the avant-garde of the proletariat had to create clarity and point out the revolutionary alternative." The
590:
Hermann Haarmann also points to the film's "meaningful lighting direction", which is handled with virtuosity in connection with nature motifs and landscape images, among other things: "Pipe and cigarette smoke rises everywhere and at all times, enveloping heads or silhouettes in backlighting -
700:
therefore put Piscator in touch with the Soviet joint-stock company Mezhrabpomfilm. During negotiations in Moscow, Piscator reached an agreement with Mezhrabpomfilm in September 1930 on a film version of the Plievier novel. In April 1931, he traveled to Moscow with an initial synopsis for the
639:
in the 1970s also picked up on this thematic focus of the film. The united front theme becomes particularly clear at the end of the film, where a chanting choir formulates a call to all exploited people to join the united front. But even the beginning of the film reflects this concept. Since,
506:
Cultural scientist Simone Schofer distinguishes the psychological characterization style of the original book from the "politicized" portrayal of characters in the film. Seghers places more emphasis on individuals and extensively depicts individual reactions and feelings in order to make the
990:
content is always skillfully assigned to the sequence of events." Subsequently, the film was increasingly shown in West German film clubs. Piscator was pleased with the positive media response in West Germany, but found the Belgian copy of his film "dreadful and completely wrongly edited."
659:
According to communication scientist Hermann Haarmann, Piscator positioned his film project "exactly where there is a need for argumentation: in the agitation of the middle classes, who are objectively threatened with proletarianization, but at the same time believe every promise of social
655:
According to Renate Waack-Ullrich, the fishermen, as representatives of the petty bourgeoisie, are only "introduced into the action when the main contradiction between the capitalists and the working class is exposed. The outcome of the strike depends on whether the fishermen side with the
771:
as the shipowner Bredel. At the beginning of August 1931, indoor filming was to begin in the Meshrabpom studio in Moscow, but a fire broke out. A fire destroyed two of a total of three studios, including the decorations that had been set up in them, and required weeks of renovation work.
502:
assassination in January 1919; the funeral procession and burial scenes echo the resonance of the mourning masses that accompanied Liebknecht's coffin through the streets of Berlin. " According to Fehervary, Grebner's script largely adhered to Seghers' original in terms of the plot and
881:
Piscator's feature film premiered in Moscow cinemas on October 5, 1934. Whether it was also shown in other parts of the country besides Moscow and presumably Leningrad is by no means certain, given the considerable lack of films in Soviet cinemas at the time. After the premiere in the
828:
would take another few months. In the spring of 1934, Piscator completed the film project, which had taken almost three years with interruptions. The film cleared the final hurdle and was released by the main cinema administration. The official film premiere was set for October 1934.
668:, whose factions had accused each other of breaking their word and left the field to fascism at the end of the Weimar Republic, the desire of intellectual KPD sympathizers, who at the beginning of the 1930s "still hoped for a turnaround and wanted to work towards it", was illusory.
984:
was impressed by the dynamic crowd scenes: "Ant-like, nervous and feverish, the back and forth swaying of fear and anger in the shooting scenes - the counter-movements of the masses culminate in the spirited counter-cutting of the images to create oppressive drama. " The magazine
792:
village. Piscator threatened to cancel the work and renegotiated his contract with Mezhrabpomfilm in August 1931. When filming could finally have started in Odessa in mid-September 1931, stormy weather hindered the work. Mezhrabpomfilm then ordered the Soviet film director
1054:. Eisler had composed two polyphonic choruses with piano accompaniment for the original German version of the film in the early summer of 1931, which premiered in Berlin on February 12, 2012. The choral fragments were found in the Hanns Eisler Archive of the
709:, which is the subject of Plievier's novel. It was only weeks after his arrival in Moscow that Mezhrabpomfilm informed him that his application to use the Black Sea Fleet had been rejected. The Soviet Foreign Minister, People's Commissar for Foreign Affairs
808:
Once again, a new contract was negotiated. After months of interruption, Piscator was able to resume filming in Odessa in late spring and summer 1932 with Soviet actors. Cooperation with the Soviet actors, who came from different acting traditions (
739:
was not yet possible at the time for technical reasons, both a German and a Russian version of the film were to be shot. The screenplay for the planned German version of the Revolt of the Fishermen was to be written by the Austrian-British writer
1407:. Marburg: Tectum. p. 76 - Arnold, however, only paraphrases film critic Dietrich Kuhlbrodt with regard to both aspects, without making this clear. cf. Dietrich Kuhlbrodt, in: Filmkritik, 9th volume, 4th issue, April 1, 1965, p. 217
444:. Anna Seghers had already shown that these classes were "dependent to the point of being drained". He, on the other hand, wanted to illustrate how it was possible to remain independent by organizing oneself into a trade union.
482:
the same conditions that gave rise to the uprising. The everyday life of class relations is thus restored." This element of failure in Seghers' original bears witness to the revolutionary history in Central Europe after the
357:
premiered in the Soviet Union in October 1934. An export version with subtitles was distributed in other European countries the following year. The film was presented for the first time in West Germany during the
644:, who are afflicted by petty-bourgeois ideology, about their own social situation, Piscator begins it "not with the story of the fishermen, but with the increasingly intensifying main contradiction between
349:
from the transition period from silent to sound film. However, due to the technique of the moving camera and its independent sound direction, the feature film also contrasts with the Russian film tradition.
627:
demonstrate the necessity of a joint, organized struggle. In 1975, a West German study on Piscator's work in Soviet emigration had already pointed out that the petty bourgeoisie, constantly threatened with
1368:
Peter Lang, Frankfurt am Main, p. 304 - Gleber is paraphrasing film critic Dietrich Kuhlbrodt, without making this clear, see Kuhlbrodt, Dietrich in: Filmkritik, 9th volume, 4th issue, April 1, 1967, p.
763:
there in the north, which last for three months, or the nets frozen in the ice." Later that month, during a stay in Berlin, he hired fourteen German and Austrian actors for the film project, including
314:. Due to considerable organizational deficits and differences between the film company and the director, only the Russian version could be completed. This was the feature film debut of German director
863:
few weeks after Dinamov's review, the trade magazine "Kino", published by the Association of Filmmakers (ARRK), published a drastic review. The prominent author of this review, the avant-garde writer
1009:
A restored version, which had been reconstituted from several film prints, was presented by Neue Visionen Filmverleih in Berlin on March 1, 2001. Hermann Haarmann commented the following year in the
290:
964:
in February and March 1960, the film was officially screened for the first time in West Germany on March 4, 1960, in a trimmed, 65-minute print. The founder of the West German Short Film Festival,
1683:
According to film historian Oksana Bulgakova, Piscator had driven the studio "to the brink of bankruptcy" with the most expensive film in the history of Meschrabpom-Film (Oksana Bulgakova (ed.):
430:
in 1928. Piscator made significant changes to the story. He turned the pessimistic ending of the original, in which the fishermen's misery is described in detail, into a militant appeal for the
2067:
Fehervary, Helen (2008). "Landschaften eines Aufstands – und wie sie sich bewegen. Erwin Piscators und Thomas Langhoffs Verfilmungen von Anna Seghers' "Aufstand der Fischer von St. Barbara"".
1513:. Responsible for the volume: Simone Barck, Klaus Jarmatz. 2nd edition. Philipp Reclam jun., Leipzig 1989 (Art and Literature in Anti-Fascist Exile 1933-45 in seven volumes, vol. 1.2), p. 573
1501:. Responsible for the volume: Simone Barck, Klaus Jarmatz. 2nd edition. Philipp Reclam jun., Leipzig 1989 (Art and Literature in Anti-Fascist Exile 1933-45 in seven volumes, vol. 1.2), p. 571
1153:
Berlin: Bertz + Fischer. pp. 141-147, here p. 143 - The Russian film version from 1934 is virtually placeless, partly because the sets and props bear both German and Russian inscriptions.
878:
as a "realistic work", praised the "closeness to life and authenticity of the individual portrayal of its heroes", defended the film as " clever tendency art" and sharply attacked Brik.
800:
as his first assistant. When they fell behind schedule again, the only option was to stop work temporarily, as the contracts with the German actors had already expired in November 1931.
993:
The film became known to a wider West German audience when it was shown on West German television (NDR) on February 20, 1965, with an introduction by Hilmar Hoffmann. The film critic
1266:
Zwei "Aufstände" - aber Niederlage und Sieg. Die Erzählung "Aufstand der Fischer von St. Barbara" von Anna Seghers und die Verfilmung "Aufstand der Fischer" von Erwin Piscator
980:
the previous year. The director of the Belgian Cinémathèque, Jacques Ledoux, had agreed to a screening of The Fishermen's Revolt as part of a retrospective in Oberhausen. The
603:
On the occasion of the film's re-screening at the Berlinale 2012, film scholar Günter Agde emphasizes the close look at the "work in the details of its execution", which the
890:
attributed the film a high topical value in view of the "events in Spain" - that is, an uprising by the Spanish socialists and the bourgeois Catalan government prior to the
796:
to Odesa to provide Piscator with administrative support. Kuleshov was to work out a detailed shooting schedule for the film. At the same time, Piscator was given director
804:
494:
While the geographical setting of Seghers' story is indeterminable, Piscator imagined "a story explicitly set on the German North Sea coast", which evokes the naval and
1878:, Issue 6, 1934, pp. 147-156, quoted from: Peter Diezel: Erwin Piscators Film "Aufstand der Fischer", in: Argonautenschiff, Issue 16. Berlin 2008, pp. 68-79, here p. 77
560:
formal language includes the brief introduction of the protagonists through their faces at the beginning of the film, the spoken and superimposed commentaries - the
564:
are reminiscences of silent films - as well as the choral element of the music. The fact that a chorus intervenes in the action after each "film chapter" is due to
1195:
Landschaften eines Aufstands – und wie sie sich bewegen. Erwin Piscators und Thomas Langhoffs Verfilmungen von Anna Seghers’ „Aufstand der Fischer von St. Barbara“
1184:. Yearbook of the Anna-Seghers-Gesellschaft Berlin und Mainz e. V. Ed.: Anna-Seghers-Gesellschaft, Berlin und Mainz e. V. Issue 16. Berlin. pp. 68-79, here p. 72
133:
212:
169:
151:
547:
tracking shots are just as much a part of the inventory as the image, which is geared towards the viewer's power of association." The communication scientist
994:
724:
and thematic analogies between Plievier's and Seghers' works contributed to Piscator's decision to choose Anna Seghers' story as a suitable replacement.
1003:
548:
145:
127:
115:
79:
579:
103:
1113:
An excerpt from the German version of the screenplay, which covers the film plot up to the decision to strike, is included: Piscator, Erwin (1986).
436:
53:
43:
858:
A few months before the official premiere in Moscow cinemas, a differentiated appraisal of the film was published in May 1934 in the Moscow-based
1031:
574:
208:
121:
1050:
featured the German premiere of a 60-minute silent version of the film. The silent film version was accompanied by fragments of a film score by
1006:'. " In November 1975, the film was also shown in a "new adaptation" on GDR television (DFF 2) on the occasion of Anna Seghers' 75th birthday.
543:
448:
194:
175:
157:
97:
91:
63:
957:
535:, through which the dramaturgical contrasts are heightened to "incredible speed". In addition to the camera work, the crowd scenes and the
359:
109:
473:
1043:
2108:
Schemel, Bianca (2001). "Erwin Piscator und „Wosstanije rybakow" (Aufstand der Fischer)". In May, Rainhard; Jackson, Hendrik (eds.).
660:
advancement." The seductiveness of ideology and propaganda does the rest. Since the middle classes were the basis for the success of
2110:
Filme für die Volksfront. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf – antifaschistische Filmemacher im sowjetischen Exil
1439:
Filme für die Volksfront. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf – antifaschistische Filmemacher im sowjetischen Exil
1422:
Filme für die Volksfront. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf – antifaschistische Filmemacher im sowjetischen Exil
1270:
Filme für die Volksfront. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf - antifaschistische Filmemacher im sowjetischen Exil
1047:
371:
587:. In this, part of the scene is filmed first and the actor is then shot again in front of the film that has already been shot."
552:
character acting including physiognomy, posture and clothing on the one hand and an avant-garde formal language borrowed from
2197:
2192:
2187:
2177:
435:
farmer." Piscator's geographical considerations initially relate to the unfinished German version of the film. Film scholar
973:
1978:
Dietrich Kuhlbrodt, in: Filmkritik, 9th volume, 4th issue, April 1, 1965 (= 100th issue of continuous counting), p. 216 f.
323:
906:, but nevertheless described Piscator as a great film director in view of the "special nuances of the characters". The
870:
The following month, Piscator seconded a group of renowned directors of the Mezhrabpomfilm around Vsevolod Pudovkin in
495:
2039:
1015:: "Piscator's film is a work of art of special quality, which not only borrows from the greats of 'Russian film' (
759:. The Arctic film motifs and the long summer twilight phases made a lasting impression on him: "These magnificent
1568:. Volume 1: Berlin - Moscow 1909-1936. ed. by Peter Diezel. B&S Siebenhaar, Berlin, pp. 299-303, here p. 302.
322:
spreads from the deep-sea fishermen to the independent coastal fishermen in the region. The film was shot in the
2117:
2085:
1011:
516:
2142:
977:
1659:
Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki. Das Buch zur Filmreihe "Moskau-Berlin"
1381:
Hermann Haarmann (ed.): Erwin Piscator am Schwarzen Meer. Bostelmann & Siebenhaar, Berlin 2002, p. 54 f.
2182:
2172:
2133:
1830:
Ein Filmwerk von der Einheitsfront – Zur Uraufführung des Tonfilms „Aufstand der Fischer“ von E. Piscator
1564:
Letter from Erwin Piscator to Yossif Vissarionovich Stalin, August 7, 1934, in: Piscator, Erwin (2005):
1486:
Das „Engels“-Projekt. Ein antifaschistisches Theater deutscher Emigranten in der Sowjetunion (1936–1941)
1133:
Vosstanie rybakov („Aufstand der Fischer“). UdSSR, 1934. Ein Film von Erwin Piscator. Eine Dokumentation
1355:, in: Film-Blätter, Nr. 63. Staatliches Filmarchiv der Deutschen Demokratischen Republik, Berlin , p. 4
1338:, in: Film-Blätter, Nr. 63. Staatliches Filmarchiv der Deutschen Demokratischen Republik, Berlin , p. 3
623:
455:
204:
310:. The original intention was to produce a German and a Russian version directed against the growing
2058:
Diezel, Peter (2004). "Im ständigen Dissens. Erwin Piscator und die Meshrabpom-Film-Gesellschaft".
859:
824:
with younger colleagues due to insufficient cooperation. At the same time, it became apparent that
2137:
1055:
1035:
809:
1657:
Letter from Meshrabpom-Film to the Comintern, October 2–10, 1931, in: Bulgakova, Oksana (ed.):
614:
The film is characterized by the desire to counter the growing Nazi movement at the end of the
1201:
Edited by Anna-Seghers-Gesellschaft Berlin und Mainz. Issue 16. Berlin. pp. 80-88, here p. 81
720:
was quickly selected as a substitute. Peter Diezel assumes that the intensive study of the
693:
2151:
1077:. Selected Writings. Edited by Ludwig Hoffmann. Berlin: Henschel. pp. 386-399, here p. 392
486:. At the beginning of Seghers' story, the failure of the insurgents is visualized with an
8:
2167:
1785:. ed. by Hermann Haarmann and Christoph Hesse. Marburg: Tectum. pp. 121-131, here: p. 126
817:
854:
Film theorist Vsevolod Pudovkin (1920) defended the film against Ossip Brik's criticism.
783:
Piscator decided without much hesitation to prepare the exterior shots on the Ukrainian
775:
697:
676:
839:
813:
640:
according to GDR exile researcher Renate Waack-Ullrich, the film aims to enlighten the
628:
463:
1023:, who expressed his disapproval of the foreigner Piscator in a private preview in the
2113:
2081:
2035:
1965:
Letter from Erwin Piscator to Hilmar Hoffmann, October 20, 1959, in: Erwin Piscator:
891:
706:
528:
346:
342:
139:
779:
Paul Wegener (1932), actor playing Bredel in the canceled German version of the film
452:
2069:
Argonautenschiff (Yearbook of the Anna Seghers Gesellschaft Berlin und Mainz e. V.)
2051:
Argonautenschiff (Yearbook of the Anna Seghers Gesellschaft Berlin und Mainz e. V.)
1039:
895:
751:
In July 1931, Piscator began filming the first shots of nature in the port city of
685:
181:
85:
713:, feared diplomatic entanglements with the German Reich in this case and refused.
390:
In view of the accident, the deep-sea fishermen call on the captain to reduce the
965:
926:
702:
665:
615:
584:
499:
1915:
Piscator, Nicolai Ekk, Eisenstein, Pudowkin. Aus der sowjetischen Filmproduktion
945:
466:
classes". However, this manifested itself as a "rather brutal approach" towards
1121:, edited by Knut Boeser and Renata Vatková. Berlin: Edition Hentrich, pp. 9-12.
999:
797:
710:
608:
565:
391:
327:
315:
303:
163:
67:
39:
1832:, in: Deutsche Zentral-Zeitung, October 12, 1934, quoted from: Jasmin Arnold:
1030:
Piscator's feature film was the object of an installation by Frankfurt artist
2161:
1020:
915:
821:
649:
536:
431:
367:
632:
necessity and success of such a policy were the subject of Piscator's film.
568:
527:
Incidentally, the film's highlights are due to a montage technique based on
1051:
887:
825:
793:
768:
760:
756:
641:
636:
619:
553:
467:
459:
427:
423:
363:
307:
299:
282:
255:
1661:. Freunde der Deutschen Kinemathek, Berlin 1995, pp. 202-205, here p. 204.
930:
374:, but the "precarious condition of copies slowed down a wider reception".
1969:, 1955-1959. ed. by Peter Diezel. B&S Siebenhaar, Berlin 2011, p. 764
1872:„Der Aufstand der Fischer“. Bemerkungen zu Erwin Piscators erstem Tonfilm
1726:, in: Deutsche Zentral-Zeitung, May 6, 1934, quoted from: Peter Diezel:
1016:
764:
741:
721:
692:, which dealt with the precarious working conditions on the ships of the
592:
557:
532:
483:
451:, Piscator's film adaptation was in line with the strategic guideline of
1672:
Erwin Piscator. Die Eröffnung des politischen Zeitalters auf dem Theater
1597:
Conversation with Piscator in Prague, 1934, in: Piscator, Erwin (1980).
337:
In its editing effects, long tracking shots and lighting direction, the
1817:
Stalins Filmpolitik. Der Umbau der sowjetischen Filmindustrie 1929-1938
969:
961:
645:
561:
302:, which was made between 1931 and 1934 on behalf of the German-Russian
286:
1794:
Pudowkin, Wsewolod; Schnejderow, Wladimir; Barnet, Boris et al., in:
2049:
Diezel, Peter (2008). "Erwin Piscators Film "Aufstand der Fischer"".
1685:
Die ungewöhnlichen Abenteuer des Dr. Mabuse im Lande der Bolschewiki.
1601:
Edited by Ludwig Hoffmann. Henschel, Berlin. pp. 121-124, here p. 122
864:
850:
784:
2095:
Kruze, Norman (1994). "Fil'm Ervina Piskatora "Vosstanie rybakov"".
803:
Piscator repeatedly complained to political authorities such as the
1991:
in: Frankfurter Allgemeine Zeitung, August 17, 2002, No. 190, p. 39
871:
752:
705:
for the filming. He wanted to use these ships to recreate the 1916
487:
2032:
Die Revolution frisst ihre Kinder. Deutsches Filmexil in der UdSSR
1392:
Die Revolution frisst ihre Kinder. Deutsches Filmexil in der UdSSR
1151:
Die rote Traumfabrik: Meschrabpom-Film und Prometheus (1921-1936).
1698:
Die rote Traumfabrik: Meschrabpom-Film und Prometheus (1921–1936)
1472:
Die rote Traumfabrik: Meschrabpom-Film und Prometheus (1921-1936)
1182:
Erwin Piscators Film "Aufstand der Fischer". In: Argonautenschiff
1024:
736:
661:
498:
of 1918 and 1919: "In Kedenek's martyrdom, there are echoes of
441:
341:
is stylistically similar to the works of Soviet film directors
331:
311:
2078:
Erwin Piscator am Schwarzen Meer. Briefe, Erinnerungen, Photos
1435:
Erwin Piscator und „Wosstanije rybakow“ (Aufstand der Fischer)
1418:
Erwin Piscator und „Wosstanije rybakow“ (Aufstand der Fischer)
684:
In the summer of 1930, Piscator had initially planned to film
788:
680:
Not available: Destroyer of the Soviet Black Sea Fleet (1924)
413:
1484:
Haarmann, Hermann; Schirmer, Lothar; Walach, Dagmar (1975).
1038:(2010), in a Berlin gallery (solo exhibition, 2011), at the
805:
Central Committee of the Communist Party of the Soviet Union
82:: Andreas (Bruyn), a young fisherman who lives with Kedennek
2146:
2004:
Volume XIX, Issue 2 . Wiener Festwochen, Vienna 2013, p. 13
1104:
the original version of the 1934 feature film has survived.
1094:(1921-1936). Bertz + Fischer, Berlin, pp. 77-89, here p. 89
1952:
Dieter Krusche, in: Filmforum, No. 10, 1959, quoted from:
1853:(Leningrad), October 24, 1934, quoted from: Peter Diezel:
578:
uncut and approached the speakers. For cultural scientist
410:
In the turmoil of the uprising, Bredel manages to escape.
106:: (Johann) Hull, revolutionary sailor from Port Sebastian
1249:
Landschaften eines Aufstands – und wie sie sich bewegen.
1232:
Landschaften eines Aufstands – und wie sie sich bewegen.
1323:. Berlin: Stattkino Berlin. pp. 112–133, here p. 127 f.
1289:. Berlin: Stattkino Berlin. pp. 112–133, here p. 120 f.
1212:
Landschaften eines Aufstands - und wie sie sich bewegen
902:, did not yet recognize "a perfect masterpiece" in the
1709:
There is evidence of a Spanish film poster from 1936 (
1483:
2134:
Literature from and about the Revolt of the Fishermen
1943:
in: Der Spiegel, issue 9, February 24, 1960, p. 70 f.
1779:
Abschied von Europa: "Ein bedeutendes Kunstwerk ...",
1747:, in: Kino, May 22, 1934, quoted from: Peter Diezel:
1306:. Berlin: Stattkino Berlin. pp. 112–133, here p. 125.
1092:
Die rote Traumfabrik: Meschrabpom-Film und Prometheus
1073:
Piscator, Erwin (1980). , in: Piscator, Erwin :
701:
screenplay. Piscator had asked to use ships from the
1956:, in: Der Spiegel, issue 9, February 24, 1960, p. 71
1272:. Berlin: Stattkino Berlin. pp. 112-133, here p. 118
1441:. Berlin; Stattkino Berlin. pp. 89–111, here p. 108
1424:. Berlin; Stattkino Berlin. pp. 89–111, here p. 109
744:, who had also worked on Piscator's screenplay for
671:
2002:nruhe der Form. Entwürfe des politischen Subjekts.
1904:, in: Das Neue Tage-Buch (Paris), February 9, 1935
1847:„Der Aufstand der Fischer“. Piscators erster Film
1542:. Bostelmann & Siebenhaar, Berlin 2002, p. 53
1529:. Bostelmann & Siebenhaar, Berlin 2002, p. 54
1457:. Bostelmann & Siebenhaar, Berlin 2002, p. 48
1437:. In: May, Rainhard and Jackson, Hendrik (eds.):
1420:. In: May, Rainhard and Jackson, Hendrik (eds.):
918:criticized in the German edition of the magazine
2159:
1474:. Berlin: Bertz + Fischer. pp. 77-89, here p. 86
1470:in: Agde, Günter and Schwarz, Alexander (eds.):
124:: Marie, prostitute and temporary help for Desak
1734:, Issue 16. Berlin 2008, pp. 68-79, here p. 77.
1331:
1329:
1806:, Issue 16. Berlin 2008, pp. 68-79, here p. 76
1755:, Issue 16. Berlin 2008, pp. 68-79, here p. 76
1135:(in German). Berlin: Selbstverlag. p. 15.
519:published an undated information sheet on the
362:in March 1960. It has since been presented in
2112:. Berlin: Stattkino Berlin. pp. 89–111.
1488:(in German). Worms: Georg Heintz. p. 58.
1468:Im Widerstreit der Bilder. Utopias and Topoi.
1149:, in: Günter Agde, Alexander Schwarz (eds.):
1090:, in: Günter Agde, Alexander Schwarz (eds.):
94:: Martin Kedennek, fisherman from St. Barbara
1967:Briefe. Band 3.2: Bundesrepublik Deutschland
1800:Erwin Piscators Film "Aufstand der Fischer",
1798:, June 10, 1934, quoted from: Peter Diezel:
1749:Erwin Piscators Film "Aufstand der Fischer",
1728:Erwin Piscator's Film "Aufstand der Fischer"
1326:
1319:. In: Rainhard May, Hendrik Jackson (eds.):
1302:. In: Rainhard May, Hendrik Jackson (eds.):
1285:. In: Rainhard May, Hendrik Jackson (eds.):
1268:. In: Rainhard May, Hendrik Jackson (eds.):
1119:Moscow - Paris - New York - Berlin 1931-1966
1088:Im Widerstreit der Bilder. Utopias and Topoi
933:, who reviewed the film for the exile organ
1855:Erwin Piscators Film „Aufstand der Fischer“
1724:Piscators Film – eine ausgezeichnete Arbeit
1642:Erwin Piscator and Soviet Cultural Politics
1625:Erwin Piscators Film „Aufstand der Fischer“
1582:Erwin Piscators Film „Aufstand der Fischer“
1317:Zwei „Aufstände“ – aber Niederlage und Sieg
1300:Zwei „Aufstände“ – aber Niederlage und Sieg
1283:Zwei „Aufstände“ – aber Niederlage und Sieg
1889:Vosstanie rybakov („Aufstand der Fischer“)
1648:51st vol. part 2. pp. 236-253, here p. 239
1612:Vosstanie rybakov („Aufstand der Fischer“)
1599:Theater, Film, Politik. Selected Writings.
1169:Vosstanie rybakov („Aufstand der Fischer“)
414:Relationship to the original literary work
2066:
1917:, in: Pariser Tageszeitung, June 14, 1936
1696:Agde, Günter; Schwarz, Alexander (eds.):
1218:Issue 16. Berlin, p. 80-88, here p. 81 f.
940:
491:as it is aimed at a successful uprising.
2075:
1631:Issue 16. Berlin. pp. 68-79, here p. 70.
944:
849:
845:
774:
726:
675:
472:
2107:
2080:. Berlin: Bostelmann & Siebenhaar.
1930:Frankfurt am Main: Peter Lang, . p. 305
1861:. Berlin 2008, pp. 68–79, here p. 77 f.
1700:. Berlin: Bertz + Fischer. 2012. p. 140
1588:Issue 16. Berlin. pp. 68-79, here p. 69
1255:Issue 16. Berlin, pp. 80–88, here p. 84
1238:Issue 16. Berlin, pp. 80–88, here p. 83
1130:
1044:Württembergischer Kunstverein Stuttgart
426:, for which the author was awarded the
418:The feature film is based on the novel
88:: Bredel, owner of the shipping company
2160:
2057:
2048:
2029:
1555:Frankfurt am Main: Peter Lang. p. 301.
968:, had learned of the existence of two
718:Revolt of the fishermen of St. Barbara
583:are filmed with a special effect, the
420:Revolt of the Fishermen of St. Barbara
142:: Garrison commander of Port Sebastian
2094:
1646:Jahrbücher für Geschichte Osteuropas.
1576:
1574:
1521:
1519:
1449:
1447:
1377:
1375:
1348:
1346:
1344:
1226:
1224:
2017:, in: der Freitag, February 22, 2012
1674:. Frankfurt a. M: Suhrkamp. p. 84 f.
1163:
1161:
1159:
154:: Bruyk, boat owner from St. Barbara
1902:Piscators Fischer von Sankt Barbara
1210:Quoted from Helen Fehervary (2008)
360:6th West German Short Film Festival
13:
1571:
1516:
1444:
1372:
1341:
1221:
14:
2209:
2127:
1989:Pech im Auto, Glück in der Liebe,
1834:Die Revolution frisst ihre Kinder
1783:Exil in der Sowjetunion 1933-1945
1766:Die Revolution frisst ihre Kinder
1405:Die Revolution frisst ihre Kinder
1156:
1115:A working biography in 2 volumes.
607:shares with other productions by
515:Soon after Piscator's death, the
148:: Desak, innkeeper in St. Barbara
1819:, St. Augustin: Gardez! p. 60f.
1540:Erwin Piscator am Schwarzen Meer
1527:Erwin Piscator am Schwarzen Meer
1455:Erwin Piscator am Schwarzen Meer
898:, who reviewed the film for the
672:Adverse production circumstances
510:
458:leadership of the "anti-fascist
16:1934 Soviet film by Anna Seghers
2076:Haarmann, Hermann, ed. (2002).
2023:
2007:
1994:
1981:
1972:
1959:
1946:
1933:
1920:
1907:
1894:
1881:
1864:
1839:
1822:
1809:
1788:
1771:
1758:
1737:
1716:
1703:
1690:
1677:
1664:
1651:
1634:
1617:
1604:
1591:
1558:
1545:
1532:
1504:
1492:
1477:
1460:
1427:
1410:
1397:
1384:
1358:
1309:
1292:
1275:
1258:
1241:
1204:
974:Cinémathèque royale de Belgique
958:West German Short Film Festival
950:Cinémathèque royale de Belgique
571:, from which Piscator borrows.
2034:(in German). Marburg: Tectum.
1614:. Berlin: Selbstverlag. p. 20.
1187:
1174:
1139:
1124:
1107:
1097:
1080:
1067:
1012:Frankfurter Allgemeine Zeitung
832:
295:the Fishermen of Santa Barbara
130:: Kerdhuys, fisherman from Wyk
1:
1836:. Tectum, Marburg 2003, p. 77
1711:La Revuelta de los Pescadores
1171:. Berlin: Selbstverlag. p. 15
1061:
517:State Film Archive of the GDR
447:According to theater scholar
2198:Films based on German novels
2193:Soviet black-and-white films
2188:Russian-language drama films
2178:1930s Russian-language films
1941:Piscator. Der Bürgerschreck,
1891:. Berlin: Selbstverlag. p. 4
1670:Willett, John (1982) :
894:. The Hungarian film critic
767:as the prostitute Marie and
652:: Bredel's fishing vessel."
277:(Russian Восстание рыбаков,
112:: Nehr, imprisoned fisherman
7:
1954:Piscator. Der Bürgerschreck
1928:Theater und Öffentlichkeit.
1553:Theater und Öffentlichkeit.
1366:Theater und Öffentlichkeit.
731:The Port of Murmansk (1928)
10:
2214:
2015:Publikum kommt, Volk fehlt
2000:Wiener Festwochen (ed.): U
1887:Goergen, Jeanpaul (1993):
1859:Argonautenschiff, Issue 16
1777:Haarmann, Hermann (2010).
1610:Goergen, Jeanpaul (1993).
1167:Goergen, Jeanpaul (1993).
1131:Goergen, Jeanpaul (1993).
972:copies of the film in the
100:: Marie Kedennek, his wife
1247:Fehervary, Helen (2008).
1230:Fehervary, Helen (2008).
1147:Mit dem Blick nach Westen
1034:, which was shown at the
598:
462:and the inclusion of the
261:
251:
241:
218:
200:
190:
73:
59:
49:
35:
26:
21:
1876:Internationale Literatur
1538:Haarmann Hermann (ed.):
1525:Haarmann Hermann (ed.):
1453:Hermann Haarmann (ed.):
1433:Schemel, Bianca (2001).
1416:Schemel, Bianca (2001).
1394:. Marburg; Tectum. p. 76
1353:Der Aufstand der Fischer
1336:Der Aufstand der Fischer
1321:Filme für die Volksfront
1315:Schofer, Simone (2001).
1304:Filme für die Volksfront
1298:Schofer, Simone (2001).
1287:Filme für die Volksfront
1281:Schofer, Simone (2001).
1264:Schofer, Simone (2001).
1193:Fehervary, Helen (2008)
920:Internationale Literatur
884:Deutsche Zentral-Zeitung
860:Deutsche Zentral-Zeitung
118:: Katharina, Nehr's wife
2152:Revolt of the fishermen
2143:Revolt of the fishermen
2138:German National Library
2097:Kinovedicheskie zapiski
2030:Arnold, Jasmin (2003).
1768:. Marburg: Tectum. p.78
1764:Arnold, Jasmin (2003).
1390:Arnold, Jasmin (2003).
1036:Frankfurter Kunstverein
908:Revolt of the Fishermen
904:Revolt of the Fishermen
876:Revolt of the Fishermen
688:successful debut novel
605:Revolt of the Fishermen
595:to do the dirty work."
521:Revolt of the Fishermen
384:Revolt of the Fishermen
377:
366:, arthouse cinemas and
355:Revolt of the Fishermen
339:Revolt of the Fishermen
274:Revolt of the Fishermen
22:Revolt of the Fishermen
2136:in the catalog of the
1926:Gleber, Klaus (1979).
1623:Diezel, Peter (2008).
1580:Diezel, Peter (2008).
1551:Gleber, Klaus (1979).
1403:Arnold, Jasmin (2003)
1180:Diezel, Peter (2008).
1145:Agde, Günther (2012).
1075:Theater, Film, Politik
1056:Berlin Academy of Arts
978:Cinémathèque française
953:
941:Rediscovery in Germany
886:, the Austrian critic
855:
780:
732:
703:Soviet Black Sea Fleet
681:
635:Exile research in the
478:
1687:Berlin 1995, p. 186).
1466:Agde, Günter (2012).
1364:Gleber Klaus (1979).
1086:Agde, Günter (2012).
948:
925:The communist writer
853:
846:Reception at the time
778:
730:
679:
618:with an anti-fascist
476:
134:Konstantin Dawidowski
2071:(16). Berlin: 80–88.
2053:(16). Berlin: 68–79.
1640:Mally, Lynn (2003).
960:, which was held in
935:Pariser Tageszeitung
722:1918 sailors' mutiny
716:Anna Seghers' novel
213:Nikolai Tschemberski
170:Alexander Timontajew
152:Alexander Safroschin
622:, in line with the
542:The German scholar
496:Spartacus uprisings
477:Anna Seghers (1966)
289:based on the novel
27:Восстание рыбаков (
2183:Soviet drama films
2173:1930s Soviet films
1987:Hermann Haarmann:
1900:Koestler, Arthur.
1042:(2013) and at the
995:Dietrich Kuhlbrodt
954:
856:
781:
733:
686:Theodor Plievier's
682:
629:proletarianization
556:on the other. The
479:
442:National Socialism
279:Wosstanije rybakow
29:Wosstanije rybakow
1745:Plody seperatisma
1629:Argonautenschiff.
1586:Argonautenschiff.
1511:Exil in der UdSSR
1499:Exil in der UdSSR
1253:Argonautenschiff.
1236:Argonautenschiff.
1216:Argonautenschiff.
1199:Argonautenschiff.
892:Spanish Civil War
746:Des Kaisers Kulis
707:Battle of Jutland
690:Des Kaisers Kulis
666:workers' movement
569:Lehrstück-Theater
500:Karl Liebknecht's
347:Vsevolod Pudovkin
343:Sergei Eisenstein
328:peninsula of Kola
269:
268:
140:Konstantin Eggert
2205:
2154:, Berlinale 2012
2123:
2104:
2091:
2072:
2063:
2054:
2045:
2018:
2011:
2005:
1998:
1992:
1985:
1979:
1976:
1970:
1963:
1957:
1950:
1944:
1937:
1931:
1924:
1918:
1911:
1905:
1898:
1892:
1885:
1879:
1868:
1862:
1843:
1837:
1826:
1820:
1813:
1807:
1804:Argonautenschiff
1792:
1786:
1775:
1769:
1762:
1756:
1753:Argonautenschiff
1741:
1735:
1732:Argonautenschiff
1722:Sergei Dinamov:
1720:
1714:
1707:
1701:
1694:
1688:
1681:
1675:
1668:
1662:
1655:
1649:
1638:
1632:
1621:
1615:
1608:
1602:
1595:
1589:
1578:
1569:
1562:
1556:
1549:
1543:
1536:
1530:
1523:
1514:
1508:
1502:
1496:
1490:
1489:
1481:
1475:
1464:
1458:
1451:
1442:
1431:
1425:
1414:
1408:
1401:
1395:
1388:
1382:
1379:
1370:
1362:
1356:
1350:
1339:
1333:
1324:
1313:
1307:
1296:
1290:
1279:
1273:
1262:
1256:
1245:
1239:
1228:
1219:
1208:
1202:
1191:
1185:
1178:
1172:
1165:
1154:
1143:
1137:
1136:
1128:
1122:
1111:
1105:
1101:
1095:
1084:
1078:
1071:
1040:Vienna Secession
1004:The Road to Life
698:Willi Münzenberg
566:Bertolt Brecht's
549:Hermann Haarmann
234:
232:
182:Vladimir Uralsky
146:Nikolai Iswolski
128:Wassili Kowrigin
116:Emma Zessarskaja
86:Sergei Martinson
80:Dmitri Konsowski
19:
18:
2213:
2212:
2208:
2207:
2206:
2204:
2203:
2202:
2158:
2157:
2130:
2120:
2088:
2042:
2026:
2021:
2013:Tobias Hering:
2012:
2008:
1999:
1995:
1986:
1982:
1977:
1973:
1964:
1960:
1951:
1947:
1938:
1934:
1925:
1921:
1912:
1908:
1899:
1895:
1886:
1882:
1870:Ernst Ottwalt:
1869:
1865:
1844:
1840:
1827:
1823:
1814:
1810:
1793:
1789:
1776:
1772:
1763:
1759:
1742:
1738:
1721:
1717:
1708:
1704:
1695:
1691:
1682:
1678:
1669:
1665:
1656:
1652:
1639:
1635:
1622:
1618:
1609:
1605:
1596:
1592:
1579:
1572:
1563:
1559:
1550:
1546:
1537:
1533:
1524:
1517:
1509:
1505:
1497:
1493:
1482:
1478:
1465:
1461:
1452:
1445:
1432:
1428:
1415:
1411:
1402:
1398:
1389:
1385:
1380:
1373:
1363:
1359:
1351:
1342:
1334:
1327:
1314:
1310:
1297:
1293:
1280:
1276:
1263:
1259:
1246:
1242:
1229:
1222:
1209:
1205:
1192:
1188:
1179:
1175:
1166:
1157:
1144:
1140:
1129:
1125:
1112:
1108:
1102:
1098:
1085:
1081:
1072:
1068:
1064:
966:Hilmar Hoffmann
943:
927:Arthur Koestler
848:
835:
674:
616:Weimar Republic
601:
585:rear projection
580:Bianca Schemel,
513:
484:First World War
464:petit-bourgeois
416:
380:
306:company in the
247:88 (92) minutes
244:
237:
230:
228:
221:
104:Nikolai Gladkow
17:
12:
11:
5:
2211:
2201:
2200:
2195:
2190:
2185:
2180:
2175:
2170:
2156:
2155:
2149:
2140:
2129:
2128:External links
2126:
2125:
2124:
2118:
2105:
2092:
2086:
2073:
2064:
2055:
2046:
2040:
2025:
2022:
2020:
2019:
2006:
1993:
1980:
1971:
1958:
1945:
1932:
1919:
1906:
1893:
1880:
1863:
1838:
1828:Hugo Huppert:
1821:
1808:
1787:
1770:
1757:
1736:
1715:
1702:
1689:
1676:
1663:
1650:
1633:
1616:
1603:
1590:
1570:
1557:
1544:
1531:
1515:
1503:
1491:
1476:
1459:
1443:
1426:
1409:
1396:
1383:
1371:
1357:
1340:
1325:
1308:
1291:
1274:
1257:
1240:
1220:
1203:
1186:
1173:
1155:
1138:
1123:
1106:
1096:
1079:
1065:
1063:
1060:
1048:2012 Berlinale
982:Film-Telegramm
942:
939:
874:, who praised
847:
844:
834:
831:
798:Mikhail Doller
735:As subsequent
711:Maxim Litvinov
673:
670:
642:middle classes
609:Mezhrabpomfilm
600:
597:
512:
509:
488:allegorization
415:
412:
392:work intensity
379:
376:
372:Berlinale 2012
368:film festivals
364:film societies
326:, the Russian
316:Erwin Piscator
304:Mezhrabpomfilm
267:
266:
263:
259:
258:
253:
249:
248:
245:
242:
239:
238:
236:
235:
224:
222:
219:
216:
215:
202:
198:
197:
192:
188:
187:
186:
185:
179:
173:
167:
164:Vladimir Lepko
161:
155:
149:
143:
137:
131:
125:
119:
113:
107:
101:
95:
89:
83:
75:
71:
70:
68:Mezhrabpomfilm
61:
57:
56:
54:Georgi Grebner
51:
47:
46:
44:Michail Doller
40:Erwin Piscator
37:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
2210:
2199:
2196:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2165:
2163:
2153:
2150:
2148:
2144:
2141:
2139:
2135:
2132:
2131:
2121:
2115:
2111:
2106:
2102:
2098:
2093:
2089:
2083:
2079:
2074:
2070:
2065:
2061:
2056:
2052:
2047:
2043:
2041:9783828884793
2037:
2033:
2028:
2027:
2016:
2010:
2003:
1997:
1990:
1984:
1975:
1968:
1962:
1955:
1949:
1942:
1939:Quoted from:
1936:
1929:
1923:
1916:
1910:
1903:
1897:
1890:
1884:
1877:
1873:
1867:
1860:
1856:
1852:
1848:
1845:Béla Balázs:
1842:
1835:
1831:
1825:
1818:
1812:
1805:
1801:
1797:
1791:
1784:
1780:
1774:
1767:
1761:
1754:
1750:
1746:
1740:
1733:
1729:
1725:
1719:
1712:
1706:
1699:
1693:
1686:
1680:
1673:
1667:
1660:
1654:
1647:
1643:
1637:
1630:
1626:
1620:
1613:
1607:
1600:
1594:
1587:
1583:
1577:
1575:
1567:
1561:
1554:
1548:
1541:
1535:
1528:
1522:
1520:
1512:
1507:
1500:
1495:
1487:
1480:
1473:
1469:
1463:
1456:
1450:
1448:
1440:
1436:
1430:
1423:
1419:
1413:
1406:
1400:
1393:
1387:
1378:
1376:
1367:
1361:
1354:
1349:
1347:
1345:
1337:
1332:
1330:
1322:
1318:
1312:
1305:
1301:
1295:
1288:
1284:
1278:
1271:
1267:
1261:
1254:
1250:
1244:
1237:
1233:
1227:
1225:
1217:
1213:
1207:
1200:
1196:
1190:
1183:
1177:
1170:
1164:
1162:
1160:
1152:
1148:
1142:
1134:
1127:
1120:
1116:
1110:
1100:
1093:
1089:
1083:
1076:
1070:
1066:
1059:
1057:
1053:
1049:
1045:
1041:
1037:
1033:
1032:Jeronimo Voss
1028:
1026:
1022:
1021:Joseph Stalin
1018:
1014:
1013:
1007:
1005:
1001:
996:
991:
988:
983:
979:
975:
971:
967:
963:
959:
951:
947:
938:
936:
932:
928:
923:
921:
917:
916:Ernst Ottwalt
912:
909:
905:
901:
897:
893:
889:
885:
879:
877:
873:
868:
866:
861:
852:
843:
841:
830:
827:
823:
822:Yuri Shaporin
819:
815:
811:
806:
801:
799:
795:
790:
786:
777:
773:
770:
766:
762:
758:
754:
749:
747:
743:
738:
729:
725:
723:
719:
714:
712:
708:
704:
699:
695:
694:imperial navy
691:
687:
678:
669:
667:
663:
657:
653:
651:
650:working class
647:
643:
638:
633:
630:
625:
621:
617:
612:
610:
606:
596:
594:
588:
586:
581:
576:
575:Jasmin Arnold
572:
570:
567:
563:
559:
555:
550:
545:
540:
538:
537:cross-cutting
534:
530:
525:
522:
518:
511:Film analysis
508:
504:
501:
497:
492:
489:
485:
475:
471:
469:
465:
461:
457:
454:
450:
445:
443:
438:
433:
432:popular front
429:
425:
421:
411:
407:
403:
399:
395:
393:
388:
385:
375:
373:
369:
365:
361:
356:
351:
348:
344:
340:
335:
333:
329:
325:
319:
317:
313:
312:Nazi movement
309:
305:
301:
297:
296:
293:
288:
284:
280:
276:
275:
264:
260:
257:
254:
250:
246:
240:
226:
225:
223:
217:
214:
210:
209:Wladimir Fere
206:
203:
199:
196:
193:
189:
183:
180:
177:
174:
171:
168:
165:
162:
159:
156:
153:
150:
147:
144:
141:
138:
135:
132:
129:
126:
123:
122:Vera Yanukova
120:
117:
114:
111:
108:
105:
102:
99:
96:
93:
90:
87:
84:
81:
78:
77:
76:
72:
69:
65:
62:
58:
55:
52:
50:Screenplay by
48:
45:
41:
38:
34:
30:
25:
20:
2109:
2100:
2096:
2077:
2068:
2062:(20): 39–56.
2059:
2050:
2031:
2024:Bibliography
2014:
2009:
2001:
1996:
1988:
1983:
1974:
1966:
1961:
1953:
1948:
1940:
1935:
1927:
1922:
1914:
1913:Lania, Leo.
1909:
1901:
1896:
1888:
1883:
1875:
1871:
1866:
1858:
1854:
1851:Rote Zeitung
1850:
1846:
1841:
1833:
1829:
1824:
1816:
1811:
1803:
1799:
1795:
1790:
1782:
1778:
1773:
1765:
1760:
1752:
1748:
1744:
1743:Ossip Brik,
1739:
1731:
1727:
1723:
1718:
1710:
1705:
1697:
1692:
1684:
1679:
1671:
1666:
1658:
1653:
1645:
1641:
1636:
1628:
1624:
1619:
1611:
1606:
1598:
1593:
1585:
1581:
1565:
1560:
1552:
1547:
1539:
1534:
1526:
1510:
1506:
1498:
1494:
1485:
1479:
1471:
1467:
1462:
1454:
1438:
1434:
1429:
1421:
1417:
1412:
1404:
1399:
1391:
1386:
1365:
1360:
1352:
1335:
1320:
1316:
1311:
1303:
1299:
1294:
1286:
1282:
1277:
1269:
1265:
1260:
1252:
1248:
1243:
1235:
1231:
1215:
1211:
1206:
1198:
1194:
1189:
1181:
1176:
1168:
1150:
1146:
1141:
1132:
1126:
1118:
1114:
1109:
1099:
1091:
1087:
1082:
1074:
1069:
1052:Hanns Eisler
1029:
1010:
1008:
992:
986:
981:
955:
949:
934:
924:
919:
913:
907:
903:
900:Rote Zeitung
899:
888:Hugo Huppert
883:
880:
875:
869:
857:
840:spade beards
836:
826:film editing
810:Stanislavski
802:
794:Lev Kuleshov
782:
769:Paul Wegener
761:white nights
757:Arctic Ocean
750:
745:
742:Anna Wiesner
734:
717:
715:
689:
683:
658:
654:
634:
620:united front
613:
604:
602:
589:
573:
554:epic theater
544:Klaus Gleber
541:
533:silent films
526:
520:
514:
505:
493:
480:
468:Anna Seghers
460:united front
449:Peter Diezel
446:
437:Günther Agde
428:Kleist Prize
424:Anna Seghers
419:
417:
408:
404:
400:
396:
389:
383:
381:
370:such as the
354:
352:
338:
336:
320:
308:Soviet Union
300:Anna Seghers
294:
291:
283:feature film
278:
273:
272:
270:
256:Soviet Union
243:Running time
220:Release date
205:Ferenc Szabó
98:Judif Gliser
28:
1017:Alfred Kerr
956:At the 6th
914:The writer
896:Béla Balázs
833:Film poster
787:coast near
765:Lotte Lenya
646:capitalists
593:bourgeoisie
562:intertitles
558:avant-garde
195:M. Schitowa
176:Ivan Bobrov
166:: Fisherman
158:Andrei Fait
92:Alexei Diki
64:W. Tschaika
60:Produced by
36:Directed by
2168:1934 films
2162:Categories
2119:3000075402
2103:: 120–139.
2087:3934189830
1117:Volume 2,
1062:References
962:Oberhausen
952:, Brussels
818:Mayakovsky
529:Eisenstein
453:Thälmann's
287:sound film
285:and early
1000:Chapayev'
987:Filmforum
931:Leo Lania
865:Osip Brik
814:Meyerhold
785:Black Sea
292:Revolt of
191:Edited by
184:: Soldier
172:: Soldier
160:: Soldier
110:F. Ivanov
2060:Filmexil
1796:Izvestia
976:and the
872:Izvestia
753:Murmansk
648:and the
262:Language
201:Music by
136:: Priest
74:Starring
1025:Kremlin
755:on the
737:dubbing
662:fascism
324:Ukraine
281:) is a
265:Russian
252:Country
229: (
2116:
2084:
2038:
1874:, in:
1857:, in:
1849:, in:
1730:, in:
1644:, in:
1627:. In:
1584:. In:
1566:Briefe
1214:. In:
1197:. In:
599:Topics
332:Moscow
178:: Nick
970:16-mm
789:Odesa
2147:IMDb
2114:ISBN
2082:ISBN
2036:ISBN
1802:in:
1781:in:
1751:in:
1251:In:
1234:In:
1002:or '
382:The
378:Plot
353:The
345:and
330:and
271:The
231:1934
227:1934
2145:on
1369:217
1027:."
637:GDR
624:KPD
531:'s
456:KPD
422:by
298:by
2164::
2101:24
2099:.
1713:).
1573:^
1518:^
1446:^
1374:^
1343:^
1328:^
1223:^
1158:^
816:,
812:,
334:.
318:.
211:,
207:,
66:,
42:,
2122:.
2090:.
2044:.
233:)
31:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.