Читать книгу Liesl Frank, Charlotte Dieterle and the European Film Fund - Martin Sauter - Страница 2

By Martin Sauter

Submitted for the degree of Doctor of Philosophy Warwick University/ German Department Supervised by Professor Erica Carter February 2010

I am profoundly indebted to the many people, archives and institutions who have helped this thesis reach completion: to Warwick University for awarding me a bursary that allowed me to embark on my examination by fully concentrating on my research; to my doctoral supervisor, Professor Dr. Erica Carter who shepherded me through this thesis and who taught me what it requires to be a scholar and historian; to Professor Emeritus Dr. John Spalek, Albany, for letting me have the use of his house while I conducted research at the State University of New York at Albany, and especially for generously making his personal exile archive accessible to me; to Gero Gandert from the Kinemathek, Berlin, who encouraged me to write about the European Film Fund and who shared his knowledge about German-Jewish émigrés with me, and, also, for putting me in touch with a number of descendants of erstwhile émigrés in Hollywood; to Robert Koster, Lupita Tovar-Kohner, Pancho Kohner, Renata Lenart, and John Pommer in Los Angeles for generously giving of their time and providing me with first-hand accounts of the exile experience; to Dr. Jan-Christopher Horak, Los Angeles, who also encouraged me in my decision to make the European Film Fund the topic of my doctoral thesis; to Holly-Jane Rahlens, Berlin, for putting me in touch with Gero Gandert and Renata Lenart; to Dr. Carey Harrison, New York, for sharing his memories of his mother, Lilli Palmer, with me; to Dr. Dr. Helwig Hassenpflug, Berlin, for tirelessly answering all my questions regarding the life in exile of the late Blandine Ebinger, his former wife; to Dr. Virginia Sease, Dornach/ Switzerland, and Dr. Erich Frey, Los Angeles, for talking to me about their encounters with Liesl Frank; to Dr. Thomas Elsaesser, Amsterdam, for providing me with a copy of his interview with the late Walter Reisch.

Thanks must also go to the many librarians and archivists who have helped and assisted me in my research: to Barbara Hall at the Margaret Herrick Library at the Academy of Motion Picture Arts and Sciences in Beverly Hills; to Caroline Sisneros at the Louis B. Mayer Library at the American Film Institute in Los Angeles; to Marje Schütze-Coburn and Rachelle Balinas Smith at the Feuchtwanger Memorial Library at the University of Southern California, Los Angeles; to Gerrit Thiess at the Kinemathek Berlin; to John Vernon and Robert Ellis at the National Archives at College Park/ Maryland; to Mary Y. Osielski at the Grenander Department of Special Collections at the State University of New York at Albany; to Katrin Kokot and Sylvia Asmus at the Exile Archive of the German National Library at Frankfurt/ Main; to

Miriam Intrator and Irit G. Pinchovski at the Center for Jewish History in New York; to Carmen Kaspar, Elke Tietz-Allmendinger, Hildegard Dieke and Jan Buerger at the German Literature Archive at Marbach; to Ina Prescher, Synke Vollring, Elgine Helmstädt, Nicky Rittmeyer and Andrea Rolz at the Academy of Arts in Berlin; and to Dr. Stefan Mörz at the Archives of the City of Ludwigshafen. I am also deeply indebted to Barbara Bab-Houlehan, Kentucky, and Marianne Brünn-Kortner, Berlin, for allowing me to photocopy documents pertaining to their fathers, Julius Bab and Fritz Kortner respectively. Furthermore, I would like to thank Dr. Ian Wallace, Bath, Brian Neve, Bath, Dr. Armin Loacker, Vienna, Dr. Helmut G. Asper, Bielefeld, and Werner Sudendorf, Berlin, for their help and advice.

Last but not least, I should like to thank my former employer, Chanel S. A. in Paris, as well as my friends Martin Wörle, Frank Schott, Tülay and Ceyhan Özbek, Bruno Secchi, Benoit Dufrene, Stefan Fuhrmann and Michael Chambers for their understanding, support, and generosity over the past three years.