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Erschienen in:
Introduction: ‘Millions of People Every Day’—Cinema as Part of the Quotidian of Life Kapitel lesen Erstes Kapitel lesen

2022 | OriginalPaper | Buchkapitel

Film Exhibition, Distribution and Popularity in German-Occupied Belgium (1940–1944): Brussels, Antwerp and Liege

verfasst von : Roel Vande Winkel, John Sedgwick

Erschienen in: Towards a Comparative Economic History of Cinema, 1930–1970

Verlag: Springer International Publishing

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Abstract

This chapter investigates filmgoing and distribution in urban Belgium during the German occupation (1940–1944). It is based on all films screened in Brussels, Antwerp and Liege between 1 January 1941 and 31 December 1943—each city representing contrasting cultural and linguistic traditions. The research finds a clear cultural divide between film screenings in Flanders and Wallonia. The differences between the POPSTAT top 20 lists of the three cities are remarkable, particularly between Brussels-Antwerp and Liege-Antwerp. While subject to many edicts, filmgoing remained an essential activity for the Belgian people, irrespective of where they lived. The longevity of films in circulation represents a difference between the pre-and post-war system of distribution, occasioned by supply shortages. Films were required to work harder.

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Vorheriges Kapitel Unravelling Australia’s ‘Infamous “Contract” System’: Evidence from Adelaide, 1942–1943
Nächstes Kapitel Five Italian Cities: Comparative Analysis of Cinema Types, Film Circulation and Relative Popularity in the Mid-1950s
Fußnoten
1
In 1920, 59% of the inhabitants declared that they were francophone or francophone-bilingual. In 1930, it was 63% and in 1947 (shortly after World War II) 71%. In 1939, only 19% of the children went to Dutch-speaking schools. Witte and Craeybeckx (2010, p. 173).
 
2
Witte and Craeybeckx (2010).
 
3
Engelen and Vande Winkel (2018a, pp. 78–79).
 
4
In 2021, this procedure is still applied, even though cinemas no longer screen physical prints but digital files.
 
5
For instance, the city archives of Ghent and Leuven hold thousands of film posters that were submitted to municipal authorities (local police) to authorise for public display. For Ghent, visit https://​beeldbank.​stad.​gent/​. For Leuven, visit http://​www.​cinemaleuven.​be/​.
 
6
Van de Vijver and Biltereyst (2010, pp. 75–76).
 
7
Engelen and Vande Winkel (2018b). For multiple-language versions, see Wahl (2009).
 
8
For a brief introduction to the history of Belgium under the German occupation, see: Conway (2001).
 
9
Vande Winkel (2003).
 
10
De Bruyn (1942a).
 
11
De Bruyn (1941).
 
12
Vande Winkel (2011, rev.).
 
13
Welch and Vande Winkel (2011, rev.).
 
14
Propaganda-Abteilung Belgien (1941, pp. 58–60).
 
15
Also, Jews were no longer allowed to own distribution companies or cinemas. It was not until 28 October 1940 that the occupying forces announced such anti-Jewish measures for all companies and enterprises established in Belgium. This suggests that, in terms of anti-Semitic policy, the film sector was targeted earlier than other economic sectors. See Roekens (2011).
 
16
The German reorganisation of film distribution occupied Belgium is described in detail in Vande Winkel (2017).
 
17
Vande Winkel (2017, p. 57).
 
18
Het corporatief leven (1942).
 
19
Vande Winkel (2017, p. 64), Eue and Lang (2017), Leteux (2017).
 
20
Vande Winkel (2020).
 
21
Vande Winkel (2020).
 
22
The key measures imposed on film distributors by the PAB, the underlying motivations behind these measures and the consequences of their implementation for film distributors have been analysed extensively previously and are therefore summarized here are detailed in Vande Winkel (2017).
 
23
Vande Winkel (2021a).
 
24
Vande Winkel (2017, p. 64).
 
25
Information from various Dutch- and French-language newspapers (Gazet van Antwerpen, Het Algemeen Nieuws, Het Laatste Nieuws, La Légia, Le Soir, Volk en Staat) was used and compared. Most newspapers have been digitized by the Royal Library of Belgium. Access is restricted to academic institutions, see https://​www.​belgicapress.​be/​. For the POPSTAT method see Chap. 1. See also Sedgwick (2000, 2020a, 2020b).
 
26
Vande Winkel (2020).
 
27
Information about all the cinemas that were active in German-occupied Belgium, their address, seating capacity and other information has been compiled by Vande Winkel (2020) and made available on the website “Cinema in Occupied Belgium (1940–1944)”. The most important sources that were used, are the 91 issues of the trade journal CINEMA that were published in German-occupied Belgium between December 1940 and August/September 1944, as well as the only ‘year-book’ published during the occupation: Cinema Jaarboek (1942).
 
28
De Bruyn (1942b).
 
29
The reader will be familiar with the method of tracking films backwards in time to the date and venue of first screening, and forwards to final screening. Accordingly, the statistics presented in the tables that follow date at their earliest from screenings held on 13 June 1940 and at the latest from 7 September 1944, with the qualification that each film in the population was screened at least once in the population of Brussels’ cinemas between 1 January 1941 and 31 December 1943.
 
30
This observation needs to be tempered by the limited nature of the Philadelphia sample, which is restricted to films screened in cinemas owned by the Warner Bros. organisation. The population of Philadelphia is given in the International Motion Picture Almanac, 1937–38 (1938) as 1,960,961. According to IMDB, L’Empreinte du Dieu was released in the USA on 1 November 1940 as Two Women.
 
31
On tourne (1939), L’empreinte (1939).
 
32
Vande Winkel (2021b).
 
33
Vande Winkel (2019).
 
34
Belgien (1944).
 
35
Vande Winkel (2020).
 
36
In Nazi Germany in January 1942, all German film companies were merged into one large holding (Ufi). During that year the foreign offices of Tobis were absorbed by Ufa. See Vande Winkel (2017, pp. 58–59).
 
37
Van de Vijver and Biltereyst (2010), Engelen and Vande Winkel (2018a).
 
38
Vande Winkel and Van Engeland (2014).
 
39
Ascheid (2003, p. 94).
 
40
Fox (2000, p. 125). See also Ascheid (2003, p. 93).
 
41
These are: L’Empreinte du Dieu, L’Acrobate, Mademoiselle Swing, Cartacalha Reine des Gitans, Premier Bal, Histoire de Rire, Le Pavillon Brûle, Elles étaient douze Femmes, and La Corona di Ferro.
 
Literatur
Ascheid, A. (2003). Hitler’s heroines: Stardom and womanhood in Nazi Cinema. Temple University Press.
Belgien: Konfessionelle Agitation gegen dt. Film. (1944). Bundesarchiv, R 58/193.
Cinema Jaarboek 1942 Annuaire du cinema. (1942). Belgische Syndicale Kamer van Filmverhuurders en Vereeniging der Cinemabestuurders van België - Association des Directeurs de Cinéma de Belgique et Chambre Syndicale des Distributeurs de Films.
Conway, M. (2001). Belgium. In I. C. Dear & M. R. D. Foot (Eds.), The Oxford companion to World War II (pp. 93–96). Oxford University Press.
De Bruyn, J. (1941, May 6). Een Franskiljonsche kinema te Leuven. Volk en Staat.
De Bruyn, J. (1942a, May 1). Onze taal in de bioskopen. Volk en Staat.
De Bruyn, J. (1942b, September 4). Nog altijd die afschuwelijke dubbing. Volk en Staat.
Engelen, L., & Vande Winkel, R. (2018a). Cine Zoologie. Hoe film de Antwerpse dierentuin heeft gered. Letterwerk.
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Eue, R., & Lang, F. (Eds.). (2017). Schillernd grau. CONTINENTAL - Eine deutsche Filmproduktion im besetzten Frankreich 1941–1944. Synema.
Fox, J. (2000). Filming women in the Third Reich. Berg.
Het corporatief leven. (1942, January 2). CINEMA, 2(3), 14.
International Motion Picture Almanac, 1937–38. (1938). Quigley Publishing Company.
L’empreinte du dieu als film. (1939, September 2). Algemeen Handelsblad.
Leteux, C. (2017). Continental films. Cinéma français sous contrôle allemand. La tour verte.
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Roekens, A. (2011). Gewillig België. De Bezige Bij.
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Van de Vijver, L., & Biltereyst, D. (2010). Hollywood versus Lokaliteit. Het (on)gelijke aanbod van Amerikaanse en Europese film in de jaren dertig in Gent. TMG Journal for Media History, 13(2), 60–79. https://​doi.​org/​10.​18146/​tmg.​578
Vande Winkel, R. (2003). Nazi newsreels and foreign propaganda in German-occupied territories. The Belgian version of Ufa’s foreign weekly newsreel (ATW), 1940–1944. Universiteit Gent.
Vande Winkel, R. (2011). German influence on Belgian Cinema, 1933–45: From low-profile presence to downright colonisation. In R. Vande Winkel & D. Welch (Eds.), Cinema and the Swastika: The international expansion of Third Reich Cinema (2nd ed., pp. 72–84). Palgrave Macmillan.
Vande Winkel, R. (2021a). Jan Vanderheyden and Edith Kiel: ‘Leading’ the Belgian film sector while taking orders from the German Propaganda Service. In P. Skopal & R. Vande Winkel (Eds.), Film Professionals in Nazi-occupied Europe: Mediation between the national-socialist cultural “new order” and local structures (pp. 87–117). Palgrave Macmillan.
Vande Winkel, R. (2021b). Rekordeinnahmen und Kassengift. Die Ufa-Auslandsabteilungund der deutsche Filmexport im Zweiten Weltkrieg. In P. Stiasny, J. Kasten, & F. Lang (Eds.), Ufa international. Ein deutscher Filmkonzern mit globalen Ambitionen (pp. 126–143). Edition text + kritik.
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Metadaten
Titel
Film Exhibition, Distribution and Popularity in German-Occupied Belgium (1940–1944): Brussels, Antwerp and Liege
verfasst von
Roel Vande Winkel
John Sedgwick
Copyright-Jahr
2022
Buch
Towards a Comparative Economic History of Cinema, 1930–1970

Print ISBN: 978-3-031-05769-4

Electronic ISBN: 978-3-031-05770-0

Copyright-Jahr: 2022

DOI
https://doi.org/10.1007/978-3-031-05770-0_8

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