Hansjürgen pohland’s tobby (1961/62): Jazz, cinéma-vérité and the beginnings of young German cinema

Hurley, AW

Hansjürgen pohland’s tobby (1961/62): Jazz, cinéma-vérité and the beginnings of young German cinema

Hurley, AW

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Publication Type:: Journal Article
Citation:: Studies in European Cinema, 2010, 7 (3), pp. 193 - 207
Issue Date:: 2010-01-01

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Field	Value	Language
dc.contributor.author	Hurley, AW https://orcid.org/0000-0001-6717-3537	en_US
dc.date.issued	2010-01-01	en_US
dc.identifier.citation	Studies in European Cinema, 2010, 7 (3), pp. 193 - 207	en_US
dc.identifier.issn	1741-1548	en_US
dc.identifier.uri	http://hdl.handle.net/10453/22768
dc.description.abstract	This article analyses the historical significance of the lesser-known German film Tobby (1961/62), a semi-documentary portrait of the Berlin jazz singer and percussionist Toby Fichelscher. Tobby focuses on Fichelscher’s grappling with a tempting offer from the commercial music industry to go on tour playing Schlager (popular) music. It was the first feature film to be made by Hansjürgen Pohland, one of the signatories to the Oberhausen Manifesto of 1962, which is regarded as the founding moment of the Young, and later the New, German Cinema. The article explores how Pohland, an ardent jazz enthusiast, attempted to use a cinéma-vérité style, which itself shares much with the aesthetic principles and ideology of jazz, to create a new type of cinema taking leave from the established commercial Papas Kino (‘father’s cinema’) of the 1950s. © Intellect Ltd 2010.	en_US
dc.relation.ispartof	Studies in European Cinema	en_US
dc.relation.isbasedon	10.1386/seci.7.3.193_1	en_US
dc.title	Hansjürgen pohland’s tobby (1961/62): Jazz, cinéma-vérité and the beginnings of young German cinema	en_US
dc.type	Journal Article
utslib.citation.volume	3	en_US
utslib.citation.volume	7	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/e-Press
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access
pubs.issue	3	en_US
pubs.publication-status	Published	en_US
pubs.volume	7	en_US

Abstract:

This article analyses the historical significance of the lesser-known German film Tobby (1961/62), a semi-documentary portrait of the Berlin jazz singer and percussionist Toby Fichelscher. Tobby focuses on Fichelscher’s grappling with a tempting offer from the commercial music industry to go on tour playing Schlager (popular) music. It was the first feature film to be made by Hansjürgen Pohland, one of the signatories to the Oberhausen Manifesto of 1962, which is regarded as the founding moment of the Young, and later the New, German Cinema. The article explores how Pohland, an ardent jazz enthusiast, attempted to use a cinéma-vérité style, which itself shares much with the aesthetic principles and ideology of jazz, to create a new type of cinema taking leave from the established commercial Papas Kino (‘father’s cinema’) of the 1950s. © Intellect Ltd 2010.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/22768