The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in the colonies demanded a new and positive image of their value for Germany. By promoting business and establishing a new genre within the fast growing film industry, films of the colonies were welcomed by organizations such as the Deutsche Kolonialgesellschaft (German Colonial Society). The films triggered patriotic feelings but also addressed the audience as travelers, explorers, wildlife protectionists, and participants in unique cultural events. This book is the first in-depth analysis of colonial filmmaking in the Wilhelmine era.

The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in the colonies demanded a new and positive image of their value for Germany. By promoting business and establishing a new genre within the fast growing film industry, films of the colonies were welcomed by organizations such as the Deutsche Kolonialgesellschaft (German Colonial Society). The films triggered patriotic feelings but also addressed the audience as travelers, explorers, wildlife protectionists, and participants in unique cultural events. This book is the first in-depth analysis of colonial filmmaking in the Wilhelmine Era.

List of Illustrations
Acknowledgements
Abbreviations

Introduction

PART I: THE BEGINNING OF COLONIAL FILM CULTURE IN IMPERIAL GERMANY

Chapter 1. From the Variety Theatre to the German Colonial Society
Chapter 2. Carl Müller: A Colonial Film Maker
Chapter 3. The DKG’s Film Shows: The Colonies in Motion

PART II: ADDRESSING THE MASSES

Chapter 4. The ‘Hottentot Election’ of 1907
Chapter 5. The DKG’s Kinematographenkampagne
Chapter 6. Rise and Fall of the Kinemtographenkampagne

PART III: ETHNOGRAPHIC FILMMAKING IN THE COLONIES

Chapter 7. Karl Weule in German East Africa
Chapter 8. The Expedition in Context: Modern German Ethnography
Chapter 9. Filming in the Colonies: Training and Improvisation

PART IV: TOURISM, ENTERTAINMENT, AND COLONIAL IDEOLOGY

Chapter 10. Colonial Films in Public Cinema
Chapter 11. The Colonial Travelogue
Chapter 12. Colonial Films in Transition: Robert Schumann’s Comeback

PART V: COLONIAL FILM PROPAGANDA DURING THE FIRST WORLD WAR

Chapter 13. Setting Up Colonial War Propaganda
Chapter 14. The Deutsche Kolonial-Filmgesellschaft (DEUKO)

Conclusion

Filmography
Bibliography
Index