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S. 123f. 110 1906 gründet Ole Olsen die „Nordisk Films Kompagni“, die bereits ein Jahr später europäische Erfolge feiert. Dänemark entwickelt sich neben Frankreich zum bedeutendsten Filmland um 1910. Vgl. Armin Loacker: Anschluß im 3/4-Takt. S. 249. Die „Nordisk“ Filmproduktion realisiert 1914 die „Liebelei“ mit einem Drehbuch von Schnitzler, vgl. 1, S. 40-52 dieser Arbeit. 111 Hätte ich das Kino. S. 129. 112 Zglinicki: Der Weg des Films. S. 374. 35 Die Entscheidung des „Verbandes Deutscher Bühnenschriftsteller“, sein Verbot der Mitwirkung eines Mitglieds am Film noch im selben Jahr zu revidieren, markiert in Deutschland die offizielle Hinwendung der Schriftsteller zum Film.

S. 11-38. Zusammenfassend lässt sich festhalten, dass Hofmannsthal mit zwei realisierten Filmen und drei Entwürfen an die Öffentlichkeit getreten ist. 81 Heinz Hiebler: Hugo von Hofmannsthal und die Medienkultur der Moderne. Würzburg: Königshausen & Neumann, 2003. S. 10. “ S. 10. 82 Helmut H. Diederichs setzt die Anfänge der deutschen Filmpublizistik auf das Jahr 1895 fest. “ „Der Artist“ kommentiert die erste öffentliche Kinovorstellung in Deutschland am 1. November 1895. Helmut H. Diederichs: Die Anfänge der deutschen Filmpublizistik 1895 bis 1909.

Hrsg. v. Werner Hecht, Jan Knopf, Werner Mittenzwei, Klaus-Detlef Müller. Bd. 19. Prosa 4. Geschichten, Filmgeschichten, Drehbücher 1913-1939. : Suhrkamp, 1997. S. 652-657. Und in: Bertolt Brecht. Werke. Große kommentierte Berliner und Frankfurter Ausgabe. Bd. 21. Schriften 1. Schriften 1914-1933. : Suhrkamp, 1992. S. 448514. Brecht veröffentlicht sein eigenes Drehbuch zur Dreigroschenoper, das die Produktionsfirma verwirft, unter dem Titel „Die Beule“. Nach dem verlorenen Prozess schreibt er sein Theaterstück um: der „Dreigroschenroman“ erscheint 1934, drei Jahre nach der Uraufführung des Films.

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