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About three years ago, calls for petitions to abolish public television were multiplying. Those who demanded it came from right spectrum. For some time, however, people have also shared se views, which are closer to me politically: even filmmakers mselves link and like with a certain Häme on Facebook articles that predict system of public service broadcasting an early end or Demand its abolition. And even I, who have made my most important films in collaboration with public broadcasters, catch me as I want to press like button and think: Yes, it does, we need a renewal, re are enough new partners, n y should Let me see.
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That’s wrong. Public service television continues to be most important pillar in feature film sector when it comes to implementing risky substances. But what makes me want this system to fall in some moments? It is, on one, arrogance of some representatives of public service broadcasting who give money with a pose as if it were ir own. On or hand, frustration about dependence of US filmmakers.
Julia von Heinz, born 1976 in Berlin, is a director and visiting Professor for feature film directing at HFF München. In her doctorate ” Friendly takeover – influence of public service television on German cinema” she examined relationship between two media in last 50 years. Her novel film adaptation “I’m Gone Once” with Hape Kerkeling was one of most successful cinema productions 2016. Her latest film “Katharina Lur” ran in ARD in February. © HFF München/Robert Pupeter
This mismatch of power and dependence has a decade-old history: When cinema revolted in 1960s, Germany proposed a very special way. While in France, Italy and USA film studios, distributors and cinema owners were on side of filmmakers, distributors and cinema owners stood up against young filmmakers in this country. Instead, it was editors of feature film departments of public service broadcasters who, toger with representatives of new German film, renewed cinema. Since n, every innovative flow of German film has been accompanied by public service broadcasting and brought to flourish.
If Warner Co drama from Nothing of Fatih Akin 2018 receives an Oscar or a nomination, it would be first film from Germany to be honoured, which has not arisen with participation of public service television. All films that run on a-festivals, such as Toni Mann or 24 weeks, are co-productions with public broadcasters. But also blockbuster Fack Ju Göhte is based on ARD series Turkish for beginners. We filmmakers owe a lot to feature film editors, we need m to implement substances that are not obviously commercial. This knowledge has given editors too much power.
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This power structure has been wavering for some time. New players have appeared on market and are looking for collaboration with US filmmakers. The streaming ask for substance suggestions, old dependencies dissolve. For first time, one can seriously ask wher tried and tested partnership with public service broadcasters has been superfluous.
The public service broadcasting debate
Public service broadcasting is currently being tackled massively, and some critics even say that he has a right to exist. Time online asks scientists, media experts and filmmakers how y see future of public service system.
I think, no. I think Warner would not have funded Fatih Akin’s film if he had been junior director, who 1998 ZDF with short and painless his first material. In same way Baran Bo Odar, who realised German Netflix series Dark, made his first films with public service. In discussions with Streamingdiensten and distributors, concept of target group is always quickly falling. Once a fabric is searched for “technology-savvy men from 27”, sometimes for “mysterybegeisterte young women from 14”. It’s fun and opens up new thinking. I look forward to this new way of working toger. But I still doubt wher such innovation arises. I don’t think about making films from evaluation.
