Daniel Rafaelic, Zagreb

German-Croatian cinema-collaboration from 1941 to 1945

The aim of the lecture is to point out various influences and particular results that came from German film presence in the fascist Independent State of Croatia (NDH – 1941-1945). Aside showing great number of German films in Croatia, influence was so great that Croatian state organized her own cinematography which literally didn't exist before the war. Period before was left to various enthusiasts who started Croatian cinema in the beginning of 20^th century. The first thing to do in 1941., was to establish bureaucratic support for cinematography in general to function. After that, various film techniques was acquired from Berlin, since Zagreb as capital of NDH didn't have at all professional film equipment. When everything was ready, film production started. First films were so-called kultur-filme, and they showed beautiful parts of Croatia, and cultural heritage. But soon Croatia film («Hrvatski slikopis») produced their first newsreel, just like Deutsche Wochenschau. Also, along came the films whose task was to inform the public of a Jewish problem and the need to «get rid off them». Zagreb was the host of exhibition called «Jews in Croatia», where young artists sculptured typical Jews, so they can be recognized in the streets and hand out to the authorities. All this was filmed, and shown in the movie theaters as first program of three. Then came the films such as Jud Süß, Die Rotschilds and Die Große Jude. Ticket bought at the exhibition had a coupon that allowed free entrance to these films and also great discount on the railways. Film manipulation of history was present as well. One of those films, Guard on Drina was awarded in Venice film festival in 1942. for best documentary. Apart from that Zagreb and is surroundings were the locations for the German film Menschen im Sturm, produced by Tobis film, and directed by Fritz Peter Buch. After that film, German film makers regularly filmed here. It also became common for the Croatian directors to direct German films about Croatia – such as Oktavijan Miletić’s films Kroatisches Bauernleben and Agram for TOBIS from 1943. Also regularly Zagreb and other mayor cities in the country held the »Woche des Deutschen Kulturfilms«. This was occasion to show the newest Kulturfilme from Germany. Domestic film workers were regularly sent to Berlin to learn film making – the journalists were invited to Babelsberg studios on the regular basis. Also the big event was formed when Zagreb was the host of Schmalfilmkongress in 1943. All that stopped, logically; when Germany surrendered itself to the allies, and a day latter, collapse of NDH.