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Ende der 1970er-Jahre formierte sich im US-amerikanischen Kino ein neuer Genrezyklus. Ausgehend von der Space Opera im Kino, für die George Lucas’ Star Wars paradigmatisch ist, begründete sich Fantasy erstmals als eigenständiges filmisches Genre in Abgrenzung vom Märchen und der Fantastik. Der Enthusiasmus für Pen-&-Paper-Rollenspiele und die anhaltende J. R. R. Tolkien-Begeisterung kulminierte in den folgenden Jahren in einer Reihe von Filmen, die die Vielfalt moderner Filmtechnik und -produktion aufnahm, forcierte und weiterentwickelte: Vom Live-Action-Film (Conan the Barbarian) über Puppenanimation (The Dark Crystal) bis hin zum Animationsfilm (The Last Unicorn) reichte das Spektrum der Filme, an denen George Lucas ebenso wie Jim Henson und die damals hinter ihnen stehenden Produktionsfirmen führend beteiligt waren. Die zeitgenössische Kritik hatte diese Filme als konservative, zuweilen gar reaktionäre Genrespielarten abgeschrieben. Dagegen entfaltet der vorliegende Essay eine (historische) Poetik des US-amerikanischen Fantasyfilms. Mit seinen filmanalytischen Fallstudien zeigt der Band auf, wie die Filme der Jahre 1977 bis 1987 in eine spezifische Filmkultur eingebettet sind und wie der Genrezyklus als Teil des Hollywood-Systems den Siegeszug des Blockbusterkinos in den 1990er-Jahre vorbereitet und maßgeblich beeinflusst hat.

Fantasy films --- LITERARY CRITICISM / European / General. --- History and criticism.

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At the end of the 1970s, a new genre cycle was formed in US cinema. Starting with space opera in cinema, for which George Lucas' Star Wars is paradigmatic, fantasy established itself for the first time as an independent cinematic genre in distinction from fairy tales and fantastic fiction. The enthusiasm for pen & paper role-playing games and the continuing J. R. R. Tolkien craze culminated in the following years in a series of films that absorbed, pushed and further developed the diversity of modern film technology and production: the spectrum of films ranged from live-action films (Conan the Barbarian) to puppet animation (The Dark Crystal) to animated films (The Last Unicorn), in which George Lucas as well as Jim Henson and the production companies behind them at the time played leading roles. Contemporary critics had written these films off as conservative, sometimes even reactionary genre plays. In contrast, this essay unfolds a (historical) poetics of the US fantasy film. With its film-analytical case studies, the volume shows how the films of the years 1977 to 1987 are embedded in a specific film culture and how the genre cycle as part of the Hollywood system prepared and significantly influenced the triumph of blockbuster cinema in the 1990s.

Opera

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At the end of the 1970s, a new genre cycle was formed in US cinema. Starting with space opera in cinema, for which George Lucas' Star Wars is paradigmatic, fantasy established itself for the first time as an independent cinematic genre in distinction from fairy tales and fantastic fiction. The enthusiasm for pen & paper role-playing games and the continuing J. R. R. Tolkien craze culminated in the following years in a series of films that absorbed, pushed and further developed the diversity of modern film technology and production: the spectrum of films ranged from live-action films (Conan the Barbarian) to puppet animation (The Dark Crystal) to animated films (The Last Unicorn), in which George Lucas as well as Jim Henson and the production companies behind them at the time played leading roles. Contemporary critics had written these films off as conservative, sometimes even reactionary genre plays. In contrast, this essay unfolds a (historical) poetics of the US fantasy film. With its film-analytical case studies, the volume shows how the films of the years 1977 to 1987 are embedded in a specific film culture and how the genre cycle as part of the Hollywood system prepared and significantly influenced the triumph of blockbuster cinema in the 1990s.

Opera

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Social sciences (general)

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