Der Schlager, der Film und die 1950er Jahre

Überlegungen zur ‚Schlagersphäre‘ als Semiosphäre

Abstract

Based on Lotman’s concept of the semiosphere, this paper models the con­cept of a specific ‘Schlager sphere’ for the Schlager film of the 1950s and presents some basic theses on the relationship between Schlager music and Schlager film of this peri­od. The concept of the semiosphere generally describes an exchange in which something new/alien is integrated into the well-known, thereby initiating constant transformation. For the ‘Schlager sphere’, however, it turns out that it is insignificant for Schlager music that it itself is basically only a form of imitation. Thus, it carries semantics of the open and fluids and demands them at least symbolically for itself.