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Considering the devastating impact of Fascism and National Socialism on exiles and their literary heritage through the lens of adaptation history, this essay focuses on German-language literature in international cinema from 1933–45 and, by implication, on the role of refugees in major film industries abroad. When Adolf Hitler was appointed Reich Chancellor, most notable authors and filmmakers were forced to leave their homes in Germany and soon Austria. Many of them went to Paris and quite a few eventually made it to Hollywood. Several exile filmmakers sought to claim German-language literature for that ‘other Germany’ in foreign language films, but — especially after Hitler’s troops had invaded Poland — the literary canon of Germany and Austria was considered a liability by most international film producers. In desperate need of income, many exile authors actively pursued adaptations of their own works, but only rarely did their plans materialize, even for bestselling writers; Remarque, Seghers, and Werfel were among the lucky few. Max Ophuls’ effort to preserve at least a fragment of the German literary canon and ensure the survival of German culture abroad, by filming Goethe’s  Die Leiden des jungen Werthers  (1774), was an exception. For the most part neither international film studios nor audiences were interested in German literary culture during the Hitler era unless an exile writers’ works provided useful and entertaining insights into current challenges and/or had established a wide-ranging readership.

Kulturelles Erbe und Arbeit im Exil: Die deutschsprachige Literatur und der internationale Film (1933–1945)