{"id":406,"count":9,"description":"The Newest Star on the Vaudeville \u2013 Rosa Porten alias Dr R. Portegg\r\n\r\nFilm history occasionally mentions Rosa Porten as the elder sister of silent-movie star Henny Porten. That she also managed a varied career in the world of German silent film has, however, only recently become more known. From 1906 until the mid-1920s, she worked as an actress, screenwriter and director. Yet archive research has unearthed over forty silent movies in which she also participated \u2013 often in several functions. Thanks to <strong>Wanda\u2019s Trick<\/strong>, I was able to track down the true identity of Dr R. Portegg. This eponymous Wanda is represented by Wanda Treumann with such zest and sharp wit that I became curious about who indeed the mysterious director might have been. Even the near-emancipated female narrative perspective of a simple cigarette worker was impressive in itself. The answer was found on the<em> German Film Institute<\/em> website (now <em>f-film<\/em>) where Gerlinde Waz and Gabriele Hansch have revealed \u00bbDr R. Portegg\u00ab was a pseudonym for Rosa Porten and her husband Dr Franz Eckstein.\r\nOnly a few films in Rosa Porten\u2019s extensive filmography have been preserved. One drama and five comedies with Wanda Treumann, Rosa Porten or the Porten sisters as leading ladies, and two sound images with the Porten siblings, which had been put together by their father, Franz Porten. After the first performances in these sound images, Rosa and Henny 1910 would be seen together on the big screen in the comedy of errors, <strong>Wem geh\u00f6rt das Kind?<\/strong> (To Whom Does the Child Belong?). In the same year, Rosa sold her script of <strong>Das Liebesgl\u00fcck der Blinden<\/strong> (The Love Bliss of the Blind). Success meant not only the establishment of Henny as a film actress but also the recognition of Rosa as one of the first professional screenwriters in Germany.\r\nThe first film directed by Dr R. Portegg \u2013<strong> Das Geschenk der <\/strong><strong>Norne<\/strong> (The Gift of the Norns) \u2013 came to cinemas in July 1916. The following two years were to witness, at breakneck speed,\u00a0 the production of 21 more Dr R. Portegg movies, comedies and\u00a0 ramas, five of them with Wanda Treumann in the lead role, all the others with Rosa Porten.\r\nAfter the final production by Porten and Eckstein in 1919 \u2013 <strong>Frech gewagt ist halb gewonnen<\/strong> (A Bold Start Is Half the Walk Done) \u2013 the two moved to National-Film where Porten focused on screenplays, including work for Erna Morena and Asta Nielsen, while her husband directed, each credited with their own name. This is an extraordinary career in the German silent-film industry, especially for a woman.\r\nEqually extraordinary are the films and their main characters. The female narrative perspective in <strong>Wanda\u2019s Trick<\/strong> is no coincidence and <strong>The Latest Star from Vaudeville<\/strong> is no mere second \u2013 i.e. the stories have a female protagonist and are consistently told from their perspective\u00a0 while their experiences and views propel the action forward. As for the comedies, the story gets a cheerful-rebellious or serious-comic tone, depending on whether La Porten or La Treumann took the leading actress role.\r\nThe targets of the film-maker\u2019s clever and good-natured jokes included traditional role behaviour, class differences and old habits that are resolutely exposed or disdained by a young woman with a pragmatic sense of humour. Of course, love\u00a0 lays its part, if not conventionally, on the road to sufficiency, but as a means for a young woman to go her own way and make social progress. Also reflected in the mix of themes is the historical period in which the films were made \u2013 that of the First World War which although followed by large social\u00a0 uncertainties also aroused a strong desire in women for more freedom. May the facetious but not quite completely immoral boldness that speaks out from the films of Dr R. Portegg inspire audiences today as they did back then!\r\n\r\n_Annette F\u00f6rster","link":"https:\/\/frauenfilmfest.com\/en\/movie-category\/back-on-the-screen-again-en-2015\/","name":"Back on the Screen Again","slug":"back-on-the-screen-again-en-2015","taxonomy":"movie_cat","parent":404,"meta":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Back on the Screen Again - Internationales Frauen Film Fest<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Back on the Screen Again - Internationales Frauen Film Fest\" \/>\n<meta property=\"og:description\" content=\"The Newest Star on the Vaudeville \u2013 Rosa Porten alias Dr R. Portegg Film history occasionally mentions Rosa Porten as the elder sister of silent-movie star Henny Porten. That she also managed a varied career in the world of German silent film has, however, only recently become more known. From 1906 until the mid-1920s, she worked as an actress, screenwriter and director. Yet archive research has unearthed over forty silent movies in which she also participated \u2013 often in several functions. Thanks to Wanda\u2019s Trick, I was able to track down the true identity of Dr R. Portegg. This eponymous Wanda is represented by Wanda Treumann with such zest and sharp wit that I became curious about who indeed the mysterious director might have been. Even the near-emancipated female narrative perspective of a simple cigarette worker was impressive in itself. The answer was found on the German Film Institute website (now f-film) where Gerlinde Waz and Gabriele Hansch have revealed \u00bbDr R. Portegg\u00ab was a pseudonym for Rosa Porten and her husband Dr Franz Eckstein. Only a few films in Rosa Porten\u2019s extensive filmography have been preserved. One drama and five comedies with Wanda Treumann, Rosa Porten or the Porten sisters as leading ladies, and two sound images with the Porten siblings, which had been put together by their father, Franz Porten. After the first performances in these sound images, Rosa and Henny 1910 would be seen together on the big screen in the comedy of errors, Wem geh\u00f6rt das Kind? (To Whom Does the Child Belong?). In the same year, Rosa sold her script of Das Liebesgl\u00fcck der Blinden (The Love Bliss of the Blind). Success meant not only the establishment of Henny as a film actress but also the recognition of Rosa as one of the first professional screenwriters in Germany. The first film directed by Dr R. Portegg \u2013 Das Geschenk der Norne (The Gift of the Norns) \u2013 came to cinemas in July 1916. The following two years were to witness, at breakneck speed,\u00a0 the production of 21 more Dr R. Portegg movies, comedies and\u00a0 ramas, five of them with Wanda Treumann in the lead role, all the others with Rosa Porten. After the final production by Porten and Eckstein in 1919 \u2013 Frech gewagt ist halb gewonnen (A Bold Start Is Half the Walk Done) \u2013 the two moved to National-Film where Porten focused on screenplays, including work for Erna Morena and Asta Nielsen, while her husband directed, each credited with their own name. This is an extraordinary career in the German silent-film industry, especially for a woman. Equally extraordinary are the films and their main characters. The female narrative perspective in Wanda\u2019s Trick is no coincidence and The Latest Star from Vaudeville is no mere second \u2013 i.e. the stories have a female protagonist and are consistently told from their perspective\u00a0 while their experiences and views propel the action forward. As for the comedies, the story gets a cheerful-rebellious or serious-comic tone, depending on whether La Porten or La Treumann took the leading actress role. The targets of the film-maker\u2019s clever and good-natured jokes included traditional role behaviour, class differences and old habits that are resolutely exposed or disdained by a young woman with a pragmatic sense of humour. Of course, love\u00a0 lays its part, if not conventionally, on the road to sufficiency, but as a means for a young woman to go her own way and make social progress. Also reflected in the mix of themes is the historical period in which the films were made \u2013 that of the First World War which although followed by large social\u00a0 uncertainties also aroused a strong desire in women for more freedom. May the facetious but not quite completely immoral boldness that speaks out from the films of Dr R. Portegg inspire audiences today as they did back then! _Annette F\u00f6rster\" \/>\n<meta property=\"og:url\" content=\"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/\" \/>\n<meta property=\"og:site_name\" content=\"Internationales Frauen Film Fest\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@frauenfilmfest\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/endlich-wieder-auf-der-leinwand-2015\\\/\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/endlich-wieder-auf-der-leinwand-2015\\\/\",\"name\":\"Back on the Screen Again - Internationales Frauen Film Fest\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#website\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/endlich-wieder-auf-der-leinwand-2015\\\/#breadcrumb\"},\"inLanguage\":\"en-US\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/endlich-wieder-auf-der-leinwand-2015\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/frauenfilmfest.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"2015\",\"item\":\"https:\\\/\\\/frauenfilmfest.com\\\/movie-category\\\/2015\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Endlich wieder auf der Leinwand\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#website\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/\",\"name\":\"Internationales Frauen Film Fest\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/frauenfilmfest.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#organization\",\"name\":\"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/frauenfilmfest.com\\\/wp-content\\\/uploads\\\/2021\\\/03\\\/menu-logo.svg\",\"contentUrl\":\"https:\\\/\\\/frauenfilmfest.com\\\/wp-content\\\/uploads\\\/2021\\\/03\\\/menu-logo.svg\",\"width\":214,\"height\":59,\"caption\":\"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.\"},\"image\":{\"@id\":\"https:\\\/\\\/frauenfilmfest.com\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/IFFF.Dortmund.Koeln\\\/\",\"https:\\\/\\\/x.com\\\/frauenfilmfest\",\"https:\\\/\\\/www.instagram.com\\\/frauenfilmfestival\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Back on the Screen Again - Internationales Frauen Film Fest","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/","og_locale":"en_US","og_type":"article","og_title":"Back on the Screen Again - Internationales Frauen Film Fest","og_description":"The Newest Star on the Vaudeville \u2013 Rosa Porten alias Dr R. Portegg Film history occasionally mentions Rosa Porten as the elder sister of silent-movie star Henny Porten. That she also managed a varied career in the world of German silent film has, however, only recently become more known. From 1906 until the mid-1920s, she worked as an actress, screenwriter and director. Yet archive research has unearthed over forty silent movies in which she also participated \u2013 often in several functions. Thanks to Wanda\u2019s Trick, I was able to track down the true identity of Dr R. Portegg. This eponymous Wanda is represented by Wanda Treumann with such zest and sharp wit that I became curious about who indeed the mysterious director might have been. Even the near-emancipated female narrative perspective of a simple cigarette worker was impressive in itself. The answer was found on the German Film Institute website (now f-film) where Gerlinde Waz and Gabriele Hansch have revealed \u00bbDr R. Portegg\u00ab was a pseudonym for Rosa Porten and her husband Dr Franz Eckstein. Only a few films in Rosa Porten\u2019s extensive filmography have been preserved. One drama and five comedies with Wanda Treumann, Rosa Porten or the Porten sisters as leading ladies, and two sound images with the Porten siblings, which had been put together by their father, Franz Porten. After the first performances in these sound images, Rosa and Henny 1910 would be seen together on the big screen in the comedy of errors, Wem geh\u00f6rt das Kind? (To Whom Does the Child Belong?). In the same year, Rosa sold her script of Das Liebesgl\u00fcck der Blinden (The Love Bliss of the Blind). Success meant not only the establishment of Henny as a film actress but also the recognition of Rosa as one of the first professional screenwriters in Germany. The first film directed by Dr R. Portegg \u2013 Das Geschenk der Norne (The Gift of the Norns) \u2013 came to cinemas in July 1916. The following two years were to witness, at breakneck speed,\u00a0 the production of 21 more Dr R. Portegg movies, comedies and\u00a0 ramas, five of them with Wanda Treumann in the lead role, all the others with Rosa Porten. After the final production by Porten and Eckstein in 1919 \u2013 Frech gewagt ist halb gewonnen (A Bold Start Is Half the Walk Done) \u2013 the two moved to National-Film where Porten focused on screenplays, including work for Erna Morena and Asta Nielsen, while her husband directed, each credited with their own name. This is an extraordinary career in the German silent-film industry, especially for a woman. Equally extraordinary are the films and their main characters. The female narrative perspective in Wanda\u2019s Trick is no coincidence and The Latest Star from Vaudeville is no mere second \u2013 i.e. the stories have a female protagonist and are consistently told from their perspective\u00a0 while their experiences and views propel the action forward. As for the comedies, the story gets a cheerful-rebellious or serious-comic tone, depending on whether La Porten or La Treumann took the leading actress role. The targets of the film-maker\u2019s clever and good-natured jokes included traditional role behaviour, class differences and old habits that are resolutely exposed or disdained by a young woman with a pragmatic sense of humour. Of course, love\u00a0 lays its part, if not conventionally, on the road to sufficiency, but as a means for a young woman to go her own way and make social progress. Also reflected in the mix of themes is the historical period in which the films were made \u2013 that of the First World War which although followed by large social\u00a0 uncertainties also aroused a strong desire in women for more freedom. May the facetious but not quite completely immoral boldness that speaks out from the films of Dr R. Portegg inspire audiences today as they did back then! _Annette F\u00f6rster","og_url":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/","og_site_name":"Internationales Frauen Film Fest","twitter_card":"summary_large_image","twitter_site":"@frauenfilmfest","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"CollectionPage","@id":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/","url":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/","name":"Back on the Screen Again - Internationales Frauen Film Fest","isPartOf":{"@id":"https:\/\/frauenfilmfest.com\/#website"},"breadcrumb":{"@id":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/#breadcrumb"},"inLanguage":"en-US"},{"@type":"BreadcrumbList","@id":"https:\/\/frauenfilmfest.com\/movie-category\/endlich-wieder-auf-der-leinwand-2015\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/frauenfilmfest.com\/en\/"},{"@type":"ListItem","position":2,"name":"2015","item":"https:\/\/frauenfilmfest.com\/movie-category\/2015\/"},{"@type":"ListItem","position":3,"name":"Endlich wieder auf der Leinwand"}]},{"@type":"WebSite","@id":"https:\/\/frauenfilmfest.com\/#website","url":"https:\/\/frauenfilmfest.com\/","name":"Internationales Frauen Film Fest","description":"","publisher":{"@id":"https:\/\/frauenfilmfest.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/frauenfilmfest.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/frauenfilmfest.com\/#organization","name":"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V.","url":"https:\/\/frauenfilmfest.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/frauenfilmfest.com\/#\/schema\/logo\/image\/","url":"https:\/\/frauenfilmfest.com\/wp-content\/uploads\/2021\/03\/menu-logo.svg","contentUrl":"https:\/\/frauenfilmfest.com\/wp-content\/uploads\/2021\/03\/menu-logo.svg","width":214,"height":59,"caption":"Internationales Frauenfilmfestival Dortmund|K\u00f6ln e.V."},"image":{"@id":"https:\/\/frauenfilmfest.com\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/IFFF.Dortmund.Koeln\/","https:\/\/x.com\/frauenfilmfest","https:\/\/www.instagram.com\/frauenfilmfestival\/"]}]}},"_links":{"self":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat\/406","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat"}],"about":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/taxonomies\/movie_cat"}],"up":[{"embeddable":true,"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie_cat\/404"}],"wp:post_type":[{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/movie?movie_cat=406"},{"href":"https:\/\/frauenfilmfest.com\/en\/wp-json\/wp\/v2\/event?movie_cat=406"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}