Gloria Film

This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages) The topic of this article may not meet Wikipedia's notability guidelines for companies and organizations. Please help to demonstrate the notability of the topic by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged, redirected, or deleted. Find sources: "Gloria Film" – news · newspapers · books · scholar · JSTOR (May 2019) (Learn how and when to remove this message) This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Gloria Film" – news · newspapers · books · scholar · JSTOR (July 2019) (Learn how and when to remove this message) (Learn how and when to remove this message)

Gloria Film was a West German film production and distribution company. It was established in 1949 by Ilse Kubaschewski.^[1] An earlier, unconnected company of the same name had existed during the silent era in Germany, and had been absorbed into UFA in the 1920s. During the 1930s an Austrian production company also called itself Gloria.

The company was set-up by Kubaschewski, a cinema-owner, who had noted that re-releases of Nazi-era films, particularly those made by UFA were easily outgrossing foreign film imports and post-war realist rubble films. Initially her company specialised in acquiring the rights to classic German films, but gradually she began co-funding new films with production companies. In 1953 she set up Divina Film, her own production company.^[2]

Her initial films re-used many of the stars of Nazi-era cinema such as Zarah Leander, Marika Rokk and Kristina Söderbaum but newer stars such as Ruth Leuwerik, Maria Schell and Sonja Ziemann also appeared. Many of the company's films were Heimatfilm and melodramas that were aimed at a primarily female audience. Kubaschewski felt she understood the tastes of the average German housewife, and during the 1950s and early 1960s her judgement proved to be astute.

Later Gloria lost its prominence in the mid-1960s as audiences began to change, with the rise of new genres such as the series of Edgar Wallace thrillers and Karl May westerns that attracted a younger, male audience that other companies such as Rialto and Constantin catered for. The company experimented with sex comedies such as Angelique.

• Bergfelder, Tim. International Adventures: German Popular Cinema and European Co-Productions in the 1960s. Berghahn Books, 2005.

This article about a film production company or film distributor is a stub. You can help Wikipedia by expanding it.

• v
• t
• e