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Peter von Becker (2016) described Annette Hess in the German newspaper Tagesspiegel as the “great unknown” and “Germany’s most successful screenwriter”. Hess has been (co-)responsible for numerous television series and films since the early 2000s. Several of them, such as the GDR family epic The Weissensee Saga (Weissensee, G 2010–2018, ARD) or the period miniseries Ku’damm 56/59/63 (G 2015/2018/2021, ZDF), feature adolescent main characters and are thus, at least to some extent, serialized teen TV. Her final project in her Scenic Writing studies, the screenplay with Alexander Pfeuffer for Was nützt die Liebe in Gedanken (the template for Achim von Borries’s feature film Love in Thoughts, G 2004), was already a coming-of-age story. In 2018, Hess’s debut novel Deutsches Haus (“German House”) was published. Annette Hess is also a founding member of the initiative and self-obligation Kontrakt 18 (see. Zahn A, Kontrakt ’18. http://kontrakt18.org/ . Accessed 14 Mar 2019, 2018; Gangloff TP, TV Diskurs 22(4):94–97, 2018), with which screenwriters in Germany demanded creative control and a say in the choice of director. She now acts as creative producer on her own TV drama projects, including We Children from Zoo Station (Wir Kinder vom Bahnhof Zoo, G/Czech Republic/Italy 2021, Amazon Prime Video). The interview is about We Children from Zoo Station, the series version of the transnationally successful non-fiction book by Christiane Felscherinow, Kai Hermann and Horst Rieck and its well-known film adaptation Christiane F. (Christiane F.—Wir Kinder vom Bahnhof Zoo, G 1981). More generally, the interview also deals with broader tendencies in contemporary TV drama from Germany and with the challenge of reaching a youth audience with German fiction.

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“I Never Think in These Categories of Young, Old, Front, Back.”

  • 章节

  • 发表日期：

    2025年

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  • Florian Krauß

摘要

Peter von Becker (2016) described Annette Hess in the German newspaper Tagesspiegel as the “great unknown” and “Germany’s most successful screenwriter”. Hess has been (co-)responsible for numerous television series and films since the early 2000s. Several of them, such as the GDR family epic The Weissensee Saga (Weissensee, G 2010–2018, ARD) or the period miniseries Ku’damm 56/59/63 (G 2015/2018/2021, ZDF), feature adolescent main characters and are thus, at least to some extent, serialized teen TV. Her final project in her Scenic Writing studies, the screenplay with Alexander Pfeuffer for Was nützt die Liebe in Gedanken (the template for Achim von Borries’s feature film Love in Thoughts, G 2004), was already a coming-of-age story. In 2018, Hess’s debut novel Deutsches Haus (“German House”) was published. Annette Hess is also a founding member of the initiative and self-obligation Kontrakt 18 (see. Zahn A, Kontrakt ’18. http://kontrakt18.org/ . Accessed 14 Mar 2019, 2018; Gangloff TP, TV Diskurs 22(4):94–97, 2018), with which screenwriters in Germany demanded creative control and a say in the choice of director. She now acts as creative producer on her own TV drama projects, including We Children from Zoo Station (Wir Kinder vom Bahnhof Zoo, G/Czech Republic/Italy 2021, Amazon Prime Video). The interview is about We Children from Zoo Station, the series version of the transnationally successful non-fiction book by Christiane Felscherinow, Kai Hermann and Horst Rieck and its well-known film adaptation Christiane F. (Christiane F.—Wir Kinder vom Bahnhof Zoo, G 1981). More generally, the interview also deals with broader tendencies in contemporary TV drama from Germany and with the challenge of reaching a youth audience with German fiction.