Tatort Du Allein Ard

5. November 2020by oered.orgComments turn off on WIFT Germany & oered.org on oberteil Cop Drama. Teil 4: Composers

Exclusively zum WIFT Germany, ns looking at the list von the 50 Episodes zum the Summer poll (see ARD website) zum the 50th anniversary des this Sunday evening crime series with the film women’s magnifying glass. Ns texts were zuerst published via the social channels des WIFT Germany ~ above Instagram und Facebook, then an more einzelheiten here.

Du schaust: Tatort du allein ard

Good und bad film music

There zu sein two kinds of music: ns good and the bad.Louis Armstrong

Today ich will not be discussing the question von good und bad music – which ist to a big extent a matter of taste und time paper definition anyway – yet that of women and men composers von TATORT music. No large surprise, and it sound a little bit like a record with a leap, that the 50 episodes from die Summer Vote schwimmbad are so a heavily male-dominated affair in terms des music and composers. Only two mrs composers space on ns list. This time only die cake provides some variety., it ist a very delicious Baumkuchenring (ring des a pyramid cake), des which die women with their 3.2% kann only enjoy a very klein piece, of course.


The composers Verena Marisa und Iva Zabkar – both WIFT Germany members! – worked with die directors max Färberböck (DER himmel IST ns PLATZ an ERDEN) und Umut Dağ (REBECCA). The four Wunschtatorte director only had actually musicians bei their team. This phenomenon can so be found an the 339 tatort premieres indigenous 2011 to 2019:

Only two of the 41 woman directors had a woman composer in the team: Hermine Huntgeburth through Christine Aufderhaar an DIE biografie VOM BÖSEN FRIEDERICH 2016, and Anna Zoha Berrached v Jasmin Reuter (also a WIFT Germany member) an DER fall HOLDT 2017, do a total des 4.1% of all female composers. Bei the nine tatort years, a total of 18 guys directors worked with frauen composers, which to represent a share von 5.8 %.

The often related opinion that through a female manager increases the percentage des women behind the camera does notfall apply to film music, punkt least not for Germany’s most prestigious television series.


The next figure shows the percentage von women zum the 339 tatort music pieces bei 2011-19; there were no woman composers bei 2012, and an the remaining years your percentage was usually well below 10%. The only exception is 2018 v 10.6 %.


By die way, the dünn for the zuerst half von 2020 are notfall yet complete, dafür I skip them bei my analysis. On ns ARD-TATORT website, where the departments screenplay, direction, camera und music room listed zum each case, ns music position ist most often missing. And the gaps could not be fully closed von the databases Filmportal, Crew united or IMDB. Vincent Lutz from Crew vereinigt told me that many projects are only incompletely entered an their database, some with only a handful des team positions. Direction and camera are always present, script not necessarily, and music rather seldom – but of prozess this applies kommen sie all projects, including commercials and short films. My study confirms this, music – and so sound – ich often oase to do comprehensive research, periodically only a speak to to die production company will help, nothing might be found online.The fact that composers are stated less regularly than, zum example, DoP’s, and are thus less commonly entered into ns databases by the productions, perhaps has something to do with die fact the they – prefer script authors or editors – are not really part of the team, they do not work on ns set but hinweisen home or bei their studio, an pre-production or post-production, or at least ‘somewhere else’, if just during die production phase.

Numbers und mind games

The mean percentage des female composers for TATORTE 2011-19 (4.3%) zu sein similarly short as for the 50 Wunschtatorte (3.2%) and more than half as high as die percentage von female composers bei the crew vereinigt database (9.1%):


In compare with die other three departments ich examined, it is noticeable that there are much more teams and so that die number of film scores per composer is higher. Thus, bei the 329 stengel a an excellent 170 composers were hired, but nearly 110 of them only bei one film.


The female and male composers’ oberteil 3 are shown an the following figure. Bei first place in its entirety we discover Swiss musician and film composer Fabian Römer, through 21 TATORTs, 4 of them in a team. What can be surprising: 2nd und 3rd place among ns men are taken von teams, Dürbeck & Dohmen und Christoph M. Kaiser / julian Maas. And what may notfall be so surprising: ns top 3 des the men total 50 TATORTs, which zu sein almost five mal as many as die top 3 woman composers (11 TATORTs in total).

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In die nine years there to be a total of 10 female und 162 masculine composers. Weil das comparison: bei the very same period of time 11 camerawomen und 81 cameramen were used weil das the TATORT. This does not mean that die DoP were used viel more often, yet that they usually work alone on ns position. The cameraman with ns most stengel 2011-19 was jürgen Carle through 14 und the top camerawomen room three v 4 stengel each: Christine A. Maier, Cornelia Wiederhold und Jutta Pohlmann.

And finally a look at the Crew blume database, where filmmakers can enter their profile, either zum free or zum a fee. Zum the statistics on film professions and how many kann be found in a department, only paid entries room taken into account.

First the number von profiles. Interesting way enough, there are zum the 4 years that ich had queried the säule – many thanks zu Vincent Lutz zum the support und data transfer! – considerably much more cameramen and -women 보다 scriptwriters or composers. Die profiles des scriptwriters und DoP rise in number, those of composers don’t deshalb much, your average zu sein 279, the lowest worth (2017) was 259, the highest (2020) 296. The scriptwriters had the lowest worth (255) in 2014, yet it gott more every year, and in 2020 there are currently 423 profiles.


Thinking back again: a total des 172 composers were used an the stamm investigated. This way that technically there are blieb 100 left. Und we deshalb know that yearly there are much more films than just the 35 tatort premieres. Perhaps ten zeit more? A hundreds times? No idea. Anyway, we can assume that there are still many composers that don’t oase a profile at Crew united (as well together screenwriters, des course) due to the fact that they room found in different ways. Und we can so assume that composers are more than likely working ~ above different film projects at die same time. This was confirmed von two female composers whom i asked around this. Bei any case, it is feasible if there zu sein a much longer lead time for the projects, und especially if you work an a team. For financial reasons alone, there may be a need to work on film scores at the same time.

As much as die share von women bei the assorted departments ist concerned, music and camera are around equal and the script ist easily four times higher. That’s not really a surprise as die share von women zum script writing at film schools is deshalb much higher.


You kann study film music composition as a postgraduate course after a regular music degree and the female graduates might account for roughly 10-30% des all graduates. However: there room lots des other roads zu becoming a film score composer, but not necessarily zu getting hired. Deswegen there zu sein a need zum action an the commissioners’ offices, production companies und directors, and whoever rather decides on hiring someone zum the music score of a film.

To make certain that TATORT-music does not remain deswegen male-biased, a look at ns websites of Music frau Germany (22 female composers in the database) Track15 (a collective of 11 woman composers) or ns platform zum representatives of electronic music female:pressure might help.

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Sound Tracks

Recently ns Soundtrack Zurich (29.9.-1.10.) und Soundtrack Cologne (14.-17.10.) take it place. Bei Zurich there was a cooperation bolzen WIFT Germany and the partner from SWAN (Swiss Women’s Audiovisual Network). Over there WIFT Germany member Hanna Sophie Lüke (track15) gift WIFT member Tina Pepper (German tv Award 2020 zum the music von the TV collection RAMPENSAU), Dascha Dauenhauer (German film Award 2020 zum the music des the attribute film berlin ALEXANDER) and Olivia Pedroli ( Swiss film Award 2020 weil das the music in the film FÜR IMMER UND EWIG). WIFT plank member cornellia Köhler wollen then center a matchmaking session. In Cologne, WIFT member Verena Marisa informed around composing weil das TATORT, und WIFT board member Cornelia Köhler presented the German Women film Sound Mixers.