A Global History of Lager Beer

            During the late 19th century, Germany became an imperial power with colonies in Africa and the Pacific Ocean that attracted settlers, merchants, soldiers and administrators. Their presence influenced the native cultures in several ways, including architecture, linguistics and foodways. However, Germany lost its overseas colonies after being defeated in World War I; as a result, this relatively brief period of imperial control has been overlooked or forgotten in many former German colonies.[1] In total, an estimated 6 million Germans departed their homeland between 1820 CE and 1920 CE in search of economic opportunity and, after the Revolutions of 1848 CE, political freedom. [2] Although most German migrants eventually settled in Europe or the United States, significant numbers also migrated to the Americas, including Canada, Mexico, Brazil, Chile and Argentina, as well as the Pacific, such as Australia and New Zealand. Although brief, Germany’s imperial legacy still influences the brewing industries and beer consumption patterns of several former German colonies, including the Chinese region of Tsingtao and the former African colonies of Namibia and Tanzania. Analyzing the brewing industries of these aforementioned regions reveals the German preference for lager continues to influence many brewers and millions of drinkers around the world today, even if the impact is often subtle.

Map of the German colonial empire c.1914 (copied from the New World Encyclopedia).

            German Jesuit priests had traveled to China as early as the 17th century; however, Germany did not exert significant influence in China until the end of the 19th century. In 1897 CE, German warships occupied Tsingtao, a coastal city in Shandong province, in retaliation for the murder of two German missionaries.[3] After World War I erupted in Europe in 1914 CE, Japan, a member of the Allied powers, attacked the German forces in Tsingtao, which numbered only a few thousand men. The German presence left a small footprint and lasted only a short time. However, the Tsingtao Brewery continues to produce a pale lager that is available in the USA. The firm, originally named the Germania Brewery, was founded in 1903 CE, six years after the German occupation began, and key personnel were German, including the directors, brewmaster and cellar master.[4] In addition, numerous other Chinese breweries also produce lager beer today, and Snow Beer is the most popular with an annual production of about 113 million liters in 2018 CE.[5] Although the German occupation lasted less than 20 years, their preference for lager has had a significant influence on Chinese consumption. On the other hand, few people in China trace their heritage to Germany, and the 2010 CE Chinese census recorded only 14,400 Germans.[6] I did not find any evidence of German heritage associations in Tsingtao or any other part of China.

            The German Empire also included territories in Africa, including Tanzania (part of German East Africa) and Namibia (formerly German South West Africa). German officials signed treaties with local chieftains to create the colony of East Africa in 1885 CE. As in other colonies, the German occupation force was small and less than 1% of Tanzanians today are of European descent.[7] I could not locate any German heritage associations in Tanzania either. However, the German preference for lager continues to exert a strong influence on the contemporary Tanzanian brewing industry. Tanzania Breweries Limited (TBL), located in the coastal capital of Dar es Salaam, is the largest producer with about 70% of market.[8] TBL was founded in 1933 CE, under the name Tanganyika Breweries, which is 15 years after the German occupation had ended. Killimanjaro premium lager is TBL’s most popular brew, and lagers, pale lagers or pilsners are the most common choices for Tanzania beer drinkers.[9] It does not appear that any Tanzanian beer is readily available in the USA.

            In contrast to Tanzania, Namibia exhibits a stronger connection to its German colonial legacy. German warships landed troops there in 1884 CE, but the occupation force numbered only 14,000 by 1913 CE.[10] In 2011 CE, the Namibian census reported that only 4,300 households, less than 1% of the total, spoke German as their main language.[11] The Swakopmunder Brauerei may have been the first commercial brewery in the colony when it began operations in early 1900 CE, 16 years after the colony was formed, in the coastal city of Swakopmund.[12] It produced Berliner Weissbier and Dunkel Bier. Today, the leading brewery is Namibia Breweries Limited (NBL), founded in 1920 CE in the central capital of Windhoek. NBL’s annual production is more than 200 million liters with Tafel lager being the most common brew.[13] In general, lager and pilsner are popular styles with Namibian beer drinkers.[14] It does not appear that any Namibian beer is available in the USA. While I did not find any German heritage associations in Namibia, I did discover an annual German festival called Wika (sponsored by NBL) which began in 1952 CE. In addition, Windhoek hosts an Oktoberfest celebration; but both events were postponed this year due to COVID-19.[15] In addition, Namibia is the only African country with a daily German-language newspaper.[16] However, the Namibian government has also started to challenge the reverence for its German colonial heritage in recent years by removing a controversial statue dedicated to German soldiers killed while waging a genocidal war against native peoples.[17] Perhaps the reckoning has been delayed by a desire to placate German tourists who spend money in Namibia.[18] Regardless, the Namibian preference for lager has thus far escaped controversy.

            Although the German Empire did not incorporate any colonies in the Americas, numerous Germans migrated to Canada, Mexico, Brazil, Chile and Argentina. Germans first traveled to South America in the 16th century, but they were few in number. Migration intensified during the 19th century, especially after the failed Revolutions of 1848 CE. Another wave of migration occurred after World War II as displaced Germans fled the destruction of their homeland. Alleged Nazi war criminals tried to evade justice by hiding in South America as well.[19]

            About 7,000 Germans colonists and mercenaries initially settled in Brazil in the 1820s after being recruited to fight for Brazil to retain Uruguay, which was in the process of obtaining its independence from Brazil.[20] Immigration continued throughout the 19th and 20th centuries with about 220,000 Germans arriving by 1972 CE.[21] German immigrants probably brewed beer on a domestic scale, and it took about 30 years for the first commercial brewery to appear in 1853 CE in the city of Petropolis (not far from the coastal capital of Rio de Janeiro).[22] Pilsner is the most popular beer in Brazil with American-style lagers in second place.[23] Skol, an American-style lager produced by brewing giant InBev, is the single most popular brew in Brazil.[24] Xingu, a black lager, is available in the USA.[25] Many Brazilians trace their heritage to German immigrants and some 3 million Brazilians still speak some form of German.[26] Although I could not locate any German heritage associations, it seems plausible that one or more exists, but without many English-language references. However, Brazil does claim to host the second largest Oktoberfest celebration in the world in the south-eastern city of Blumenau (which is also the home of a beer museum).[27]

Blumenau, Brazil, claims the title of the 2nd largest Oktoberfest celebration in the world. Photo from TripAdvisor.com. Cincinnati is only the 4th!

            The first significant group of German settlers arrived in the Patagonia region of Argentina in 1853 CE. By 1895 CE, about 25,000 Germans had migrated to Argentina[28] with another 72,000 arriving between 1919 CE and 1932 CE.[29] Today, about 500,000 Argentinians still speak German.[30] However, I could not locate any German heritage associations in Argentina, but again, that could be due to a lack of reference material in English (as opposed to an absence of such organizations). Nevertheless, the German preference for lager beer continues to influence the Argentinian brewing industry and consumer preferences. Quilmes is the leading brand in Argentina with a 67% market share.[31] The top seller for Quilmes is Cristal lager and other breweries compete by producing their own light lagers and pale lagers.[32] Quilmes was founded in 1880 CE by Otto Bemberg, a German immigrant, in the coastal city that is the brewery’s namesake (near the capital Buenos Aires). Quilmes is available in the USA.

            German migration to Chile began in the late 1840s and at least 30,000 had arrived before World War I.[33] Today, only an estimated 500,000 Chileans are of German descent.[34] In addition, there are several German language schools and a weekly German newspaper in Chile, although I did not locate any German heritage associations (again possibly due to a lack of English language references). German influence in the Chilean brewing industry also remains strong. One of oldest Chilean commercial breweries is Austral which was founded in 1896 CE by Jose Fischer, a German immigrant, in Punta Arenas (a small and remote coastal town at the southern tip of Chile).[35] However, Austral’s production only amounts to 1% of the Chilean market,[36] and the Compania Cervecerias Unidas (CCU), incorporated in 1902 CE, is the leading brewer with about 77% of the market.[37] CCU Cristal, another pale lager, accounts for 60% of CCU’s sales. [38] CCU exports to the USA, and overall Chilean beer exports experienced rapid growth in recent years from a paltry $4 million in 2002 CE to more than $113 million in 2013 CE.[39] Kunstmann, a Chilean craft brewery, is an obvious example of German cultural influence. Kunstmann brews in accordance with the 1516 Reinheitsgebot and features many different iconic German beer styles, including lager, bock and Weissbier.[40] Kunstmann began exporting to the USA more than 20 years ago and hosts the largest annual beer festival in Chile (which was also cancelled this year due to COVID-19).[41] Kunstmann is based in the town of Valdivia. A German immigrant had opened a commercial brewery in Valdivia in 1851 CE (only a few years after the first Germans arrived in Chile), but the business did not recover from a destructive earthquake in 1960 CE. Kunstmann pays homage to their German brewing heritage on their website.[42]

            Individual Germans first arrived in Mexico in the 1820s, but the first wave of significant migration did not begin until the 1840s.[43] In the 1920s, about 16,000 German Mennonites from Canada migrated to Mexico.[44] Today, there are about 30,000 self-identified Germans living in Mexico,[45] although up to 20% of the overall population could have German ancestry.[46] Spaniards had created the first commercial brewery in Mexico in the 1540s, but it was a failure.[47] The first successful commercial brewery was Cerveceria Cuauhtemoc which opened in 1891 CE in Monterrey (about 50 years after the first Germans arrived).[48] Cuauhtemoc is best known for its Czech-style pilsner called Bohemia, although Mexicans also enjoy Vienna style lagers due to the influence of the Hapsburg emperor Maximilian I who came from Vienna to rule Mexico briefly in the 1860s.[49] However, Mexican consumers tend to prefer lighter lagers and pilsners. The best-known Mexican light lager is Corona Extra, produced by Cuauhtemoc’s rival Grupo Modelo, which is available in the USA. Other common Mexican export beers include Dos Equis Amber (Vienna lager), Tecate (lager) and Modelo Especial (lager/pilsner).[50] I could not locate any German heritage associations in Mexico, but several cities host Oktoberfest celebrations. Furthermore, the city of San Luis Potosi funds a German Cultural Center that offers language classes and cultural programs.

Aside from introducing Vienna Lager to Mexico, Maximilian’s reign was so unpopular that he was overthrown and executed. Painting by Edouard Manet (1867-69).

            While the United States attracted the most German immigrants, Canada also attracted a few settlers. However, a lack of direct transportation and a shortage of available land in Canada discouraged more Germans from settling there. Between 1871 CE and 1914 CE, only about 40,000 German migrants had arrived in Canada.[51] Approximately 290,000 Germans also fled to Canada after World War II.[52] In 1971 CE, an estimated 1.3 million Canadians had German heritage which amounted to 6.1% of the total population.[53] There are a plethora of German heritage groups in Canada, including regional clubs, a historical association and a German-Canadian museum in Mississuaga, Ontario (only open on Sunday afternoons or by appointment). In addition, Canada celebrates German heritage month every October to correspond with Octoberfest and Canadian Thanksgiving.

When it comes to beer, Canadians prefer light lagers.[54] The first commercial breweries in Canada opened in the 17th century while it was still a French colony, but these endeavors were not successful. The oldest surviving Canadian brewery, Molson, was founded by John Molson in 1786 CE in Montreal.[55] That predates, by several decades, any large-scale German immigration which did not begin until the 19th century. Molson’s top-selling beer is the Molson Canadian lager, although American-style light lagers, such as Budweiser, are also popular. Many Canadian lagers, including Molson, Labatt Blue and Moosehead, are easily available in the USA. Canadian brewers also contributed their own seemingly innovative version of lager beer, “ice beer,” where the brew is partially frozen after fermentation. However, this apparently novel idea is based upon the same concept as the German eisbock where ice is removed from a frozen beer in order to produce a brew with higher alcohol content.[56] Although Canada was originally a French colony later conquered by the British, German influence in the Canadian brewing industry has been significant.

            German migrants also settled in other British colonies, including Australia and New Zealand. The first wave of German immigrants arrived in Australia in 1838 CE primarily for religious reasons.[57] By 1900 CE, 38,000 German immigrants were residing in Australia.[58] However, it wasn’t until 1885 CE, nearly 50 years after the first German immigrants arrived, that Australia began producing lager which accounts for 95% of Australian beer consumption today.[59] Great Northern Brewing, Victoria Bitter and Carlton Draught, all lagers, are the leading beers in Australia.[60] Founded in 1822 CE, Cascade Brewery, located on the southern island of Tasmania, is Australia’s oldest brewer which predates significant German immigration.[61] Foster’s Lager is the biggest Australian export beer and is widely available in the USA, although it is not a top seller in the domestic market.[62] However, even smaller Australian craft brewers are exporting beer, including pilsner, to the American market.[63] Incidentally, German immigrants in the 19th century are also credited with creating the Australian wine industry.[64]

Despite the advertising, Foster’s is not very popular in Australia.

In addition to affecting the contemporary Australian brewing industry, German influence has also had other impacts on Australian culture. In the 2016 CE Australian census, 4.5% of the population claimed German heritage.[65] Australia has a Wendish Heritage Society and the German-Australian Genealogy and History Alliance, as well as Die Woche Australien – a weekly German language newspaper. The Goethe Institut, a cultural organization, also has offices in Melbourne and Sydney where language classes and cultural programs are hosted.

            Finally, approximately 10,000 German immigrants settled in New Zealand between 1843 CE and 1914 CE. [66] Explorer Captain James Cook brewed the first batch of beer in New Zealand in 1773 CE. He used rimu twigs and manuka leaves to brew up a concoction that would ward off scurvy.[67] The first commercial brewery opened in 1835 CE, which also predates significant German migration, in the region called the Bay of Islands.[68] Today, the most popular beer in New Zealand is the New Zealand Draught, with DB Draught, Lion Red and Speight’s Gold Medal Ale being to the top brands. Although the exact origins of the New Zealand Draught style are unclear, it is actually a lager.[69] However, none of the leading brands appear to be available in the USA. Today, approximately 200,000 New Zealanders trace their heritage to Germany.[70] German cultural influence persists today through an office of the Goethe Institut in Wellington and the German Bohemian Heritage Society.

            In conclusion, German immigrants brought their love of beer with them when they settled in various regions around the world. The German Empire, although short-lived, helped facilitate the spread of German culture, including foodways, in the colonies of Tsingtao in China, Namibia (former German South West Africa) and Tanzania (formerly part of German East Africa). Although the German Empire did not incorporate any colonies in the Americas, numerous German immigrants settled in Mexico, Chile, Brazil and Argentina. German migrants also chose to start a new life in former British colonies, including Canada, New Zealand and Australia. In most of these countries, the preference for lagers or pilsners, as well as other variants such as pale lager, can likely be attributed to the cultural influence of German immigrants who played a key role in the nascent brewing industries (as well as the Australian wine sector). Some breweries, such as Kunstmann in Chile, overtly acknowledge their German heritage and even go so far as to brew according to the Reinheitsgebot. German influence is also evident in other cultural areas as well, including the arts and media. Although I was unable to locate German heritage associations in many of the South American regions, they may exist – especially in places like Argentina and Brazil where large parts of the population claim German heritage. The problem may have been that I can’t read Spanish and thus relied on English language online references which were obviously more plentiful in former British colonies. Despite this limitation, it is clear that German immigrants have had an enduring impact around the world.


[1] John Silk, “Germany’s colonial legacy in Bougainville and South Pacific,” DW.com, Deutsche Welle, published 12/12/2019, accesses 12/20/2020, https://www.dw.com/en/germanys-colonial-legacy-in-bougainville-and-south-pacific/a-51649786

[2] Documentation Centre and Museum of Migration in Germany (DOMiD), “Migration history in Germany,” DOMiD, published n.d., accessed 12/20/2020, https://domid.org/en/service/essays/essay-migration-history-in-germany/

[3] Benjamin Dodman, “The siege of Tsingtao: how Germany surrendered an empire – and a beer,” France24.com, France24, published 07/11/2014, accessed 12/21/2020, https://www.france24.com/en/20141107-siege-tsingtao-how-germany-lost-empire-left-beer-qingdao-world-war-one-japan

[4] Dr. Wilhelm Matzat, “Germania Brewery and its employees (1903-1914),” Tsingtau.org, published 11/01/2007, accessed 12/21/2020, https://tsingtau.org/germania-brauerei-und-ihre-angestellten-1903-1914/

[5] “Snow Beer – The Best-Selling Beer in the World,” travelchinaguide.com, Travel China Guide, revised 09/10/2019, accessed 12/21/2020

[6] “Major Figures on Residents from Hong Kong, Macao and Taiwan and Foreigners Covered by 2010 Popualtion Census,” National Bureau of Statistics of China, published 04/29/2011, accessed 12/21/2020, https://web.archive.org/web/20110514214156/http:/www.stats.gov.cn/english/newsandcomingevents/t20110429_402722638.htm

[7] George Thomas Kurian, “Tanzania – Ethnic Groups,” upenn.edu, African Studies Center at the University of Pennsylvania, n.d. published, accessed 12/21/2020, https://www.africa.upenn.edu/NEH/tethnic.htm

[8] Julia Faria, “Beer market share in Tanzania 2020, by brewery,” statista.com, Oxford Business Group, published 12/04/2020, accessed 12/21/2020, https://www.statista.com/statistics/1186227/beer-market-share-by-brewery-in-tanzania/

[9] “A tasting of the most important beers in Tanzania!,” paradiessafaris.com, Paradies Safaris, published 11/20/2019, accessed 12/21/2020, http://paradiessafaris.com/a-tasting-of-the-most-important-beers-in-tanzania/

[10] Dirk Gottsche, Remebering Africa: The Rediscovery of Colonialism in Contemporary German Literature (Rochester, NY: Camden House, 2013), 66.

[11] “Namibia 2011: Population & Housing Census Main Report,” archive.org, Namibia Statistics Agency, n.d. published, accessed 12/21/2020, https://web.archive.org/web/20131002064316/http:/www.nsa.org.na/files/downloads/Namibia%202011%20Population%20and%20Housing%20Census%20Main%20Report.pdf

[12] Tycho van der Hoog, Breweries, Politics and Identity: The History Behind Namibia’s Beer (Oxford: African Books Collective, 2019), 23.

[13] Sebastian Geisler, “German Brewing Secrets Turn Namibia Into Unlikely Beer-Making Mecca,” worldcruch.com, World Crunch, published 05/07/2013, accessed 12/21/2020, https://worldcrunch.com/food-travel/german-brewing-secrets-turn-namibia-into-unlikely-beer-making-mecca

[14] Griffin Shea, “Ice cold in Africa: What to drink in Namibia’s beer town,” cnn.com, CNN, revised 09/07/2015, accessed 12/21/2020, https://www.cnn.com/travel/article/namibia-beer/index.html

[15] “German carnival called off,” Namibian.com, The Namibian, published 06/24/2020, accessed 12/21/2020, https://www.namibian.com.na/201991/archive-read/German-carnival-called-off

[16] Devon Maylie, “Namibia Taps Its German Roots for Oktoberfest,” wsj.com, The Wall Street Journal, published 10/28/2013, accessed 12/21/2020, https://www.wsj.com/articles/SB10001424052702304200804579163512275301676

[17]Gina Paula Figueira, “Interrogating the German Colonial Narrative in Namibia,” goethe.de, Goethe Institut, published October 2019, accessed 12/21/2020, https://www.goethe.de/prj/lat/en/spu/21689214.html

[18] Maylie, “Namibia Taps Its German Roots”

[19] David Tock, “German Immigration and Adaptation to Latin America,” liberty.edu, Liberty University, published 04/26/1994, accessed 12/21/2020, https://digitalcommons.liberty.edu/cgi/viewcontent.cgi?article=1110&context=honors, 1-2.

[20] Tock, “German Immigration,” 4.

[21] Maria Stella Ferreira Levy, “O papel da migracao internacional na evolucao da populacao brasileira (1872 a 1972),” scielo.br, Scientific Electronic Online Library, published June 1974, accessed 12/22/2020, http://ref.scielo.org/2c8fkv

[22] “Bohemia – History,” bohemia.br, Cervejeiro Bohemia, n.d. published, accessed 12/21/2020, https://www.bohemia.com.br/historia

[23] “Beer Sector in Brazil,” flandersinvestmentandtrade.com, Flanders Investment and Trade, published August 2020, accessed 12/21/2020, https://www.flandersinvestmentandtrade.com/export/sites/trade/files/market_studies/Beer%20study%20Brazil.pdf

[24] “Brazil’s top 5 beers,” cyprusbeermaniacs.com, Cyprus Beer Maniacs, published 06/12/2014, accessed 12/21/2020, http://www.cyprusbeermaniacs.com/brazils-top-5-beers/

[25] Bob MacDonald, “Xingu Beer’s History as Exotic as the Brew Itself,” chicagotribune.com, Chicago Tribune, published 06/16/1988, accessed 12/21/2020, https://www.chicagotribune.com/news/ct-xpm-1988-06-16-8801080544-story.html

[26] Ofer Tirosh, “Which Languages Are Spoken in Brazil?,” tomedes.com, Tomedes, published 07/08/2020, accessed 12/21/2020, https://www.tomedes.com/translator-hub/languages-spoken-in-brazil

[27] “Oktoberfest Blumenau,” oktoberfesttours.travel, Oktoberfest Tours, n.d. published, accessed 12/21/2020, https://www.oktoberfesttours.travel/oktoberfest-celebrations/blumenau-brazil/

[28] Tock, “German Immigration,” 40-41.

[29] Stefan Rinke, “German Migration to Latin America,” in Germany and the Americas: Culture, Politics, and History, eds. Thomas Adam and William Kaufman (Santa Barbara: ABC-Clio, 2005), 30.

[30] “Argentina,” worldlanguage.com, World Language, n.d. published, accessed 12/22/2020, http://www.worldlanguage.com/Countries/Argentina.htm

[31] Kenneth Rapoza, “In Patagonia, Argentina’s Beer Biz Keeps Hopping,” forbes.com, Forbes, published 02/21/2015, accessed 12/22/2020, https://www.forbes.com/sites/kenrapoza/2015/02/21/in-patagonia-argentinas-beer-biz-keeps-hopping/?sh=56a8583a6be3

[32] “Quilmes and 4 other Popular Beers in Argentina,” puertolaboca.com, Puerto La Boca, published 07/24/2020, accessed 12/22/2020, https://www.puertolaboca.com/blog/quilmes-and-other-popular-beers-in-argentina

[33] “Medallas Chile,” medallaschile.blogspot.com, Medallas Chile, published 12/23/2011, accessed 12/22/2020, http://medallaschile.blogspot.com/2011/12/colonizacion-alemana-en-llanquihue.html

[34] Victoria Dannemann, “Alemanes en Chile: entre el pasado colono y el presente empresarial,” dw.com, Deutches Welle, published 03/31/2011, accessed 12/22/2020, https://www.dw.com/es/alemanes-en-chile-entre-el-pasado-colono-y-el-presente-empresarial/a-14958983-1

[35] Karina Jozami, “A Very Cold Beer,” interpatagonia.com, InterPatagonia, n.d. published, accessed 12/22/2020, https://www.interpatagonia.com/puntaarenas/austral-brewery.html

[36] Aaron Kase, “Beer Tastes Better at the Bottom of the World,” vice.com, Vice, published 05/09/2016, accessed 12/22/2020, https://www.vice.com/en/article/nzkkpd/beer-tastes-better-at-the-bottom-of-the-world

[37] “The Beer Market in Chile,” flandersinvestmentandtrade.com, Flanders Investment & Trade, published March 2014, accessed 12/22/2020, https://www.flandersinvestmentandtrade.com/export/sites/trade/files/market_studies/301140326142723/301140326142723_2.pdf

[38] Ibid.

[39] Ibid.

[40] “The Beer Guide: Chile,” cuppatocopatravels.com Cuppa to Copa Travels, n.d. published, accessed 12/22/2020, https://www.cuppatocopatravels.com/beer/the-beer-guide-chile/

[41] “Cerveceria Kunstmannn: From Chilean Patagonia to the world,” patagonjournal.com, Patagon Journal, published 05/23/2019, accessed 12/22/2020, http://www.patagonjournal.com/index.php?option=com_content&view=article&id=4216%3Acerveceria-kunstmann-de-la-patagonia-chilena-al-mundo&catid=202%3”Apublireportaje&Itemid=340&lang=en

[42] “Neustra Historia,” cerveza-kunstmann.cl, Cerveceria Kunstmann, n.d. published, accessed 12/22/2020, http://www.cerveza-kunstmann.cl/en/la-cerveceria/nuestra-historia/

[43] Tock, “German Immigration,” 20-21.

[44] J. Winfield Fretz and H. Leonard Sawatz, “Mexico,” gameo.org, Global Anabaptist Mennonite Encyclopedia Online, published November 2010, accessed 12/22/2020, https://gameo.org/index.php?title=Mexico

[45] Ingrid Dobler, Maren von Groll and Alois Moosmuller, “The Importance of the Diaspora Community for Business in Mexico: A Comparison of German and U.S. American Staff Members Posted Abroad,” in Area Studies, Business and Culture: Results of the Bavarian Research Network Forarea, ed. Horst Kopp (Munster: LIT Verlag, 2003), 318.

[46] “Los que Ilegaron – Alemanes,” youtube.com, Canal Once, published 11/04/2012, accessed 12/22/2020, https://www.youtube.com/watch?v=-OoZ0O-rgUU

[47] Lisa Grimm, “Beer History South of the Border,” seriouseats.com, Serious Eats, revised 08/09/2018, accessed 12/22/2020, https://drinks.seriouseats.com/2012/02/mexican-beer-history-victoria-bohemia-modelo-corona-brands.html

[48] Ibid.

[49] Ibid.

[50] “Mexican Beers,” mexperience.com, Mexperience, n.d. published, accessed 12/22/2020, https://www.mexperience.com/mexican-bar/mexican-beers/

[51] K.M. McLaughlin, The Germans in Canada (Ottawa: Canadian Historical Association, 1985), 4-5.

[52] Ibid., 17.

[53] Ibid., 15.

[54] Josh Rubin, “Canada,” in The Oxford Companion to Beer, ed. Garrett Oliver (New York: Oxford University Press, 2012), 386-392.

[55] “The History of Canadian Beer,” mentalitch.com Mental Itch, n.d. published, accessed 12/22/2020, https://mentalitch.com/the-history-of-canadian-beer/

[56] Kate Bernot, “Thanks, Canada, for the ice beers,” thetakeout.come, The Takeout, published 10/12/2020, accessed 12/22/2020, https://thetakeout.com/thanks-canada-for-the-ice-beers-1845173121

[57] Ian Harmstorf, “Germans,” sa.gov.au, Adelaidia, published 06/05/2015, accessed 12/22/2020, https://adelaidia.history.sa.gov.au/subjects/germans

[58] “Immigration: Federation to Century’s End 1901-2000”,” archive.org, Department of Immigration and Multicultural Affairs, published October 2001, accessed 12/22/2020, https://web.archive.org/web/20101204201624/http://www.immi.gov.au/media/publications/statistics/federation/federation.pdf

[59] “Australian Beer,” beerandwine.guide, Beer & Wine Guide, published 05/01/2018, accessed 12/22/2020, https://beerandwine.guide/beer/australian-beer/

[60] Christopher Hughes, “Market share of leading commercial beers in Australia 2019,” statista.com, Statista, published 03/12/2020, accessed 12/22/2020, https://www.statista.com/statistics/1095500/australia-market-share-of-leading-commercial-beers/

[61] “Australian Beer,” Beer & Wine Guide.

[62] “Beauty Bottlers,” smh.com Sydney Morning Herald, published 01/25/2005, accessed 12/23/2020, https://www.smh.com.au/lifestyle/beauty-bottlers-20050125-gdkk07.html

[63] Phil Galewitz, “Australian Brewery Says ‘G’Day’ to U.S. Beer Scene,” alcoholprofessor.com, The Alcohol Professor, published 07/19/2017, accessed 12/23/2020, https://www.alcoholprofessor.com/blog-posts/blog/2017/07/19/australian-brewery-says-gday-to-u-s-beer-scene

[64] Paul Keating, “Speech by the Prime Minister, the Hon. PJ Keating, MP Luncheon the His Excellency Dr. von Weizsaecrer, President of the Federal Republic of Germany Parliament House, Canberra, 6 September 1993,” pmc.gov.au, Department of the Prime Minister and Cabinet, published 09/06/1993, accessed 12/23/2020, https://pmtranscripts.pmc.gov.au/release/transcript-8956

[65] “Cultural Diversity in Australia, 2017,” abs.gov.au, Australian Bureau of Statistics, published 06/28/2017, accessed 12/23/2020, https://www.abs.gov.au/ausstats/abs@.nsf/Lookup/by+Subject/2071.0~2016~Main+Features~Cultural+Diversity+Article~60

[66] James N. Bade, “Germans,” teara.govt.nz, The Encyclopedia of New Zealand, revised 03/25/2015, accessed 12/23/2020, https://teara.govt.nz/en/germans/print

[67] Nigel Perry, “Manuka Beer,” teara.govt.nz, The Encyclopedia of New Zealand, published 09/24/2007, accessed 12/23/2020, https://teara.govt.nz/en/ephemera/14470/manuka-beer

[68] Jocelyn Chisholm, “Joel Samuel Polack,” teara.govt.nz, The Encyclopedia of New Zealand, revised March 2006, accessed 12/23/2020, https://teara.govt.nz/en/biographies/1p18/polack-joel-samuel

[69] John Oszajca, “NZ Draught,” newzealandbrewer.co.nz, New Zealand Brewer, published 10/06/2019, accessed 12/23/2020, https://www.newzealandbrewer.co.nz/nz-draught/

[70] Bade, “Germans.”

Quietude Part 2: Portrait of a Young Girl on Fire

Both Portrait de la jeune fille en feu (2019) and La Mort de Louis XIV (2016) use silence to enhance viewer’s immersion in the world they are experiencing. In Portrait, the absence of a soundtrack enhances the quietude of Héloïse (Adele Haenel) and Marianne’s (Noemie Merlant) world where the crackling of the fire and the crashing of the waves are the major audio landmarks. The silence and slow pacing also enhance the impact of the Latin chant in the climatic bonfire scene. Albert Serra’s La Mort also used music sparingly in a similar manner, but in a way that was more effective in my opinion since it was period appropriate.

When you’re so in love that you don’t even notice your dress caught on fire.

The Latin chant, “Portrait de la jeune fille en feu,” was composed by Para One (Jean-Baptiste de Laubier), who is an electronic dance music producer. Writer/director Céline Sciamma claims she searched for a historical piece that fit the scene but was unable to find a suitable song (O’Falt). As a result, the chant has a modern beat to it that feels somewhat jarring and out of place since the rest of the film has only a few sparse examples of period appropriate diegetic music. The chant was inspired by György Ligeti’s “Requiem” which was made famous by 2001: A Space Odyssey which also provides a more modern feel that is incongruous. Critics describe the climatic chant as “beautiful” and “rapturous” (Dessem) as well as “skin tingling” (Johnson). Johnson also critiqued the music as “strange” and “utterly shocking”. I tend to agree with Johnson that the music was not totally suited for the scene. It also seems implausible that the women, who appear to be commoners, attending the feast would understand the significance of the Latin lyrics.

While I have no doubt that Sciamma had trouble finding an appropriate historical piece, music commissioned for this pivotal scene should have been more period appropriate as to be less distracting. Otherwise, the Latin chant stands out as an anachronism amid an otherwise immersive 18th century portrait. On the other hand, Serra’s use of classical music with angelic vocals in La Mort fit seamlessly with the scene.

References

Dessem, Matthew. “What’s the Deal With the Song at the Center of Portrait of a Lady on Fire?.” Slate, published Dec. 10, 2019, https://slate.com/culture/2019/12/portrait-lady-fire-celine-sciamma-music-song-score-para-one-arthur -simonini.html. Accessed Nov. 19, 2021.

Johnson, Ellen. “Music’s Visceral, Pivotal Role in Portrait of a Lady on Fire.” Paste Magazine, published Feb. 27, 2020,
https://www.pastemagazine.com/music/portrait-of-a-lady-on-fire/portrait-of-a-
lady-on-fire-review-bonfire-scene-mu/.
Accessed Nov. 19, 2021.

La Mort de Louis XIV. Directed by Albert Serra, performances by Jean-Pierre Léaud, Patrick d’Assumçao, and Marc Susini. Capricci Films, 2016.

O’Falt, Chris. “Portrait of a Lady on Fire’ Bonfire Scene: How Céline Sciamma Crafted the Year’s Best Musical Moment.” Indie Wire, published Dec. 10, 2019, https://www.indiewire.com/2020/02/portrait-of-a-lady-on-firesong-bonfire-lyrics-chanting-1202211855/. Accessed Nov. 19, 2021.

Portrait de la jeune fille en feu. Directed by Céline Sciamma, performances by Noémie Merlant and Aèdele Haenel. Lilies Films, Arte, and Hold Up Films, 2019.

 

The enduring appeal of Jeanne Dielman (1975)

Maison Close (2010-13) and Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) offer contrasting approaches to addressing the issue of prostitution (albeit in different time periods). Although director Chantal Akerman presented an innovative perspective on the daily routine of Jeanne Dielman during the 1970s, the film does not appear to have had much commercial success.[i] On the other hand, Maison Close used a more conventional approach to depict the women of the Le Paradis brothel in the early 1870s. Maison Close attracted enough attention to only last two seasons on French TV.[ii]

Delphine Seyring plays the titular housewife whose daily routine falls apart in Jeanne Dielman.

Akerman shot Jeanne Dielman in a hyper-realist style with no musical soundtrack and a focus on real-time activity. On the other hand, the movie also elides the details of Jeanne’s prostitution until the very end in contrast to the frequent explicit and more erotic sex scenes in Maison Close. Although Jeanne Dielman is not an easy or short watch ( nearly 3.5 hours) with numerous “unwatchable dull moments,” it also received critical acclaim.[iii] Jeanne Dielman has experienced a slight renaissance in recent years after being released on DVD and in conjunction with the COVID 19 pandemic.[iv]

Clearly, Maison Close was intended to titillate more than provoke.

On the other hand, Maison Close told the stories of 19th century prostitutes with a more modern style. The series includes a soundtrack featuring modern music (as opposed to songs from the late 1800s) with some lyrics inexplicably in English. The show has several gritty and realistic moments (such as the brutal rape of Rose) but also glamorizes the story as well with more explicit sex scenes (such as the introduction to the 1st episode or the orgy in episode 2). Maison Close apparently did not offer enough to keep viewers watching and was not renewed for a third season on French TV. HBO had also planned to remake Maison Close for an American audience, but the project seems to be dead in the water.[v]

However, I think critics and professors will still be discussing Jeanne Dielman for years to come because Akerman dared to create something bold and innovative. On the other hand, Maison Close will probably not stand the test of time since it did not distinguish itself from other costume dramas. Akerman challenged the viewer while Maison Close did not.


[i] Lim, Dennis. “Then as Now, the Terrors of the Routine.” New York Times, Jan. 16, 2009.

[ii] “Maison Close ferme ses portes définitivement, pas de saison 3 pour la série de Canal,” Internet Archive, May 7, 2013, https://web.archive.org/web/20130510074830/http://series-tv.premiere.fr/News-Series/Maison-Close-ferme-ses-portes-definitivement-pas-de-saison-3-pour-la-serie-de-Canal-3750303

[iii] Schwartz, Dennis, “Jeanne Dielman, 23 Quai de Commerce, 1080 Bruxelles,” Aug. 5, 2019, https://dennisschwartzreviews.com/jeannedielman/

[iv] Trnka, Alexandra, “Domestic Gestures: Revisiting Jeanne Dielman in Social Isolation,” July 2020, https://www.sensesofcinema.com/2020/cinema-in-the-age-of-covid/domestic-gestures-revisiting-jeanne-dielman-in-social-isolation/

[v] Willmore, Allison, “BO Remaking Racy French Brothel Costume Drama ‘Maison Close’,” Nov. 9, 2012, https://www.indiewire.com/2012/11/hbo-remaking-racy-french-brothel-costume-drama-maison-close-43541/

The Art of Leaving in La Haine (1995)

I thought La Haine (Hatred) was quite remarkable when I first saw it about 20 years ago. After watching it again, I particularly enjoyed Mathieu Kassovitz’ use of space, especially the 360-degree shots that rotated around the characters. These shots really helped immerse the audience in the world of three young men, Vinz (Vincent Kassel), Saïd (Saïd Taghmaoui) and Hubert (Hubert Konde), who live in the poor suburbs of Paris. The panning shots helped contribute to the sense of realism Kassovitz was trying to create in the aftermath of the recent riots there (on screen and in real-life). In addition, I felt like Kassovitz also made good use of lingering shots when the main characters exited a scene to add both levity and weight to the film.

Hubert, Said and Vinz (left to right)

In the Parisian bathroom scene, Kassovitz continues to focus the camera on the bathroom doors as they gradually cease swinging back and forth. This provides a momentum of quietude as a respite from the swirling chaos and energy that surrounds the trio. It also offers a moment of levity as another previously unseen man pokes his head out and looks around in shock at what he had just overheard.

Kassovitz also uses a lingering departure shot to humorous effect when the trio leave the Parisian rooftop where they had tried to extinguish the lights on the Eiffel tower. A few moments after the trio exit the shot, the lights on the tower go out. One of the characters complains that kind of perfect timing only happens in the movies!

The characters’ departure also had humorous effect, perhaps unbeknownst to them, when they confronted the armored policeman in the abandoned building. After Hubert punched the officer, the trio escaped through a small doorway. Vinz paused to taunt the police before turning around and letting the door close. The camera remains focused on the side facing the audience to reveal that it was covered in obscene graffiti. The image adds a parting insult to the officer’s injuries.

The ending to La Haine is intentionally ambiguous.

In addition to providing some levity, departures also serve to add foreshadowing and a more serious tone. The visual and thematic emphasis on departures seems to be a way to psychologically prepare the audience to accept Vinz’s death and final departure (as well as possibly Hubert’s). It forces the audience to realize that the world will continue to move forward in the absence of Vinz and/or Hubert. The use of lingering departure shots is a distinctive method that helps make La Haine so powerful.

References

La Haine. Directed by Mathieu Kassovitz, performances by Vincent Cassel, Hubert Koundé and Saïd Taghmaoui. Canal+, 1995.

The Quietude of La Mort de Louis XIV (2016)

For my French film class, I presented a quest lecture on the role of music in the 2006 film Indigènes.

Therefore, it made an interesting exercise to contrast it against the minimal musical presence in Albert Serra’s La Mort de Louis XIV (2016). Serra’s film has very limited music which leaves the focus on Jean-Pierre Léaud’s performance as the dying king (r. 1643-1715). The sparsity of music also heightens its intensity when it is used.

The opening scene where Louis salutes the ladies at the party has some very quiet background music (possibly Domenico Gallo’s “Trio Sonata No. 1 in G – Moderato, according to the IMDB). The next piece of music does not appear until about 50 minutes later when some faint notes begin to intrude from outside. The valet confirms that the music is in celebration of St. Louis’ Day (August 25) which is the king’s namesake. The valet smiles and Louis XIV lifts himself off his pillows. The film’s relatively quiet tone accentuates the impact of the music since it’s so rare. For a moment, the music helps lift the audience’s spirits, and seems as if the king might recover (despite the name of the film).

Jean Pierre Leaud and his amazing wig.

The pinnacle comes at about 1 hour 21 minutes while the king is taking small sips of wine and eating small morsels of biscotin. The relative quiet of the film means the music is actually a little jarring when it begins, but the angelic vocals underline that the king’s demise approaches. Louis’ activity gradually slows during the music, and, by the time it ends, it’s hard to tell if the king is still alive. He is very still and barely breathing. There is a long pause before the dialogue resumes which makes the audience to concentrate on Louis’ stillness and frailty. The piece was composed by Marc Verdaguer and is titled “Es fa de nit” (which means “it’s getting dark” in Catalan, Serra’s native tongue). Verdaguer seems to work exclusively with Serra.

Music resumes after the credits have started rolling. This time it’s Mozart’s “Mass in C Minor, K.427,” which has been described as “impressive” and “monumental” (Baerenreiter.com). It provides a suitably emotional accompaniment as the audience is left to reflect on their own mortality. Serra’s minimalist approach towards the soundtrack for La Mort de Louis XIV was effective because it forced the audience to sit alongside the king, without any distractions, as he slowly succumbed to gangrene over the course of 2 hours. It also made the few instances of extradiegetic music standout due to the overall lack thereof. The very slow pacing and lack of music present an interesting challenge to the viewer, but one that’s well worth it in my opinion.

References

“Mass in C minor K.427.” Bärenreiter, https://www.baerenreiter.com/en/shop/product/details/BA9188/. Accessed September 24, 2021.

La Mort de Louis XIV. Directed by Albert Serra, performances by Jean-Pierre Léaud, Patrick d’Assumçao, and Marc Susini. Capricci Films, 2016.

“Soundtrack Credits.” Internet Movie Database, https://www.imdb.com/title/tt5129510/soundtrack. Accessed September 24, 2021.

Memory and Forgetting in Hiroshima Mon Amour (1959)

I haven’t updated this blog recently, so I thought I would share some of my academic writing. Since I’m still spending a lot of time at home due to COVID-19, I have been taking some classes at the University of Cincinnati. In the fall of 2021, I took a French studies class about French film and TV. I wrote a series of short response papers and the first paper is about the 1959 romantic drama Hiroshima Mon Amour which tells the story of a 36-hour love affair between a Japanese architect and a French actress.

I thought director Alain Resnais’ use of perspective to create a sense of intimacy or, conversely, emotional distance in Hiroshima Mon Amour was very effective. I noticed that Resnais used a lot of extreme close-ups in the first half of the film the first time I watched it; however, I didn’t notice that he had used wider shots in the second half, especially for “Her” memories of a wartime affair with a German soldier, until our class discussion. Although we discussed in class how the longer shots created a sense of voyeurism, I feel that using a longer lens also served other functions as well.

She/Nevers (Emmanuelle Riva, left) and He/Hiroshima (Eiji Okada, right).

First, the two main characters, “Her”/”Nevers” (Emmanuelle Riva) and “Him”/”Hiroshima” (Eiji Okada), remain universal/anonymous throughout the film, and the long-distance shots also help to reinforce the anonymous and universal nature of “Her” love affair with the German soldier (who is also never named). The very wide shots do not provide the viewer with many details of the two lovers. The lack of specificity permits the viewer to fill in blanks themselves. Only 15 years had passed since the events in question occurred, and most viewers in 1959 had probably lived through the Liberation. Many viewers at the time had probably witnessed similar events in their towns, or at least heard about something similar, to what “She” experienced when her neighbors punished her (by shaving her head) for engaging in “horizontal collaboration” with the German soldier. Some viewers might have had friends or family members who had made similar transgressions or received similar punishments. The use of wider shots to obscure the details of “Her” memory made it easier for viewers to relate to the story.

Example long shot of She/Nevers and The German.

Furthermore, the very wide shots used to recall “Her” memories of the German could also signify that “She” was actually starting to forget the exact details of the events herself. The events occurred 15 years ago, and, although they were traumatic, “She” likely cannot remember every detail of every rendezvous. As she says in the film, Nevers is already starting to remember things less clearly, such as the details of her German lover’s eyes and voice. The details of her flashbacks are also obscured through the use of very long shots where no distinguishing details can be discerned by the viewer.

References

Hiroshima Mon Amour. Directed by Alain Resnais, performances by Emmanuelle Riva, and Eiji Okada. Daiei, 1959.