Die die-hards sind, mehr oder weniger, von derselben generation, um die 40 oder 50. In ermangelung von aufnahmegeräten musste in diesen frühen fernsehtagen jede sendung in echtzeit angesehen werden. Für Deutschland kommt hinzu, dass es nur zwei oder zweieinhalb sender gab (ARD, ZDF, die regionalen Dritten mit nur wenigen stunden täglicher sendezeit). Zerklüftete fernsehverhältnisse mit hunderten frei empfangbarer sender sowie werbeunterbrechungen in filmen und serien kannte man allenfalls vom hörensagen aus den USA. Und das heißt: Fernsehen war jung und neu; fernsehen war stadtgespräch; das fernsehen selbst war die botschaft! Und die serie NUMMER 6 machte ihren eigenen diskurs über die medialen verhältnisse auf.

What was the question again? Why is THE PRISONER so special? Well, here's your answer: THE PRISONER taught me about life!

Nicht zuletzt, es war im jahr 1969 nicht selbstverständlich, eine sendung sehen zu dürfen, von der meine eltern vermutlich selber nicht wussten, was sie davon zu halten hatten, wenn sie sie überhaupt ansahen.

Most television programs, both in the late 1960s and still today want to give the viewers a nice, tidy, well-rounded conclusion in which any questions that have been presented are fully-answered. What makes THE PRISONER both special, and at times frustrating, is the lack of answers at the end of each episode and at the end of the entire series.

Von denen, die NUMMER 6 machten, dachte wahrscheinlich keiner darüber nach, was man alles in die storys hineinlesen würde. Aber irgendwie - bewusst oder unbewusst - wurde daraus etwas, das man das erste fernsehkunstwerk nannte, ein echter klassiker, ein kultprogramm, wie man heute sagt. NUMMER 6 wendet sich an alle, es ist ein spiegelbild unseres lebens. Wie es McGoohan figur und die im Village zu sagen pflegen: "Wir sehen uns." Das sagt alles, wirklich.

Jahrzehntelang war NUMMER 6 aber nichts weiter als eine zeitkapsel der erinnerung, verblassende vage bilder.

Alles in allem ist NUMMER 6 niemals verblasst und übt heute die gleiche, ja noch mehr faszination aus als damals. McGoohan wirkte modern. Auch daran hat sich nichts geändert. Die figur und das outfit seiner NUMMER 6 war, blieb und ist einfach zeitlos.

Glücklicherweise war inzwischen der videorecorder erfunden worden. Das gab den startschuss, sich intensiver mit NUMMER 6 zu beschäftigen, vergessenes aus der versenkung zu holen und recherche zu betreiben.

McGoohan hat mit THE PRISONER etwas geschaffen, das nach ihm vermutlich erst David Lynch mit TWIN PEAKS wieder gelungen ist: eine serie, die dem oberflächlichen betrachter relativ belanglos und durchschnittlich erscheint, in der sich für den intelligenten, fordernden zuseher aber wahre abgründe auftun. So, wie manch einer TWIN PEAKS als bloße mystery-soap abtun mag, ist THE PRISONER für beiläufige seher eine agentenserie mit SciFi-einsprengseln und keine in ihrer theatralik hochallegorische (und fortschreitend allegorischer werdende) abhandlung über themen des damaligen zeitgeschehens und vor allem über den kampf zwischen establishment und individuum.

In short, we would not be talking about the show still if it did not apply in some way to our life.

Fernsehserien gehörten und gehören zur alltäglichen kultur - in Deutschland lange zeit nicht, vermutlich heute noch nicht richtig. In Deutschland herrscht schubladendenken: "E" wie ernst und "U" wie unterhaltung, hoch- und trivialkultur. Nicht zu vergessen, das mantra des öffentlich-rechtlichen "bildungsauftrags" der massenmedien, und alles streng voneinander getrennt, nur im jeweiligen fachbereich erhältlich. Was nicht ins eigene fach passt, wird ausgeblendet. Scheuklapp rules.

We are intended to sympathize with Number Six and rebuffed when we do. Thus, THE PRISONER series is special because viewers are fascinated by the injustice of imprisoning an innocent man, but are simultaneously discouraged by their detachment from the protagonist, a unique dichotomy in film.

Die serie NUMMER 6 transportierte das bild einer realität, das nur wenige millimeter versatz von dem unseren des jahres 1969 hatte... Der versatz beider realitätsbilder ist beinahe infinitesimal knapp, sprich: kongruent geworden. Das ist der mehrwert der serie, der sie hat überdauern lassen. Für eine fernsehserie war das verdammt allerhand.

I think that because we do not fully understand what is happening at all times we become even more engaged. In this sense, THE PRISONER has a lot of hidden messages that someone is always trying to figure out.

Wäre an der produktion alles nach plan und in normalen bahnen verlaufen und hätte man sich an die "realistische herangehensweise" gehalten, wie George Markstein es ursprünglich wollte, dann wäre daraus wahrscheinlich eine ganz andere fernsehserie geworden - gut gemacht, ganz interessant, aber auch ohne überraschungen und durchschnittlich. Aber gerade darum geht es in NUMMER 6 nicht. Es muss nicht sinn machen, muss nicht etwas bedeuten. Um die worte von Nummer Sechs aus "Die Glocken von Big Ben" zu benutzen: Es bedeutet, was es ist! Und bevor sie fragen - ich weiß auch nicht, was das bedeuten soll.

NUMMER 6 ist eine serie mit sehr vielen facetten, jedoch nicht der beliebigkeit. Alles ist eine frage der perspektive, und davon gibt es viele: im leben, in theorie und praxis, in der serie NUMMER 6, und auch am original drehschauplatz in Portmeirion. Denn dieser ort ist ganz nach prinzipien des schauwerts aufgebaut.

Das ganze ist eher eine gemeinsame kurze, aber äußerst interessante, mitreißende und vor allem ambivalente entdeckungstour ins menschliche.

The facts that THE PRISONER has sustained such a large fan following for so long, has inspired academia, and has themes that can relate to society over forty years after its production prove how special this television series is.

Erstaunlicherweise konnte ich mich in den folgenden jahren auch nicht an bilder aus der serie erinnern. Was aber deutlich vorhanden war, war der eindruck, etwas "wichtiges", "geheimnisvolles" und "exzeptionelles" gesehen zu haben.

In einer zeit ohne maps.google, google.earth und routenplaner hieß es landkarten und reiseführer konsultieren! In dieser zeit fuhren die menschen scharenweise ins Glottertal auf der suche nach der SCHWARZWALDKLINIK - und wir 1991 ins reale Village nach Portmeirion. Und wir wurden fündig: The Village - der Ort - das haus von Nummer Sechs - die PRISONER Convention.

Ich bin immer wieder erstaunt, wie aktuell die Serie noch ist, vielleicht aktueller als je zuvor.

THE PRISONER confirmed many beliefs for those that suspected governments of constant surveillance. It questioned meanings of being free and freedom; what do they mean, does anyone really have it, can we make our own choices, live they way we choose, or is it all served to us and we take it for face value and become mindless drones to society?

Selbst 40 Jahre nach der erstaustrahlung hat diese TV-serie nichts von ihrer faszination eingebüßt. Ganz im gegenteil, durch den massiven eingriff des deutschen staates u.a. auf die rechte eines jeden b ürgers ist diese serie aktueller als je zuvor.

The show allows everyone to feel unique and special because they have a different interpretation. All of these variations bring people together and create dialogue between people who may never have spoken. In these two ways, THE PRISONER accomplishes what most television shows and most people only dream of accomplishing.

Das besondere der serie ist für mich persönlich die vielschichtigkeit der story. Soziologische und philosophische gedanken bilden oft die grundlage für die einzelnen episoden. Was ist real und was ist fiktion? Wie ist die psyche des menschen beschaffen? Welche mächte beherrschen mich? Was bedeutet freiheit? Ein großes feld für interpretationen und diskussionen tut sich da auf. Das macht die serie so einzigartig!

An dieser stelle berührt die fernsehserie NUMMER 6 das literarische werk von Franz Kafka. Und wahrscheinlich liegt hier der grund, warum man seither manche filme und auch fernsehserien als "prisoneresk" bezeichnet.

Es ist nahezu unmöglich, die serie in eine der bekannten kategorien der fernsehunterhaltung einzuordnen, zumal der begriff der "mystery-serie" noch nicht erfunden war.

Number Six is unabashed and bitter – he has reason to be. Within the context of the Village his demeanor rarely changes – but when he leaves in "Fall Out" we suddenly see a man subtly change, dancing and singing. It’s an acting/ directing/ producing/writing decision that marks THE PRISONER as both a shove-it-down-your-throat allegory and a subtle, subtle character stuffy.

THE PRISONER is special because it is groundbreaking. Never before had a show taken so many chances with their audience, and had it pay off to such a spectacular degree.

The Prisoner Nummer 6


DON'T FORGET TO SAY THANK YOU FOR THE STAY!

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Serien gehören zum bodensatz des fernsehens, omnipräsent und so unendlich wie das medium selbst. Die wenigsten kratzen auch nur an der unterseite unserer aufmerksamkeitsschwelle.
UNWAHRSCHEINLICHE GESCHICHTEN war eine, die es tat, der klassiker TWILIGHT ZONE.
Dieser titel steht ein für alles, was mit dem begriff TV-magic verbunden ist.

Fantastisches fernsehen
der 60er jahre, das ist
auch eine beschwörende formel:
"Wir sehen uns!"
oder L'année dernière
au Village:

BLICK:

 

SEITENBLICK:

ANDERSWO GELESEN
 

AUTOREN:

BEITRÄGE VON...
 

INTERVIEWS:

Nr6DE MIT
DAVE BARRIE
Nr6DE MIT
TIM BOURNE
Nr6DE MIT
MAX HORA
CHRIS RODLEY MIT
GEORGE MARKSTEIN
SIMON BATES (BBC) MIT
PATRICK McGOOHAN
BILL KING MIT
PATRICK McGOOHAN
MIKE TOMKIES MIT
PATRICK McGOOHAN
WARNER TROYER MIT
PATRICK McGOOHAN
TOM WORRALL MIT
MARY MORRIS, N. WEST
UWE HUBER MIT
HORST NAUMANN
Nr6DE MIT
STEVE RAINES
DAVE BARRIE MIT
IAN L. RAKOFF
HARALD KELLER MIT
BERND RUMPF

Die aktivitäten von Nr6DE, videos und bilder von den fahrten zu den PRISONER-conventions oder unseren treffen, werden nicht nach neumodischer sitte "geteilt". Einblick erhält, wer nicht bloß "liked", sondern sich wirklich dafür interessiert. All die können gern zu uns stoßen und eine DVD bekommen.

 

 

VILLAGE BOOK SHELF - QUELLENLISTE RUND UM NUMMER 6
 

 

2009 saw the 40th anniversary of the initial German TV screening of THE PRISONER. We asked: What was it that got you hooked to the series? When and why did you become a PRISONER fan? Why do you hold on to a show that its creator Patrick McGoohan always hoped it would stay a contemporary work of art? And what is it that made it possible for more recent TV shows or theatrical films to be called "prisoneresque"? Contributions sent in try to answer these questions - each in its own right.

Big thanks to all the authors who took part! German language knowledge recommended.

DePauw University, Indiana, USA
Studenten und studentinnen am Department of Religious Studies

Die nachstehenden texte stammen von teilnehmerinnen und teilnehmern des von Prof. Valarie Ziegler und Jason Fuller im frühjahr 2009 betreuten seminars "Religion and Film: Understanding The Prisoner". Ms. Ziegler hat im rahmen ihrer veranstaltung mit ihren studierenden bereits zweimal die PRISONER-Convention in Wales besucht.

I'd like to express my gratitude to all who submitted their impressions and experience. You certainly helped keeping THE PRISONER spirit alive, in Germany too.
Very big thanks also to Ms. Ziegler who, upon my request, passed on my query "What's special about THE PRISONER?" and encouraged you to participate! Submitted texts are published here in no particular order! - Arno Baumgärtel

By Julie Kallas THE PRISONER is special because it is groundbreaking. Never before had a show taken so many chances with their audience, and had it pay off to such a spectacular degree.

By all means, THE PRISONER should not have been successful in the formulaic world of 1960s television; the fact that audiences even stuck with it says a lot for its worth. After all, the show had only two recurring characters; its main character was never named; and the final episode turned the entire series on its head. In an age when audience didn't have the option to watch television as we do today - through DVR, DVDs, and the Internet, in addition to plain old television - it is astounding that a 17-episode series could garner such a following in just one year, and maintain that following until the present day. Without THE PRISONER, we wouldn't have Trekkies or Comic-Con; the term "fanatic" can be defined by Patrick McGoohan's loyal followers. Everyone who came after owes their fandom to the originals.

PROF. VALARIE ZIEGLER WITH PRISONER AUTHOR IAN L. RAKOFF

By Alex Thompson Perhaps it’s the concept of escaping with escapism, the concept of a case study being entertaining, watching something so self-aware and self-reflective…aren’t we all a little bit like that? It is that child-like egoism where the world exists to reflect upon us that drives McGoohan, that drives the Prisoner. It’s irreverent, important and perennial.

Maybe it’s watching someone so perfectly unlike us – someone perfect, without doubts and without defeat. Though No. 6 is constantly manipulated to forget himself, he is the key, the code to be cracked. The Village relies on him one hundredfold more than he relies on them. He is the master of his own fate, and others’ as well.
To see someone so unflinchingly earnest, so laughably smug and angry and vindictive and subversive is refreshing in a post-election year where televisions are populated by grinning, two-faced politicians who are deathly serious about the wrong things and don’t think about those things that might separate them from the faceless majority. Obama is more than willing to spend time and money distancing himself from a wild Reverend but he doesn’t spend a moment or a cent to discuss his own identity which, as a curiously blended Black-American, is probably extraordinarily interesting.

VALARIE ZIEGLER YOUR ARE AFRAID OF YOURSELF
MORE: NUMMER 6 M.A. (German language)
40 YEARS NUMMER 6 - GERMAN TV PREMIERE 1969
ENGLISH ENTRY PAGE OF THIS WEBSITE

MORE: VILLAGE STORY BOOK (German language)
BLICK: NUMMER 6 - PRISONER CONVENTION

No. 6 is unabashed and bitter – he has reason to be. Within the context of the Village his demeanor rarely changes – but when he leaves in "Fall Out" we suddenly see a man subtly change, dancing and singing.
It’s an acting/directing/producing/writing decision that marks THE PRISONER as both a shove-it-down-your-throat allegory and a subtle, subtle character stuffy.

By Christine Walker To me, the thing that makes THE PRISONER special is what its end goal is. Most television programs, both in the late 1960s and still today want to give the viewers a nice, tidy, well-rounded conclusion in which any questions that have been presented are fully-answered. What makes THE PRISONER both special, and at times frustrating, is the lack of answers at the end of each episode and at the end of the entire series.

There are some questions that are specific to the series that we never have answered; Why the Penny-farthing? Where is the Village really? Who picks the Number Twos? The more disturbing questions however extend far outside of the series itself. What does it mean to be free? How do we know we are free? Is the system we all live in a Village in its own right? What makes Prisoner viewers squirm in their seats is that these questions are left to the viewer themselves to answer because, as we can see through the very last episode, "Fall Out", THE PRISONER does not plan on answering them for us. All we are left with is that we may all have been duped as it seems so many of the citizens of The Village have been with our only hope being that there is a Number Six out there somewhere fighting for us to be free.

By Kyle Kerrigan "What makes THE PRISONER special?": The Dichotomy of the Protagonist

THE PRISONER television series at once attracts audiences to the plight of someone wrongfully imprisoned while simultaneously preventing viewers from relating to the protagonist, Number Six. Viewers cannot help but sympathize with the Prisoner because his situation embodies one of the greatest fears in society: the imprisonment of an innocent man. Occasionally, viewers are compelled to cheer for a criminal protagonist in roles similar to the Prisoner's. In this instance, however, THE PRISONER series remains even more appealing because the central character is wrongfully captured and restrained.

Fans are attracted to this injustice in THE PRISONER and immediately anticipate his escape from his prison, the Village. Yet, after the viewer is drawn into the Prisoner's dilemma, one becomes disheartened in certain respects.
Unlike James Bond and conventional conceptions of spy characters, Number Six does not want to be associated his country’s intelligence agency and places himself before "mother England." More importantly, the Prisoner does not pursue relationships with females and actually dismisses female efforts to become intimate with him. These deviations from the traditional spy mold prevent the viewer from identifying with the Prisoner: men cannot understand why Number Six rejects the glamorous spy profession and refuses to sleep with women; and women cannot envision themselves in intimate relationships with Number Six because he declines all female advances.

We are intended to sympathize with Number Six and rebuffed when we do. Thus, THE PRISONER series is special because viewers are fascinated by the injustice of imprisoning an innocent man, but are simultaneously discouraged by their detachment from the protagonist, a unique dichotomy in film.

By Shie Kantor For me, THE PRISONER is special because of the many different facets that it can be viewed through. If possible, I'd like to describe the series as an onion of sorts. There are so many different layers, and as you peel away each layer, there is more and more that the viewer can analyze and enjoy. For example, it is possible to view THE PRISONER as a one dimensional television series, created for pure enjoyment, but it is also possible, as shown by our class, to view it as a commentary on many different things from politics to religion to the human psyche. The commentary on society through religion and politics seems to also have many layers.

The idea that each layer of the television series has its own layers is also incredibly special.

Of course there are other series that are commentaries, but I have yet to find one that is as intricate and well thought out as THE PRISONER. Every episode has its own idea that it explores while still focusing on the bigger ideas that are threaded throughout the entirety of the series. Ideas such as the rise of communism, the idea of an everyman, and the idea of a "big brother".
The facts that THE PRISONER has sustained such a large fan following for so long, has inspired academia, and has themes that can relate to society over forty years after its production prove how special this television series is.

By Daniel Lopez I believe that the depth of the show's issues during a time of extreme liberalism is what makes the show special.

By Brittney Belcher To understand why THE PRISONER is so special, one must look to the source, Patrick McGoohan. As the famous 1960’s British actor not only starred in the series, directed and wrote a couple of episodes, he was also the master mind behind its creation. Aside from my personal bias of McGoohan’s dreamy and handsome physical features, his role as Number Six possessed a certain charisma and familiarity that viewers could relate to. How many people in their everyday lives have wanted to rebel against something, someone, or somewhere? Number Six was an outlet for many fans to go against the establishment, which transformed into something different for everyone. During this time period, the establishment could have been the home many housewives were bound to, it could have been the norms of society that oppressed homosexuals and minorities, or simply the fear civilians held during the Cold War.

THE PRISONER confirmed many beliefs for those that suspected governments of constant surveillance. It questioned meanings of being free and freedom; what do they mean, does anyone really have it, can we make our own choices, live they way we choose, or is it all served to us and we take it for face value and become mindless drones to society? In particular, I appreciated THE PRISONER because of the individuality Number Six possessed and maintained throughout the series. He highlighted the importance of "knowing thy self" and staying to true to what he believed, and I admire that.

By Lucy First When I first sat down to watch THE PRISONER, I had mixed feelings. It was unlike anything I had ever watched. I did not like the unfamiliar storyline or the strangeness of the Village. Overall, I did not like the show. But when I started talking about it with my professors and with my classmates, I realized that I was only looking at the surface of the show. Everyone had a different opinion of the show. Everyone noticed different aspects of the Village. Everyone learned a different message.

What makes THE PRISONER so special is all the various meanings. No one watches the show and gets the same feeling or meaning as another person. The show allows everyone to feel unique and special because they have a different interpretation. All of these variations bring people together and create dialogue between people who may never have spoken. In these two ways, THE PRISONER accomplishes what most television shows and most people only dream of accomplishing.
We should all take notes from THE PRISONER and maybe then we would be on our way to a happier world.

By Michael Reed THE PRISONER's greatness lies in its mystery. Just as No. 6 struggles to find out exactly what the Village is, Prisoner fans are open to endless interpretations of the show’s meaning. The varying interpretations all point to one conclusion however; the Prisoner itself still applies to our life.

In short, we would not be talking about the show still if it did not apply in some way to our life.
Whether it is as an attempt to understand the cultural mayhem and liberal forces of the 60s or as a metaphor for Gnosticism, Prisoner fans are still finding applications for the bizarre world of the Village. Not only does THE PRISONER offer interpretations for our own individuality, but also offers comments on society as a whole that can be both uplifting and depressing. THE PRISONER, despite just being 17 episodes, therefore gives more to its audience that perhaps any other show, yet somehow gives so much by revealing so little.
While Patrick McGoohan has recently passed away, the travails of No. 6 (or is it No. 1?) will forever live on in ways that are debatable and frustrating. Just as McGoohan demanded to know "What’s it all about?"
Prisoner fans are still asking the same question.

By Grace Kestler THE PRISONER is special for many reasons. It is obviously a show different from any other I have seen. It deals a lot with scenes that are somewhat dreamlike and not logical. The fiction story leads the viewer through No. 6’s stay at the village. No other show consists of a giant ball with hidden knowledge. There is one person in charge and everyone seems to be working towards keeping No. 6 in the village. The series also leaves the viewer confused at many points, searching for the right conclusion. I think that because we do not fully understand what is happening at all times we become even more engaged. In this sense, THE PRISONER has a lot of hidden messages that someone is always trying to figure out.

The show is also special because it is pretty far-fetched. None of the events are normal occurrences. Therefore, the viewer has to stretch their mind in order to attempt to understand the point of the series. It is clearly for entertainment, while also provoking thought on human life. The fan-culture around the show is extreme for being such a short show. It obviously attracts a wide group of people and engages them through its quirky plot and characters. I think it seems so special because No. 6 is always trying to find a new way to escape. The viewer gets involved with him and tracks his escape routes.
We become involved with him and the excitement that he provokes.

VALARIE ZIEGLER YOUR ARE AFRAID OF YOURSELF
1969 GERMAN TV PREMIERE OF NUMMER (German language)

 

 

 

 

 

 

 

 

 

 

 


Contact impressum filmtexte - texts on film deutsch english language
  "Wir sehen uns!" oder L'année dernière au Village The Prisoner · Nummer 6

 

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