There have been far fewer efforts to explore the Wallace films as adaptations 2 and to unpack their transcultural baggage, even though it is clear from watching almost any film in the series that there is far too much eclectic internationalism and spatio-temporal flexibility here to simply classify the Wallace films as ‘Germanised’ versions of English source material, or as mere attempts to transplant 1920s crime stories into the post-war context. The films are viewed as emblematic of the transitional period of the 1960s and characterised as indicative of an overarching paradigm shift in the national mentality throughout this decade (see Bliersbach Grob Schneider). 1 There have been numerous critical studies of the Wallace films, often as part of a sociology of German cinema, with a distinct emphasis on the films’ ideological subtexts (see Bergfelder Gerhards).
No other franchise is as fondly remembered and paid tribute to in German popular culture as frequently no other series of films ran for so long and remained profitable for more than a decade. The West-German Edgar Wallace films of the 1960s are without a match in the history of German cinema. Transculturality in the West-German Edgar Wallace Series Wieland Schwanebeck
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