This essay examines the Nibelungensage and its filmic adaptations within the framework of the multi- perspective approach of German Studies. It is about the approaches of Casper-Hehne/ Schweiger in the sense of a synthetic approach to the concept of culture, and Nünning/ Nünning, whose terminology is extended to filmic narrations. The intertextuality of the “Nibelungen-films” and of the “Nibelungensage” is also relevant. The analysis focuses on the films by Fritz Lang (1924), Harald Reinl (1966/67), Uli Edel (2004) and Ralf Huettner (2008).