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Full Description
East Germany's ruling party never officially acknowledged responsibility for the crimes committed in Germany's name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner - a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.
Contents
List of Illustrations
Acknowledgements
List of Abbreviations and Acronyms
Introduction
Part I: 1945-1949
Chapter 1. Picking Up the Pieces. Kurt Maetzig's Ehe im Schatten
Part II: 1949-1961
Chapter 2. The German Democratic Republic's Ambassador of Good Will. Konrad Wolf's Sterne
Chapter 3. Reframing Victimhood. Konrad Wolf's Professor Mamlock
Part III: 1961-1971
Chapter 4. Crimes of the Past and Politics of the Present. Wolfgang Luderer's Lebende Ware
Chapter 5. 'In Babelsberg, Nothing New'. Gottfried Kolditz's Das Tal der sieben Monde
Part IV: 1971-1980
Chapter 6. New Encounters on Well-Worn Paths: Kurt Jung-Alsen's Die Bilder des Zeugen Schattmann
Chapter 7. Returning to the Past: Frank Beyer's Jakob der Lügner
Part V: 1980-1989
Chapter 8. Shifting Identities. Michael Kann's Stielke, Heinz, fünfzehn
Chapter 9. Calendar-Based Shame? Siegfried Kühn's Die Schauspielerin
Conclusion
Filmography
Bibliography
Index
