Last Features by Reinhild Steingröver

By Reinhild Steingröver

Final beneficial properties is the tale of forgotten movies made in the course of the time of German unification. With leftover GDR cash and lower than chaotic stipulations, a bunch of younger East German filmmakers produced round thirty stylistically varied motion pictures. each one of these motion pictures have been misplaced within the political upheaval of the Wende, disappearing until eventually the 2009 Wendeflicks competition in l. a. introduced them again for a world viewers. Now to be had on DVD, those motion pictures offer certain insights into the generational fight within the DEFA studio, East German adolescence tradition within the Nineteen Seventies, ladies administrators at DEFA, the connection among the artist and the kingdom, and the protests of 1989. final positive aspects focuses specifically at the creation team "DaDaeR," the construction of which in 1989 fulfilled a longstanding request by way of the final new release of DEFA administrators for freer creation stipulations. Drawing on archival learn and interviews with the administrators, writers, and editors of the flicks in query, every one bankruptcy examines particular motion pictures from the final 12 months of DEFA, contextualizing the research of those "last good points" with a complete dialogue of the administrators' total oeuvres, the historic adjustments within the studio and the rustic, and the lasting value of those movies at the present time. Reinhild Steingröver is affiliate Professor of German and picture reviews within the division of Humanities on the Eastman institution of song, collage of Rochester.

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Thus at DEFA, just like in Oberhausen, directors were united against an older system of film production and funding but not united by a common aesthetic approach, as, for example, the DOGMA filmmakers were in the 1990s. A fitting comparison to characterize the efforts of the Nachwuchsgruppe in the GDR may be drawn to the New German Cinema in West Germany. While the work of the Nachwuchsgruppe was encouraged by the studio as a way to better control the youngest generation, the designation New German Cinema was coined from the outside to describe certain overarching connections between the fresh auteurist approaches of Fassbinder, Herzog, Wenders, and others.

Thomas Wilkening, internal document describing the background of the production group DaDaeR, 16 Feb. 1990, Wilkening File, Archive Film Museum, Potsdam. 8 “Wer in den Apparat geht geht verloren. ” Jörg Foth, “Orangenmond im Niemandsland,” in Orangenmond im Niemandsland, ed. Torsten Schulz (Berlin: Vistas, 2004), 25. All translations of quotations in this book are my own, unless otherwise noted. , Gegenbilder: Filmische Subversion in der DDR, 1976–1989 (Berlin: Janus, 1996). ” Thomas Günther, “Die subkulturellen Zeitschriften in der DDR und ihre kulturgeschichtliche Bedeutung,” in Aus Politik und Zeitgeschichte: Beilage zur Wochenzeitung “Das Parlament,” May 8, 1992, 36.

The transition of the DEFA production group DaDaeR into the independent production company Thomas Wilkening in 1991 showed that this commitment continued into the newly unified free-market economy. Although the company had some success, the Federal Republic has not been kind to former DEFA film artists, as this book will demonstrate. The struggles of former DEFA directors to gain access to the new media market of unified Germany are instructive today for our understanding of how the West German perspective dominated the process of shaping the narrative of the collapse of the GDR and German unification.

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