Several historians and film scholars have dealt with the German Heimatfilm. They mainly concentrated on the films' reception in the 1950s, when they served as a form of distraction from reality. Large audience figures were attracted to go to the movies to see peaceful villages, mountains, lakes or woods. The reasons for the genre's success were revealed by several researchers. But, when switching on television today, it becomes clear that the phenomenon of Heimat is still of remarkable impact. The old classical Heimatfilme from the 1950s are frequently repeated. Furthermore, fairly recent productions can be found as well as contemporary TV-series which follow a similar pattern. To underline this phenomenon and its development TV-guides from the years 1991 and 2007 are taken into account to analyse the frequency of Heimatfilme on German television. The thesis also contains a case study of the outstandingly famous Immenhof-trilogy in order to reveal the values that are transported through the genre. For different reasons, the films managed to survive sixty years and, even though they are not shown in cinemas any more, they nevertheless survived on TV and regularly achieve high market shares. Although Germany is not lying in ruins and is not suffering from a devastating war, there still seems to be a longing for distraction nowadays. Globalisation, alienation and modernisation are only some reasons that reinforce a glorification of rural areas and the 1950s. The foundation myth, the economic 'miracle' and the so-called 'zero hour' in 1945 have further increased the popularity of the decade. In this sense, the films are also analysed according to the way they project German self-perception and how they are coming to terms with the nation's past.
Table of Contents
1. Introduction
2. Heimatfilm - History and Historical Background
3. Empirical Research
4. Case Study: The Immenhof - Trilogy (1955-57)
5. Wer früher stirbt ist länger tot (2006) - New and old Elements of the Genre
6. Conclusion
7. Bibliography
Research Objectives and Key Topics
This thesis examines the enduring popularity of the German Heimatfilm genre in contemporary television, investigating how these films shape collective memory, project German self-perception, and continue to resonate with audiences decades after their initial release.
- The historical development and socio-political context of the Heimatfilm genre post-1945.
- Empirical analysis of the frequency and scheduling of Heimatfilm broadcasts on German public television.
- A detailed case study of the "Immenhof" trilogy to decode recurring themes, values, and gender roles.
- Comparative analysis between classical 1950s productions and contemporary genre adaptations like "Wer früher stirbt ist länger tot".
- The relationship between national identity, the concept of "Heimat", and modern escapism.
Excerpt from the Book
Introduction
In 1948 the German film industry agreed upon a voluntary code that aimed at banning all violence and immorality from German cinemas.
The code indicated, for example, the following:
2. Andere Verbrechen dürfen nicht in Einzelheiten gehen, die die Technik ihrer Durchführung zeigen. Dies gilt insbesondere für: b) Massenmorde, sei es, dass sie von Verbrechern im Kampf mit der Polizei, oder von Verbrechergruppen untereinander, oder bei öffentlichen Unruhen begangen werden;
2. Other crimes may not go into details which display the technique of their accomplishment. This applies especially to: b) Mass murders, either committed by criminals in fight with the police, or within groups of criminals or during public riots;
When reading this, it becomes quite clear that in the years following the Second World War a longing for peace and harmony on the screen was the dominating force. This ‘escapism’ can especially be found in the genre Heimatfilm (‘Homeland’-film). Speaking for Western Germany there was no Stunde Null (‘zero hour’), as Sabine Hake claims in her publication on German National Cinema, as far as its film industry is concerned. The Heimatfilm was not a new phenomenon, but during the 1950s the genre became a guarantor for one box office hit after the other. Nowadays, German films of the 1950s are often regarded with some embarrassment on account of their triviality. Some film scholars like Barbara Bongartz deny their impact and only mention them briefly in their publications on the postwar cinema.
Summary of Chapters
Introduction: This chapter contextualizes the genre's emergence within the immediate postwar period, noting the industry's shift toward escapism and harmony as a reaction to the trauma of World War II.
Heimatfilm - History and Historical Background: This section explores the historical roots of the genre, analyzing how the concept of "Heimat" was constructed and utilized to provide security and identity to a divided, traumatized nation.
Empirical Research: This chapter provides a statistical analysis of the prevalence of Heimatfilme on major German public broadcasters between 1991 and 2007, demonstrating their sustained presence in modern TV schedules.
Case Study: The Immenhof - Trilogy (1955-57): A deep dive into a central example of the genre, examining how specific cultural values, gender archetypes, and narrative structures were established and maintained.
Wer früher stirbt ist länger tot (2006) - New and old Elements of the Genre: This chapter assesses a modern film to determine how it bridges the gap between traditional Heimatfilm tropes and contemporary cinematic storytelling.
Conclusion: The final chapter synthesizes the research findings, concluding that the Heimatfilm remains a vital, albeit evolving, medium for German cultural reflection and identity formation.
Bibliography: A comprehensive list of primary and secondary sources, including filmographies and relevant literature on German cinema studies.
Keywords
Heimatfilm, German Cinema, Post-war Germany, Immenhof, Cultural Identity, Escapism, Television History, Collective Memory, National Identity, Genre Studies, Narrative Analysis, Media Sociology, 1950s Culture, Heimat, German Television.
Frequently Asked Questions
What is the primary focus of this research?
The work investigates the cultural and social significance of the German Heimatfilm genre, focusing on why these films remain popular in the 21st century despite their roots in the 1950s.
What are the central thematic fields covered?
The study covers the construction of national identity, the role of nostalgia in German culture, gender roles within rural cinema, and the evolution of the genre from classical to modern adaptations.
What is the core research objective?
The main goal is to understand how the Heimatfilm reflects German self-perception and how it functions as a "pseudo-historic space of refuge" for audiences today.
What methodology is applied in this study?
The thesis utilizes a mixed-method approach: quantitative empirical research regarding TV broadcast frequency and qualitative film analysis (case studies) to interpret narrative content.
What is discussed in the main body of the text?
The main body moves from the historical origins of the genre, through a statistical analysis of modern consumption, into detailed examinations of the Immenhof trilogy and the contemporary film "Wer früher stirbt ist länger tot".
Which keywords best characterize this study?
Key terms include Heimatfilm, Cultural Identity, Post-war Germany, Nostalgia, German Cinema, and Media Sociology.
Why is the "Immenhof" trilogy used as a case study?
It is analyzed because it exemplifies the archetypal Heimatfilm values and gender structures that helped stabilize German society post-WWII and still commands an active fan community.
How does the author interpret the term "Heimat" in this context?
The author views "Heimat" not just as a geographical location, but as an emotional construct associated with security, warmth, and a lost paradise, often used to navigate the complexities of identity.
- Citation du texte
- Julia Ossenbruegge (Auteur), 2008, As long as the Roses still bloom. The track record of the German Heimatfilm, Munich, GRIN Verlag, https://www.grin.com/document/302980
