During the process of the development in East and West Germany, the issue of the memory of World War II and the Nazi Past was discussed. Therefore, the GDR film institution DEFA was one of the first establishments which mainly published films shortly after 1945 to memorize the Second World War and the cruelties of the Nazis. But how important was the role of the memory of World War II for the GDR regime in reality? And would the GDR regime also try to use propaganda in films of such a sensible and important matter? Would it also try to spread its ideology within these movies? And if, how were ideological means implied in the movies respectively how did film makers conceptualize, frame and display their versions of World War II and its meanings?
To answer these questions the paper starts by giving an overview of the importance of the memory of World War II and the Nazi Past in GDR policy. After that, this policy should be further analyzed with the help of nine movies of GDR film makers and their contribution to the memory of World War II and the Nazi Past in East Germany. The conclusion is the last part of the paper.
Table of Contents
1. Introduction
2. The Memory of the Nazi-Past in the German Democratic Republic
3. Analysis of ‘Anti-Fascist’ Films of German Democratic Republic Film Makers
3.1 The Blum Affair (1948)
3.2 Rotation (1949)
3.3 Council of Gods (1950)
3.4 The Axe of Wandsbek (1951)
3.5 The Kaiser’s Lackey (1951)
3.6 Naked Among Wolves (1963)
3.7 Carbide and Sorrel (1965)
3.8 The Gleiwitz Case (1961)
3.9 I Was Nineteen (1968)
4. Conclusion
5. Bibliography
Objectives and Research Focus
This paper examines how the GDR utilized the memory of World War II and the Nazi past as a tool for ideological legitimization. It analyzes how the state-run DEFA film studio conceptualized these historical events to construct the GDR's identity as an "anti-fascist" state and explores the tension between artistic expression and political propaganda throughout the Cold War.
- The role of WWII memory in GDR state construction.
- DEFA films as instruments of socialist propaganda.
- The depiction of guilt and heroism in "anti-fascist" cinema.
- The evolution of DEFA film themes from the 1940s to the 1960s.
- System-critical trends versus regime censorship.
Excerpt from the Book
3.1 The Blum Affair (1948)
Although in 1948 the GDR was not officially founded, the movie was produced in the DEFA studios which were in the Soviet zone of occupation at that time. Therefore it can be rather recognized as a GDR film because the policy of the Soviet Union and the GDR was basically the same. The movie which was directed by Erich Engel deals with anti-Semitism as well as nationalism during the Weimar Republic and is based on an actual event which took place in Magdeburg in 1926.
Karl Heinz Gabler, a former soldier and thief, needs money and murders a man, called Wilhelm Platzer, and so he gets some money in form of checks. When Gabler uses them he is arrested by the police, but invents a story to acquit himself. Instead he accuses the boss of Wilhelm Platzer who is the rich Jewish manufacturer Dr. Jacob Blum. The police officer Schwerdtfeger as well as the State Prosecutor Konrat tend to believe his story because both think that Jews want to work together with left wing politicians to control the German government. That is the reason why Blum is arrested and has to stay in prison and is denied any form of contact to his wife. She believes in his innocence and asks the democratic ‘Regierungspräsidenten’ for help. He demands a police officer to investigate the case independently. He proves the innocence of Dr. Jacob Blum and police officer and Schwerdtfeger the State Prosecutor Konrat are embarrassed because of the mistake. The film ends by showing Blum and his wife. She says that she knew that everything will be clarified because they live in the German state under the rule of law, but her husband makes no reply to it.
Summary of Chapters
1. Introduction: Outlines the historical context of a divided Germany and introduces the research question regarding the role of WWII memory and propaganda in GDR film.
2. The Memory of the Nazi-Past in the German Democratic Republic: Explores how the GDR used the memory of the Nazi past to legitimize its existence and differentiate its ideology from the FRG.
3. Analysis of ‘Anti-Fascist’ Films of German Democratic Republic Film Makers: Investigates how specific DEFA productions incorporated political demands and ideological messaging regarding the Nazi era.
3.1 The Blum Affair (1948): Analyzes the depiction of anti-Semitism and the role of socialist politicians in the Weimar Republic.
3.2 Rotation (1949): Discusses the depiction of blue-collar workers and the "guilt" of the German population under Nazi rule.
3.3 Council of Gods (1950): Examines the critique of industrial capitalism and its alleged ties to Nazi war crimes.
3.4 The Axe of Wandsbek (1951): Focuses on the regime's censorship of films that allowed the audience to feel empathy for the main character.
3.5 The Kaiser’s Lackey (1951): Discusses the critique of militaristic and authoritarian traditions leading to World War I.
3.6 Naked Among Wolves (1963): Explores how the concentration camp setting was used to emphasize communist resistance rather than the Jewish Holocaust.
3.7 Carbide and Sorrel (1965): Details the use of satire and more modern cinematic techniques to address sociopolitical issues.
3.8 The Gleiwitz Case (1961): Analyzes a more documentary-style, system-critical approach that faced significant pushback from the regime.
3.9 I Was Nineteen (1968): Discusses the transition toward personal, identity-focused narratives and the critique by officials regarding the film's message.
4. Conclusion: Summarizes the findings on how film served as an evolving tool for propaganda and state legitimacy throughout the GDR's history.
5. Bibliography: Lists the sources and primary literature used for the analysis.
Keywords
GDR, DEFA, Anti-fascism, Propaganda, World War II, Nazi past, Film analysis, Cold War, Socialism, Buchenwald, Ideology, Censorship, German history, Resistance, Collective memory.
Frequently Asked Questions
What is the core focus of this study?
The study examines the role of World War II memory in the construction of the German Democratic Republic (GDR) as an "anti-fascist" state, specifically through the medium of film.
What central themes are explored?
The work focuses on state propaganda, the portrayal of the Nazi past, the evolution of DEFA film production, and the tension between individual artistic expression and socialist ideology.
What is the primary research objective?
The objective is to understand how filmmakers in the GDR conceptualized, framed, and displayed their versions of WWII and its meanings to influence the population and solidify communist legitimacy.
What scientific methods were applied?
The author uses a qualitative analysis of nine selected DEFA films, comparing their narrative content and production context against the political requirements of the SED regime.
What is covered in the main section?
The main section provides detailed case studies of films like "The Blum Affair," "Rotation," and "Naked Among Wolves," analyzing how each represents specific ideological goals and shifts in regime policy.
Which keywords best characterize this work?
Key terms include GDR, DEFA, Anti-fascism, Propaganda, WWII, Collective memory, and socialist ideology.
How does "Naked Among Wolves" deviate from a standard Holocaust depiction?
The film shifts the focus from the Jewish suffering to the organized socialist resistance within the camp, using the Holocaust as a background to highlight communist heroism.
Why was "The Axe of Wandsbek" banned by the GDR?
The regime feared the film would elicit too much pity for the main character, potentially framing Nazi crimes as an individual failure rather than a systemic one, which threatened the state's "anti-fascist" narrative.
What shift occurred in DEFA films during the 1960s?
The films began to utilize more complex narratives, satire, and innovative technical means, reflecting a period where filmmakers attempted to introduce more system-critical perspectives before the regime tightened controls in 1965.
- Quote paper
- Christopher Borns (Author), 2009, Films in the ‘anti-Fascist’ German Democratic Republic. The DEFA and the Memory of World War II, Munich, GRIN Verlag, https://www.grin.com/document/987879
