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Tutor: Dr Daniela Berghahn and Prof Chris Townsend

Teaching: 40 hours; seminars 20 hours, film screenings and visit to  the BFI London Film Festival

Value: 30 credits, 1 unit

Availability: Autumn

(Autumn Term) Trends in Postwar and Contemporary German Cinema

The first part of this course provides an exemplary survey of East and West German cinema from 1945 to the present, focusing on the most critically acclaimed films and movements such as the rubble films of the 1940s, East Germany’s antifascist films, New German Cinema and reunification comedies. Examining the role which cinema has played in the construction of Germany’s split national identity, themes of particular relevance are the cinematic representation of Germany’s Nazi past, the Cold War era, reunification and multiculturalism. Particular emphasis will be placed on developments in the contemporary German film scene; an excursion to the German Film Festival in London is an integral part of this course. All films will be shown with English subtitles.

The aims of Part one are:

  • To acquaint students with the main trends in East, West and post-unification German film culture between 1945 and the present day and to critically assess the aesthetic, political and representational strategies adopted by German filmmakers

  • To explore key critical issues relevant to the study of post-war and contemporary filmmaking in Germany

  • To familiarise students with the characteristics of East and West Germany’s film industries and to assess their strengths and weaknesses. Particular emphasis during the academic year 2008-09 will be placed on the role of international film festivals for the distribution and marketing of German cinema.

  • To enable students to consolidate and extend their use of the concepts and critical methods involved in film studies in order to analyse and assess the main features of German cinema over the past sixty years.

Course Structure

Rather than following a strict chronological approach from 1945 to the present, the course groups the films according to certain dominant thematic concerns shared by a significant number of post-war German filmmakers. The attempt to come to terms with the Nazi legacy has been identified as a perennial concern of German cinema that preoccupied filmmakers in the 1940s no less than those that revisited Germany’s burdened past in the 1990s, contributing to a wave of post-memory films in the 1990s and the new millennium.  During the Cold War some tendentious films were made which engaged with the ideological divide between communism and capitalism or which depicted the individual trauma and suffering caused by Germany’s division. Trends in post-unification German cinema are diverse and resist any attempt at classification. There is, however, no doubt as Nick James, the editor of Sight & Sound, stresses that contemporary German cinema goes from strength to strength. Over the past fifteen years German cinema has experienced a renaissance in terms of new creative impulses and international recognition, which seems to suggest that, following Weimar cinema and New German Cinema, post-unification cinema will – in years to come – be regarded as German cinema’s third golden age. Recent success stories include international box office hits such as Goodbye, Lenin! and The Lives of Others; the revival of a cinema of social concern; and the emergence of Young Turkish German cinema.


The course is taught by weekly two-hour seminars. These seminars will consist of an interactive lecture and a seminar discussions and presentations. Student presentations will be assessed (see under assessment). You are expected to actively contribute to all seminars. It is, therefore, essential that you will have watched all of the films and, ideally, some additionally recommended films prior to the weekly seminars. Since seminar discussions will also include a discussion of the essential reading, it is absolutely necessary for you to have read the texts in the course booklet. The seminar discussions will give you the opportunity you try out ideas and to develop your communication and presentation skills.

In addition to formal classes, the course includes an excursion to the BFI London Festival in London October (date tbc) and a Reading Week. At the Film Festival you will have the opportunity to see one or more recently released German films and meet filmmakers who present their work and are available for Q&A sessions. The purpose of the Reading Week is to give you the opportunity to undertake extensive reading and independent research in preparation for your end-of-term one-to-one tutorial where we will discuss the outline, structure and bibliography of your first coursework essay.

Reading and Viewing

Each week’s topic is accompanied by designated readings (‘essential reading’) in the Course Pack and required viewing, which will form the basis for class discussion. This is supplemented by ‘further reading’ relevant to the particular class as well as general course theme. You are not expected to read everything on the reading list but should select from it according to your interests in relation to your preparation for seminars and coursework. Purchase of the Course Pack is a prerequisite for enrolment on the course and weekly readings are compulsory. Copies of all films discussed are available for private viewing from Founders’ Library and you are expected to have viewed these prior to classes.

Students are strongly advised to purchase the following two essential books in addition to the Course Pack:

  • Berghahn, Daniela (2005), Hollywood behind the Wall: The Cinema of East Germany, Manchester: Manchester University Press.
  • Hake, Sabine (2002), German National Cinema, New York and London: Routledge. 

Assessment part one

One seminar presentation 10% of the overall mark

One 4,000 to 5,000 word essay 45% of the overall mark

You can either do a presentation in Autumn Term or in Spring Term (Part 2). Alternatively, you can opt to give two presentations and try to improve your performance in view of the feedback you receive for your first one. You will be awarded the better of the two presentation marks.

Part two (Spring Term): Political Films in France after 1968

Tutor: Professor Chris Townsend

This part of the course examines the response of radical French (and French-language film, since one of the directors, Alain Tanner is Swiss) filmmakers to the political and social transformations of French, and the larger western culture, from the mid-1960s onwards. The point of historical departure is ‘the events’ of May 1968 in France, when a combination of striking workers and revolting students nearly toppled the de Gaulle government. In many ways May ’68 represents the high water mark for radical movements in Europe in the 20th century, and responses to its failure condition much of what followed amongst artists and intellectuals in the 1970s. The filmmakers considered in this 11-week course are responding to a new form of modernity, one that still affects us directly today.

More information will be given about the second half of the course during the spring term.

Course structure outline

Part 1: Trends in Postwar and Contemporary German Cinema

Topic 1: Coming to terms with the Nazi past 

Week 1: Rubble films 

Screening:  In Those Days (Helmut Käutner, 1947)  

Essential Reading:

Andrew, Dudley (1998), ‘Film and history’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp. 176-198.

Shandley, Robert (2001),Rubble Films, ‘It’s a wonderful Reich: Between private innocence and public guilt’, pp. 47-76.  

Further Reading:

Rentschler, Eric (1987), ‘Germany: the past that would not go away’, in: William Luht (ed.), World Cinema since 1945, New York: Ungar, pp. 208-251.

Fehrenbach, Heide (1995), Cinema in Democratizing Germany: Reconstructing National Identity after Hitler, Chapel Hill and London: The University of North Carolina Press.

Week 2  DEFA’s antifascist tradition

Screening:    Jakob the Liar (Frank Beyer, GDR 1974) 

Essential Reading:

Mückenberger, Christiane (1999), ‘The anti-fascist past DEFA films’, in Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 58-76.

Gilman, Sander (2000), ‘Is life beautiful? Can the Shoah be funny? Some thoughts on recent and older films’,Critical Inquiry, 26, pp. 279-308. 

Further Reading:

Bathrick, David (2000), ‘Rescreening the Holocaust: The children’s stories’, New German Critique, 80 (Special Issue on the Holocaust), pp. 41-58.

Berghahn, Daniela (2005), Hollywood behind the Wall, ‘The cinematic discourse on the Holocaust in the divided Germany’ and ‘Unheroic resistance in Jakob der Lügner’, pp. 85-94.

Week 3  New German Cinema: Revisiting the Past

Screening:   The Marriage of Maria Braun (Rainer Werner Fassbinder, FRG, 1978) 

Essential Reading:

Kaes, Anton (1997), ‘New German Cinema’ in: Geoffrey Nowell-Smith (ed.), The Oxford History of World Cinema, Oxford: Oxford University Press, pp. 614-627.

Elsaesser, Thomas (1996), Fassbinder’s Germany: History, Identity, Subject, Amsterdam: Amsterdam University Press, ‘The BRD Trilogy, or: History, The Love Story’, pp. 97-128.  

Further Reading:

Kaes, Anton (1986), ‘History, fiction, memory: Fassbinder’sThe Marriage of Maria Braun  

Kaes, Anton (1989), ‘The Presence of the Past: Rainer Werner Fassbinder’s The Marriage of Maria Braun’, From Hitler to Heimat: The Return of History as Film, Cambridge, Mass.: Harvard University Press, pp. 73-103.

New German Critique (1994), 63 Special Issue on R. W. Fassbinder

Week 4   Visit to the BFI London Film Festival

Topic 2: The Cold War and life on the other side of the Wall

Week 5  The East German woman’s film

Screening:    The Legend of Paul and Paula, Heiner Carow, GDR 1973 

Essential Reading:

Rinke, Andrea (1999), ‘From models to misfits: women in DEFA films of the 1970s and 1980s’, in: Seán Allan and John Sandford (eds), DEFA: East German Cinema, 1946-1992, pp. 183-203.

Dölling, Irene (2001), ‘”We all love Paula but Paul is more important”: Constructing a ‘socialist person’ using the ‘femininity of a working woman’, New German Critique (Special Issue: East German Film), 82, Winter 2001, pp. 77-90.  

Further Reading:

Berghahn, Daniela (2005), Hollywood behind the Wall, ‘Women on film, or: how political is the private sphere?’, pp. 175-211.

Rinke, Andrea (2006), Images of Women in East German Cinema 1972-1982: Socialist Models, Private Dreamers And Rebels, New York: Edwin Mellen Press.  

There will be NO presentation in week 5, since we will discuss the film(s) we watched at the Film Festival.

Week 6: Reading Week

The reading week is a chance for you to get on top of all the reading for this course, to go over sections you have not fully understood, to undertake independent research (reading secondary literature and watch additional films), and to prepare for your seminar presentations and the essay tutorial in week 11. You will be expected to submit an essay outline and annotated bibliography prior to your first essay tutorial.

Week 7  Ostalgie comedies

Screening  Goodbye, Lenin! (Wolfgang Becker, 2003)  

Essential Reading:

Allan, Seán (2006), ‘Ostalgie, fantasy and the normalization of east-west relations in post-unification comedy’, in: David Clarke (ed), German Cinema since Unification, London and New York: Continuum, pp. 105-126.  

Further Reading:

Cook, Roger F. (2007), ‘Good Bye, Lenin! Free-market nostalgia for socialist consumerism’, Seminar, 34:2, pp. 206-219.

Finger, Anke (2005), ‘Hello Willy! Good Bye, Lenin! Transitions of an East German family’, South Central Review, 22:2, pp. 39-58.

Hake, Sabine (2002), German National Cinema, ‘Post-unification cinema 1989-2000’, pp. 179-192.

Week 8  Remembering the Stasi

Screening:   The Lives of Others (Florian Henckel von Donnersmark, 2006) 

Essential Reading:

Garton Ash, T. (2007), ‘The Stasi on our minds’, New York Review of Books, 54:9, 31 May,


Funder, Anna (2007), ‘Eyes without a face’, Sight & Sound, May 2007, pp. 16-21 

Further Reading:

Berghahn, Daniela (2009), ‘Remembering the Stasi in a fairy tale of redemption: Florian Henckel von Donnersmarck’s Das Leben der Anderen’, Oxford German Studies, 38:3 (forthcoming October 2009).

Lewis, Alison (2002), ‘En-Gendering remembrance: Memory, gender and informers for the Stasi’, New German Critique, 86, pp. 103-134

McNab, Geoffrey, (2007), ‘The Lives of Others’, Sight & Sound, May 2007, p. 68.

Topic 3: Trends in contemporary German cinema

 Week 9  German auteur cinema and the traditions of European art cinema

Screening  Paris, Texas, Wim Wenders, FRG, 1984 

Essential Reading:

Kolker, Phillip and Peter Beicken (1993), ‘Paris, Texas: Between the Winds’, The Films of Wim Wenders: Cinema as Vision and Desire, Cambridge: CUP, ‘pp. 114-137. 

Further Reading:

Cook. Roger F. and Gerd Gemünden (eds.),The Cinema of Wim Wenders: Image, Narrative and the Postmodern Condition, Detroit: Wayne State University Pres

Elsaesser, Thomas (1989), ‘The author in the film’,New German Cinema: A History, New Brunswick, N.J., pp. 74-116.

Vincendeau, Ginette (1998), ‘Issues in European cinema’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp.440-448.

 Week 10  Young German-Turkish Cinema

Screening:   The Edge of Heaven, Fatih Akin, 2007  

Essential Reading:

Burns, Rob (2009), ‘On the Streets and on the Road: Identity in Transit in Turkish-German Travelogues on Screen’,New Cinemas, 7:1, Special Issue Turkish German Dialogues on Screen, ed. D. Berghahn. Pp. 11-26.

Elsaesser, Thomas (2008) ‘Ethical Calculus: The cross-cultural dilemmas and moral burdens of Fatih Akin’sThe Edge of Heaven’, Film Comment, May/June, available online: http://www.filmlinc.com/fcm/mj08/heaven.htm 

Further Reading:

Berghahn, Daniela (2009), ‘Turkish German Dialogues on Screen’, New Cinemas, 7:1, Special Issue Turkish German Dialogues on Screen, ed. D. Berghahn, pp. 3-9. 

Burns, Rob (2005),’Turkish-German cinema: from cultural resistance to transnational cinema’, in: David Clarke (ed), German Cinema since Unification, pp.127-149.

Göktürk, Deniz (2002), ‘Beyond paternalism: Turkish German traffic in cinema’, in: Tim Bergfelder, Erica Carter and Deniz Göktürk (eds.),The German Cinema Book, pp. 248-256. 

Week 11  Essay Tutorials

Exact date of the essay tutorials will be announced at the beginning of autumn term. Please bring along a 2-page outline (essay plan) and an annotated bibliography.

Additional films:

Topic 1: Coming to terms with the past

The Murderers Are Among Us, Wolfgang Staudte (GDR 1946)

Rotation, Wolfgang Staudte, (GDR, 1949)

The Devil’s General, Helmut Käutner, (FRG, 1955)

The Affair Gleiwitz, Gerhard Klein, (GDR, 1961)

Naked among Wolves, Frank Beyer, (GDR, 1963)

I Was Nineteen, Konrad Wolf (GDR, 1968)

Germany, Pale Mother, Helma Sanders-Brahms, (FRG, 1980)

Das Boot, Wolfgang Petersen, (1981)

Lili Marleen, Rainer Werner Fassbinder, (FRG, 1981)

Jakob the Liar, Peter Kassovitz, (USA, 1999)

Europa, Europa, Agnieszka Holland, (1990)

Nowhere in Africa,Caroline Link, (2001)

Heimat 1 (1984),  Heimat 2 (1992) and Heimat 3 (2004), Edgar Reitz

Downfall (Oliver Hirschbiegel, 2004)

Dresden (Roland Suso Richter, 2006

Topic 2: The Cold War and life the other side of the Wall

Destinies of Women, Slatan Dudow, GDR, 1952

Heaven without Stars, Helmut Käutner (FRG, 1955)

Story of a Young Couple, Kurt Maetzig  (GDR, 1952)

Trace of the Stones, Frank Beyer (GDR 1965)

Berlin – Schönhauser Corner, Gerhard Klein, GDR 1957

The Rabbit is Me, Kurt Maetzig, 1965/1989

The Legend of Paul and Paula, Heiner Carow, GDR 1973

The Promise, Margarethe von Trotta (Germany 1995)

Paths in the Night, Andreas Kleinert (Germany 1998)

Solo Sunny, Konrad Wolf (GDR, 1982)

Topic 3: Trends in contemporary German cinema

Ali: Fear Eats the Soul, Rainer Werner Fassbinder (Germany 1974)

Wings of Desire, Wim Wenders, FRG, 1987

Funny Games, Michael Haneke (Germany, Austria 1997)

Caché/Hidden, Michael Haneke (France, Austria, Germany, 2005)

Requiem, Hans Christian Schmid, (Germany 2006)

City of Angels, Brad Silberling (USA, 1998)

Short Sharp Shock, Fatih Akin (Germany, 1998)

Solino, Fatih Akin(Germany 2002)

Alice in the Cities, Wim Wenders (FRG 1974)

Don’t Come Knocking, Wim Wenders, (Germany, 2006)

The Legends of Rita, Volker Schlöndorff (Germany, 1999)

Head-On, Fatih Akin (Germany, Turkey, 2004)

 Reading List

i) English language titles 

Allan, Seán and John Sandford (eds) (1999), DEFA: East German Cinema, 1946-1992, New York and Oxford.

Assmann, Aleida (2006), ‘On the (In)compatibility of Guilt and Suffering in German Memory’, German Life and Letters, 59:2, pp. 187-200.

Assmann, Jan and John Czaplicka (1995), ‘Collective Memory and Cultural Identity’, New German Critique, 65, pp. 125-133.

Bhaba, Homi (1983), ‘The Other Question…The stereotype and colonial discourse’, Screen 24/6: pp. 18-36.

Bergfelder, Tim, Erica Carter, and Deniz Götürk (eds.) (2002), The German Cinema Book, London.

Bergfelder, Tim (2005), ‘National, transnational or supranational cinema: Rethinking European film studies’, Media, Culture and Society , 27:3, pp. 315- 331.

Berghahn, Daniela (2005), Hollywood behind the Wall: The Cinema of East Germany, Manchester

Bordwell, David (2002), ‘Film futures’, SubStance, 31:97, Special Issue on the American Production of of French Theory, pp. 88-104. (relevant for Tom Tykwer)

Clarke, David (ed.) (2005), German Cinema after Unification, London and New York: Continuum.

Cook, Pam and Mieke Bernik (eds.) (1999), The Cinema Book, London: BFI

Cook, Roger F. and Gerd Gemünden, (1997) The Cinema of Wim Wenders, Detroit, Michigan.

Cooke, Paul (2005), Representing East Germany since Unification: From Colonization to Nostalgia, Oxford.

Crew, David F. (2007), ‘Sleeping with the enemy? A fiction film for German television about the bombing of Dresden’, Central European History, 40, pp. 117-132.

Dyer, Richard (1993), ‘The role of stereotypes’,The Matter of Images: Essays on Representations, London, New York: Routledge, pp. 11-18.

Dyer, Richard ((1998), Stars, London: BFI

East German Film (2001), Special Issue of New German Critique, 82.

Elsaesser, Thomas (1989), New German Cinema: A History, Hampshire and London.

Elsaesser, Thomas (1996), Fassbinder’s Germany: History, Identity, Subject, Amsterdam.

Elsaesser, Thomas with Michael Wedel (eds.), The BFI Companion to German Cinema, London.

Elsaesser, Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam.

Fehrenbach, Heide (1995), Cinema in Democratizing Germany: Reconstructing National Identity after Hitler, Chapel Hill and London.

Feinstein, Joshua (2002), The Triumph of the Ordinary, Univ. of North Carolina Press.

Forbes, Jill and Sarah Street (2000), European Cinema: An Introduction, Houndmills and Basingstoke: Palgrave.

Fox, Thomas C. (1999), Stated Memory: East Germany and the Holocaust, Rochester.

Film History special issue on Cold-War German Cinema (2006), ed. Marc Silberman, vol. 18:1.

Frieden, Sandra et al  (eds) (1993), Gender and German Cinema : Feminist Interventions, Oxford.

Fuchs, Anne and Mary Cosgrove (eds.) (2006), German Memory Contests: The Quest for Identity in German Literature, Film and Discourse since 1990, New York: Camden House.

Fuchs, Anne (2007), Phantoms of War in Contemporary German Literature, Films and Discourse: The Politics of Memory, London: Palgrave.

Hake, Sabine (2002), German National Cinema, London and New York.

Halle, Randal and Margaret McCarthy (eds), (2003), Light Motives: German Popular Cinema in Perspective, Detroit

Halle, Randall (2008), German Film after Germany: Toward a Transnational Aesthetic, University of Illinois Press.

Hirsch, Marianne (1997), Family Frames: Photography, Narrative and Postmemory, Cambridge, Mass. and London.

Hjort, Mette and Scott MacKenzie (2000), Cinema and Nation, London and New York: Routledge.

Hughes-Warrington, M. (2009), The History on Film Reader, Abingdon: Routledge.

Kaes, Anton, From Hitler to Heimat: The Return of History as Film, London, 1989.

Kolker, Robert Phillip and Peter Beicken (1993), The Films of Wim Wenders: Cinema as Vision and Desire, Cambridge.

Konstantarakos, Myrtos (ed.) (2000), Spaces in European Cinema, Exeter: Intellect.

Knight, Julia (1992), Women and the New German Cinema, London, New York.

Linville, Susan E. (1998), Feminism, Film, Fascism: Women’s Autobiographical Film in Postwar Germany, Austin, Texas.

Moltke, Johannes von (2005), No Place Like Home: Locations of Heimat in German Cinema, Los Angeles.

Naficy, Hamid (2001), An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton, NJ and Oxford.

Niven, Bill (2002), Facing the Nazi Past: United Germany and the Legacy of the Third Reich. London and New York.

Palfreyman, Rachel (2000), Edgar Reitz’s Heimat, Oxford and Berne: Peter Lang.

Plowman, Andrew and Paul Cooke (2003), German Writers and the Politics of Culture: Dealing with Stasi. London.

Rentschler, Eric (1986), German Film & Literature: Adaptations and Transformations, New York and London.

Sandford, John (1981),The New German Cinema, London.

Santer, Eric L. (1990), Stranded Objects: Mourning, Memory and Film in Postwar Germany, Ithaca and London.

Sieglohr, Ulrike (2000), Heroines Without Heroes: Reconstructing Female and National Identities in European Cinema, 1945-61,  London and New York.

Thomson, Christian Braad (1991), Fassbinder: The Life and Work of a Provocative Genius, London.

Turan, Kenneth (2002), Sundance to Sarajevo: Film Festivals and the World They Made, University of California Press.

Reimer, Robert C. and Carol J. Reimer (1992), Nazi-Retro Film: How German Narrative Cinema Remembers the Past, New York.

Rentschler, Eric (ed.) (1986), German Film and Literature: Adaptations and Transformations, New York and London.

Rentschler, Eric (ed.) (1988), West German Filmmakers on Film: Visions and Voices. Homes and Meier Publishers.

Rentschler, Eric (1996), Ministry of Illusion: Nazi Cinema and Its Afterlife.

Rinke, Andrea (2006), Images of Women in East German Cinema 1972-1982: Socialist Models, Private Dreamers And Rebels, New York: Edwin Mellen Press.

Schindler, Stephan K. and Lutz Koepnick (eds.) (2007), The Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present. Ann Arbor, 2007.

Shandley, Robert R. (2001), Rubble Films: German Cinema in the Shadow of the Third Reich, Philadelphia, PA.

Sieglohr, Ulrike (ed.) (2000), Heroines without Heroes: Reconstructing Female and National Identities in European Cinema, 1945-51, London and New York.

Silberman, Marc (1995), German Cinema: Texts in Context, Detroit.

Valck, Marijke de (2007), Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam.

Vincendeau, Ginette (1998), ‘Issues in European cinema’, in: John Hill and Pamela Church-Gibson (eds), The Oxford Guide to Film Studies, Oxford: OUP, pp.440-448.

 ii)  German language titles

Belach, Helga and Wolfgang Jacobsen (eds.) (1991), Kalter Krieg: 60 Filme aus Ost und West, Berlin: Stiftung Deutsche Kinemathek.

Fröhlich, Margit, Christian Schneider and Karsten Visarius (eds). (2007), Das Böse im Blick: Die Gegenwart des Nationalsozialismus im Film,München: edition text + kritik.

Jacobsen, Wolfgang et al (1993), Geschichte des deutschen Films, Stuttgart.

Jansen, Peter W., Wolfram Schütte (eds) (1992), Wim Wenders, München, Wien.

Lowry, Stephen and Helmut Korte (2000), Der Filmstar, Stuttgart and Weimar.

Richter, Erika and Ralf Schenk (2000 – 2005), Apropos Film: Jahrbuch der DEFA Stiftung, Berlin (six volumes)

Schenk, Ralf (ed) (1994), Das zweite Leben der Filmstadt Babelsberg: DEFA-Spielfilme 1946-1992, Berlin.

Töteberg, Michael (ed) (1999), Szenenwechsel: Momentaufnahmen des jungen deutschen Films, Reinbek.

iii) Useful websites:

Film Portal (English and German)

Cinegraph (German)

German cinema (English)

DEFA film library (English)


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