Because his butcher shop is facing bankruptcy, he agrees to execute a group of political prisoners for the Nazis. Once this becomes known, Teetjen's life falls apart. The Axe of Wandsbek was the only DEFA film made by Falk Harnack, a former anti-Nazi resistance fighter who was interested in exploring the involvement of the middle class in Nazi crimes. Despite positive reviews, the film was withdrawn shortly after its premiere; it became the first East German film ever to be banned. The film is adapted from one of the most important works by German-Jewish author Arnold Zweig; basing the story on real events, Zweig wrote the novel in exile in Palestine in Set near the end of the conflict, THE BRIDGE follows a group of teenage boys in a small town as they contend with everyday matters like school, girls, and parents, before enlisting as soldiers and being forced to defend their home turf in a confused, terrifying battle.
This expressively shot, emotionally bruising drama dared to humanize young German soldiers at a historically tender moment, and proved influential for the coming generation of New German Cinema auteurs. Seen through the eyes of Hitler's infamous secretary Traudl Junge, optimism crumbles into grim realization and terror as it becomes clear that Germany's defeat is inevitable.
As the Russian army circles the city, the dimly lit halls of the underground refuge become an execution chamber for the Fuhrer and his closest advisors. Explores the private lives of a young bride and her Nazi soldier husband, and her parents, by-standers who tolerated Hitler. While not excusing the actions of its protagonists, it uses them to show how easily the unthinkable can happen. The title is taken from the poem of the same name by Bertolt Brecht.
Hangmen also Die! Svoboda enlists the aid of a young woman who is oblivious to the lethal crosscurrents that surround her in Czechoslovakia. As she learns more about the mysterious doctor, she grows aware of the involvement of her father and fiance in the resistance, and soon finds herself entangled in the revolution's secret operations. Lore by Cate Shortland streaming video Left to fend for themselves after their SS officer father and mother, staunch Nazi believers, are interred by the victorious Allies at the end of World War II, five German children undertake a harrowing journey that exposes them to the reality and consequences of their parents' actions.
Led by the eldest sibling, year old Lore, they set out on a journey across a devastated country to reach their grandmother in the north. After meeting the charismatic Thomas, a mysterious young refugee, Lore soon finds her world shattered by feelings of both hatred and desire as she must learn to trust the one person she has always been taught to hate in order to survive. Lush cinematography and an evocative, haunting mood infuse this unconventional take on the Holocaust legacy with unforgettable impact.
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Based on the book Lore by Rachel Seiffert. Rothe wants to be punished for his actions, but the Nazis try to cover up the incident so that he can continue working for them. In a time during which mass murders are committed regularly, one more killer will go unnoticed. Stylistically, the production, in which many former Ufa artists were involved, blends classic melodrama in the Ufa style with documentary glimpses into life in Berlin under the Nazis.
Shown in all four sectors of occupied Berlin and across Germany, the initial release of the film reached 10 million viewers. Shot in the rubble of Berlin just a year after WWII, The Murderers Are among Us was the first film made in Germany after the war and has since become a classic antifascist and rubble film. Its film noir style successfully blends German expressionism with striking neorealism.
Despite Susanne's unspeakable experiences, she is filled with a renewed desire for life. When she goes back to her old apartment, she learns Dr. Hans Mertens Ernst Wilhelm Borchert has taken up residence there. He is a physician and a former officer in the German army, who is haunted by the memory of the execution of Polish civilians, which he did nothing to prevent. Under Susanne's care, the broken man gathers new strength and courage. Then, by chance, Mertens meets his former captain and decides to take the law into his own hands.
After surviving Auschwitz, a former cabaret performer, her face disfigured and reconstructed, returns to her war-ravaged hometown to seek out the gentile husband who may or may not have betrayed her to the Nazis. Without recognizing her, he enlists her to play his wife in a bizarre hall-of-shattered-mirrors story that's as richly metaphorical as it is preposterously engrossing. Rotation by Wolfgang Staudte streaming video The story of an apolitical working-class family that nevertheless gets drawn into collusion with Nazi policies.
Rotation portrays a German family and its support for Hitler during the Nazi period. The apolitical mechanic Hans Behnke considers joining the Nazi party to improve his financial standing. When he helps friends print resistance leaflets, however, his son, a member of the Hitler Youth, betrays him and he gets sent to prison. After the war, father and son meet again. Another classic film by Wolfgang Staudte The murderers are among us , it explores the individual's struggle within a murderous dictatorship.
Cinema and the Swastika | SpringerLink
It was censored by Soviet authorities in East Germany because of its pacifist message and the inclusion of footage from Leni Riefenstahl's Olympia Officials argued it focused on an ordinary Nazi follower, rather than an antifascist hero, and that it was "contaminated with modernism. He is drafted into Nazi Germany's last-ditch effort to resist the approaching Soviet Army. When he is captured and accused of killing a Soviet forced laborer, Gunter faces an intense psychological crisis. When he fails to report one of the culprits, he starts experiencing flashbacks of his earlier failure to take a stand against Nazi persecutions.
The second track was screened at The Museum of Modern Art in as part of the film series Rebels with a cause: the cinema of East Germany. It is the only East German film to explore the theme of former Nazis leading normal lives in the GDR, something authorities said only took place in West Germany. This sensitive subject matter was one reason why the film was rarely shown in East German theaters. The central character is Kurt Gerstein, a Waffen-SS officer employed in the SS Hygiene Institute, designing programs for the purification of water and the destruction of vermin.
He is shocked to learn that the process he has developed to eradicate typhus, by using a hydrogen cyanide mixture called Zyklon B, is now being used for killing Jews in extermination camps. Gerstein attempts to notify Pope Pius XII about the gassings, but is appalled by the lack of response he gets from the Catholic hierarchy. The only person moved is Riccardo Fontana, a young Jesuit priest. A German doctor meets an Argentinean family and follows them on a long desert road to a small town where the family will be starting a new life. Eva, Enzo and their three children welcome the doctor into their home and entrust their young daughter, Lilith, to his care, not knowing that they are harboring one of the most dangerous criminals in the world.
At the same time, Israeli agents are desperately looking to bring 'the German Doctor' to justice. Aldo Raine, become known as "The Basterds. The Basterds soon cross paths with a French-Jewish woman who runs a movie theater in Paris which is targeted by the soldiers. A plot is set in motion to kill the Nazis at the theater's movie premier, including Adolph Hitler. Korkoro by Tony Gatlif streaming video During the Second World War, a Gypsy family travels the roads of France before learning that the Vichy regime no longer gives them the right to travel freely. A Night in Casablanca by Archie Mayo streaming video n post-war Casablanca, Ronald Kornblow is hired to run a hotel whose previous managers have all wound up being murdered.
French soldier Pierre suspects the involvement of ex-Nazis, specifically Count Pfefferman, in reality the notorious Heinrich Stubel. For young male audiences, Ufa produced adventure films with Hans Albers — that glorified combat and war, thus preparing German youth for the coming war of aggression without overt political tones.
As the war went from bad to worse for the Germans in —43, Ufa focused almost exclusively on entertainment films that kept the minds of audiences off the rising death toll and falling bombs. Murnau's Der Letzte Mann The Last Laugh, made innovative use of the moving camera, eliminating the need for subtitles. Prussian citizens holds off the marauding Russian Army, thus directly paralleling the contemporary situation on the Eastern Front. However, by the time the film was premiered in Berlin, 90 percent of German cinemas had been bombed to smithereens by the Allies.
Ufa's history ends with a whimper. In June the "Lex Ufi" took effect, a law passed by the West German government to reprivatize the company, which by then consisted of little more than real estate. In , Ufa film rights to the catalogue eventually passed into the hands of the F. Murnau Foundation, which was controlled by the German Ministry of the Interior. Elsaesser, Thomas. New York: Routledge, Hull, David Stuart. Berkeley: University of California Press, He also has a perfectly intact, well ordered German home.
The Christmas tree on the chest of drawers. In other words, the cleaning and reordering may be seen as an attempt not only to clear away the effects of the bombing, but also to rub off the patina of her victimhood, dispossession and exclusion, to wipe away the uncomfortable presence of her past in the shared place. On closer inspection of the subsequent close-up of the star, it becomes clear that the Christmas Star has the form of the Star of David. Instead of giving expression to feelings related to her experience as a victim of the Nazi rule, Susanne obsessively reorganizes the domestic space in a matter-of-fact way that leaves no space for her own suffering, only for his.
In the Palasthotel, that fateful night of March , Nelly Dreyfuss meets her ex-husband Corty, who tells her about his professional troubles, while she constantly minimizes the suffering of her own life in hiding. Nelly offers Corty her full attention and compassion as well as her valuable necklace, so that he can start anew.
Both the transfer of the necklace and her sudden death seal this sacrifice. While on the one hand, Susanne and Kat, both played by Hildegard Knef, share many characteristics as postwar women, on the other, Susanne and Nelly as victims strongly differ from each other. Susanne becomes an embodiment of the good German housewife, giving her increasingly well-ordered home to the German man in her life. The discussion between Susanne and Mertens about which of them has a right to use the apartment takes a pivotal turn when Mertens invites Susanne to look out on the rubble of Berlin. With his hands resting on the jewelry box, Corty sits at exactly the place he sat with Nelly the night of her death.
The iconic shot of the final scene of the film brings together both the problematic legacy of dispossession and the result of the bombings, as Kat weeps while leaning over the steel locker where she had found the necklace amidst the rubble of the hotel. As mentioned earlier, this type of situation has to be taken seriously as referring to an equally complex and troubling social reality in postwar Germany.
In fact, only by taking this social reality seriously from the outset, as suggested in the first part of this article, does it become possible to pay attention to and detect the way it informs these complex cinematic narratives. As the problem of male guilt relates in these films in a peculiar way to the dispossessed belongings of a female victim, the problem of dispossession and the related mass murder is intermingled with the challenge of postwar gender relations.
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Baranowski , Shelley. Strength through joy: consumerism and mass tourism in the Third Reich. Cambridge: Cambridge University Press. Becker , Franziska. Beek , Gosewijn van. On materiality.
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