By Wilfried Wilms, William Rasch
This quantity of essays by means of students of German movie and tradition examines the really overlooked German motion pictures of the instant post-World struggle II interval, the so-called "rubble films." usually obvious only as signs of a selected German malady--the intended lack of ability to confront the sins of its rapid past--these movies have hardly been tested for his or her aesthetic traits and for what they really depict approximately postwar German lifestyles, attitudes, and fears. put in the context of German movie background of the postwar interval and Allied censorship, the essays study either famous and approximately forgotten movies for his or her narrative constitution, aesthetic options, political ideologies, mental pics of broken adults and orphaned early life, and the nuances of the historical past they reveal.
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Additional resources for German Postwar Films: Life and Love in the Ruins (Studies in European Culture and History)
Example text
If a child of two had been given to my hands . . Lina: Then you would have taken him along when you had to leave, wouldn’t you? Mauthner: Naturally. Lina: Then he would have become a soldier over there and . . what if he had had to destroy our cities? Mauthner: That would have been the alternative. . “Destroy our cities” . . now you are looking at me as if I had dropped the bombs! (Mauthner here seems angry and insecure at the same time) Lina: And you look at me as if I were to be blamed for everything that happened here.
Mauthner becomes increasingly assertive when he attempts to find out whether his son knows about his (Jewish) identity, and whether Walter will learn the truth about his real father. At this crucial point of the discussion, they are interrupted by another guest. The progressively heated debate about Mauthner’s (and, by extension, Walter’s) Jewish identity is temporarily suspended. The interlude allows Mauthner to contemplate a different past. The ensuing exchange goes directly to the issue of collective guilt.
Or is he challenging the audience’s willingness to pigeonhole, to fall back on familiar racial stereotypes? In Mauthner, the audience is, deliberately or accidentally, confronted with a variety of Jewish stereotypes, and hostile reactions to both the character of Mauthner and the storyline accompanied the making of the film in Munich, where students were used as extras. A Munich student paper in October 1948 reports of demonstrations and conflicts during the filming. ”16 But this is only one interpretation.