Journal Papers by Claudia Sandberg
Arizona Journal of Hispanic Cultural Studies , 2022
Diego Quemada-Díez's La jaula de oro (2013) follows undocumented young migrants on their way from... more Diego Quemada-Díez's La jaula de oro (2013) follows undocumented young migrants on their way from their native Guatemala through Mexico with the intention to cross into the United States. The picture belongs to a large corpus of border-crossing films which explore reasons and desires that make people risk their lives for a place that they know only from hearsay. This article undertakes an intersectional analysis of La jaula de oro, while probing its connection to Latin American socio-critical film and the road movie genre. Images that document complex social and historical realities and which determine power relations along the axis of age, gender and race, are juxtaposed by a visual terminology that has utopian quality. Picturing conditions and limitations of female and Indigenous protagonists who are subject to repression from within the migration group, border authorities, and organized crime groups, La jaula de oro presents the border crossing journey to be lined with danger and violence where the wide horizon keeps holding the promise of a dignified life.
Studies in Eastern European Cinema , 2021
The long-lasting relationship of the East German production company DEFA with Eastern European ci... more The long-lasting relationship of the East German production company DEFA with Eastern European cinemas is documented by the great number of co-productions undertaken over the years of its existence. In a canon of DEFA films shot on location in Bulgaria, the ‘Chile films’ appear as interesting example of cultural hybridity and transnational filmmaking, which have yet to receive scholarly attention. The features Der Übergang/The Passage (1978), Die Spur des Vermißten/Trace of the Disappeared (1980) and Blonder Tango/Blond Tango (1985), presenting East German views about human rights violations that occurred in Chile during the Pinochet regime, were made with Bulgarian, German and Chilean casts and crews. This paper examines the Eastern European physiognomies in these films and their meaning as conflation between East and South in the Cold War dynamics of the late 1970s to mid-1980s. While the films propagate notions of Third World solidarity and fascist denunciation in narrative terms, Eastern European natural and urban landscapes produce feelings of displacement and yearning for an intact place remote from East German reality.
Screenworks, 2018
The short film Hidden Treasures/Películas Escondidas (2013) and the feature-length documentary Hi... more The short film Hidden Treasures/Películas Escondidas (2013) and the feature-length documentary Hidden Films. A Journey From Exile to Memory/Películas Escondidas. Un viaje entre el exilio y la memoria (2016) explore Chilean films made by the East German state-owned production company DEFA in the 1970s and 1980s as transnational memories of the Cold War. With these works, film scholar Claudia Sandberg and director Alejandro Areal Vélez highlight the importance of the East German film archives, not just as a form of political diplomacy but as a carrier of memory for quite disperse groups. Hidden Treasures and Hidden Films assess the role of filmmaking as a seismograph for larger geopolitical events and global transformations.
http://screenworks.org.uk/archive/volume-8-1/hidden-treasures-hidden-films
Journal of Latin American Cultural Studies , 2017
This paper is concerned with East German films, which deal with the subject of Chile in the after... more This paper is concerned with East German films, which deal with the subject of Chile in the aftermath of the 1973 coup d'état, in a contemporary Chilean cultural framework. Conceived in the charged political atmosphere of the Cold War, this material is valuable in Chile today because it reflects on East Germany as a cultural and social environment for Chilean émigré artists during the 1970s and 1980s. The author explores the films’ potential as a form of cinematic postmemory for younger Chilean audiences, focusing on two feature films, Die Spur des Vermißten (1980) and Blonder Tango (1985). Do young Chileans accept these images as truthful and do they inspire a rethinking of the controversial subject of the Pinochet regime? The results suggest that the DEFA films, due to their narrative and aesthetic textures, present this audience with challenging perspectives, uncover misconceptions and evoke empathy with antagonistic social and political agents. Based on this case study, the author argues that the DEFA films are audio-visual materials which can be highly productive in cultural and educational contexts and can complement efforts to revive collective memory in Chile.
Filmblatt, 2016
Im Juli 2015 hatte der DEFA-Film BLONDER TANGO (Lothar Warneke, 1986) in der Filmreihe Wiederentd... more Im Juli 2015 hatte der DEFA-Film BLONDER TANGO (Lothar Warneke, 1986) in der Filmreihe Wiederentdeckt des Zeughauskinos seine späte Premiere im wiedervereinigten Deutschland. Die Veranstaltung brachte einen Teil der Filmcrew und ehemalige DEFA-Kollegen, dreißig Jahre nach seiner Produktion, wieder zusammen. Dramaturgin Erika Richter, DEFA-Chefdramaturge Rudolf Jürschik, Hauptdarsteller Alejandro Quintana Contreras und Roberto Rivera, der für den Film die Musik komponierte, fanden sich zur Vorstellung ein. BLONDER TANGO ist ein Film der späten achtziger Jahre, einer höchst vitalen Zeit in der Kunst, dem Theater und dem Kino, wie sich Alejandro Quintana Contreras erinnert. Der Film ersucht das Gespür zweier Generationen Deutscher für einen Freund und Fremden, der in ihrer Mitte lebt und arbeitet. Der Film bildet die mentale Verfassung der ostdeutschen Gesellschaft ab und liefert ein zeitgemäß kritisches Bild der DDR als isoliertem Staat. Im Folgenden untersuche ich BLONDER TANGO im filmhistorischen Kontext der DEFA-Produktionen über Chile und des internationalen Exilfilmgenres sowie im Spannungsfeld des Exils als deutsch-chilenische Erfahrung.
Filmblatt, 2013
Der Spielfilm DAVID (BRD 1979) des Regisseurs Peter Lilienthal erzählt die Geschichte der Familie... more Der Spielfilm DAVID (BRD 1979) des Regisseurs Peter Lilienthal erzählt die Geschichte der Familie Singer, die im Holocaust auseinandergerissen wird. Zu Beginn des Films leben die Singers mit ihren Kindern David, Toni und Leo in Liegnitz in der Nähe von Breslau, wo der Vater Rabbiner der jüdischen Gemeinde ist. Diese Gemeinde wird nach 1933 durch die Ausgrenzung und Verfolgung von Juden in Nazi-Deutschland immer stärker bedroht, später ziehen sie in Berlin. David drängt seinen Vater, Deutschland zu verlassen, doch dieser erfindet immer neue Ausreden, bis es für eine Ausreise zu spät ist und die Familienmitglieder untertauchen müssen. David lebt versteckt in Schränken und fensterlosen Räumen. Am Ende gelingt ihm mit Hilfe eines deutschen Fabrikanten die Flucht aus Deutschland – in Richtung Palästina.
Eine Schlüsselszene spielt 1939 in Berlin. David sitzt in der Wohnung seiner Eltern, die gerade verhaftet worden sind. Einen Moment lang lässt er den Kopf auf den Tisch sinken, eine Geste der Trauer und Verzweiflung. Dann aber konzentriert sich der junge Mann aufs Durchhalten. Er markiert mit Kreisen quietschende Stellen auf dem Parkettboden und lernt sich geräuschlos zu bewegen. Er klebt Zettel an die Wand, auf denen hebräische Wörter stehen. Er beobachtet im Spiegel, wie er ein Zigarettenpapier befeuchtet. Er spielt kleine Rollen. Es sind Überlebensstrategien in einer scheinbar hoffnungslosen Situation.
Schon lange vor DAVID hatte sich Lilienthal, der als Kind mit seiner Mutter aus Deutschland emigriert war, durch seine Arbeiten für den Südwestfunk und den Sender Freies Berlin sowie seine Spielfilme MALATESTA (1969), HAUPTLEHRER HOFER (1974) und ES HERRSCHT RUHE IM LAND (1975) Anerkennung und Respekt verdient. Nun warteten Filmkritiker darauf, dass er sich Deutschlands Gegenwart und Vergangenheit deutlich und kritisch zuwenden würde. Mit DAVID wagte es Lilienthal, das dunkelste Kapitel in der Geschichte der deutsch-jüdischen Beziehungen anzupacken. Er konsolidierte damit seinen Status als Filmemacher, der dem Projekt des Neuen Deutschen Films eng verbunden war. Gleichzeitig sorgte sein Film für Irritationen und Enttäuschungen. So wurde der Regisseur bei den Dreharbeiten ebenso enttäuscht wie später die Filmkritiker, die sich einen anderen Film zum Thema Holocaust erhofft hatten. Die folgenden Ausführungen widmen sich den unterschiedlichen Ideen, Perspektiven und Erwartungen in der Entstehungs- und Rezeptionsgeschichte des Filmes, der den Konflikt zwischen Assimilation und Heimatlosigkeit zum Thema hat und – unausgesprochen – von einem bis dahin noch ausstehenden Dialog zwischen Juden und Deutschen handelt.
Studies in European Cinema, 2009
The Ministry of Propaganda was attracted by cinema’s great potential to unite three distinct ende... more The Ministry of Propaganda was attracted by cinema’s great potential to unite three distinct endeavours: Employing cinema as entertainment, propaganda tool, and economic commodity. In the case of La Habanera, the blend of form and text promised great success as cinematography, storyline, and selection of actors, made this film achieve all three of the above. Utilizing Northern European beliefs about the tropics, director Detlef Sierck establishes an inauspicious picture about a culture characterized by unrestrained sexuality, a health damaging climate, and archaic social customs. La Habanera employs these clichéd perceptions for a National Socialist enlightenment process that makes use of and simultaneously criticizes Hollywood conventions.
Staging the narrative of a female protagonist, this melodrama intends to attract female audiences in particular. They have to learn that abandoning ones home-(land) in favor of an illusion and challenging cultural boundaries will be punished. Form and subject of La Habanera communicate to women that an alternative way of living outside of their home and social position as wives and mothers does not exist.
Books by Claudia Sandberg
Peter Lilienthal. A Cinema of Exile and Resistance, 2021
The work of German-Jewish Uruguayan director Peter Lilienthal spans more than five decades, from ... more The work of German-Jewish Uruguayan director Peter Lilienthal spans more than five decades, from the Cold War era through to post- 9/11. A television pioneer and member of the New German Cinema group, who had affiliations with European and non-Western social and political movements and cinematic tendencies, Lilienthal’s filmmaking presents an alternative memory that closes ideological rifts between North and South, East and West. This chapter presents an overview of Lilienthal’s engagements in German film culture and introduces the tools for evaluating his work in a transnational cinema framework that ties to notions of diaspora and Third Film.
Best known for his 1979 film David, Peter Lilienthal was an unusual figure within postwar filmmak... more Best known for his 1979 film David, Peter Lilienthal was an unusual figure within postwar filmmaking circles. A child refugee from Nazi Germany who grew up in Uruguay, he was uniquely situated at the crossroads of German, Jewish, and Latin American cultures: while his work emerged from West German auteur filmmaking, his films bore the unmistakable imprints of Jewish thought and the militant character of New Latin American cinema. Peter Lilienthal is the first comprehensive study of Lilienthal's life and career, highlighting the distinctively cross-cultural and transnational dimensions of his oeuvre, and exploring his role as an early exemplar of a more vibrant, inclusive European film culture. "A great study of Lilienthal's oeuvre, enriched by Claudia Sandberg's personal interactions with Lilienthal, which updates the existing scholarship on this filmmaker." • Laurie Johnson, University of Illinois at Urbana-Champaign "Peter Lilienthal is an important and compelling study of a historically marginalized director and his commitments to transnational filmmaking. Vivid in description and rich in history, Claudia Sandberg's book engages us in exciting and insightful discussions of Lilienthal's films and reminds us of their continuing relevance.
The German Cinema Book , 2020
This comprehensively revised, updated and significantly extended edition introduces German film h... more This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
Contemporary Latin American Cinema investigates the ways in which neoliberal measures of privatiz... more Contemporary Latin American Cinema investigates the ways in which neoliberal measures of privatization, de-regularization and austerity introduced in Latin America during the 1990s have impacted film production and film narratives. The collection examines the relationship between economic policies and the films that depict recent transformations in many Latin American countries, demonstrating how contemporary Latin American film has not only criticized and resisted, but also benefitted from neoliberal advancements. Based on films produced in Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Mexico and Peru since 2010, the fourteen case studies illustrate neoliberalism’s effects, from big industries to small national cinemas. It also shows the new types of producers that have emerged, and the novel patterns of distribution, exhibition and consumption that shape and influence the Latin American filmscape. Through industry studies, reception analyses and close readings, this book establishes an informative and accessible text for scholars and students alike.
Book Chapters by Claudia Sandberg
New German Cinema and its Global Contexts. A Transnational Art Cinema, 2025
The Jewish German-Uruguayan director Peter Lilienthal was an integral part of the West German art... more The Jewish German-Uruguayan director Peter Lilienthal was an integral part of the West German artistic community of the 1970s and 1980s, and he worked with the same film personnel that gave New German Cinema (NGC) its signature style. 1 Quite a bit older and less feted than some of NGC's protagonists, Lilienthal found himself to be "the South American bird" among them (Lilienthal 2006, 112). While the selftaught and aspiring German filmmakers were brought up in the postwar rubble years that defined their language, motifs, and stories, Lilienthal drew from other sources and experiences. He had been exposed to ostracism as a ten-year-old in Nazi Berlin and spent his formative years in Uruguay among a European émigré community. Back in West Germany after World War II, Lilienthal was employed at the Südwestdeutscher Rundfunk and the Sender Freies Berlin in the 1960s, where he directed several dramas and plays. His first feature, Malatesta (1969), won the German Film Award and was nominated for the Golden Palm in Cannes. Colleagues such as and Laurens Straub articulated their appreciation for Lilienthal's experience, views, and interests, which reached far beyond German and European borders. Straub remembers that he looked up to Lilienthal and felt privileged that he supported the projects and ideas of younger colleages. He notes in the documentary Gegenschuss: Aufbruch der Filmemacher (Reverse Angle: Rebellion of the Filmmakers, 2008), which
Jüdischer Film. Ein neues Forschungsfeld im deutschsprachigen Raum, 2022
Die frühen Fernseharbeiten von Peter Lilienthal Ein jüdischer Remigrant im Westdeutschland der Na... more Die frühen Fernseharbeiten von Peter Lilienthal Ein jüdischer Remigrant im Westdeutschland der Nachkriegszeit Als Sohn einer bürgerlich-jüdischen Familie 1929 in Berlin geboren, verbrachte Peter Lilienthal seine Kindheitsjahre im lateinamerikanischen Exil und kehrte nach dem Zweiten Weltkrieg in ein noch von Bomben zerstörtes Deutschland zurück. Lilienthal, Pionier des deutschen Fernsehens, war in den 1960er Jahren für den SWF und den SFB tätig. In dieser Zeit führte er Regie bei mehr als 15 Fernsehdramen,-spielen und-filmen. Auf dem jungen und talentierten Künstler lagen Hoffnungen, zu dem Projekt eines modernisierten deutschen Films beizutragen. 1 Autor * innen und Kritiker * innen wie Uwe Nettelbeck oder Ulrich Gregor hatten das ungewöhnliche Talent des jungen Mannes erkannt: »Auf Peter Lilienthal setzen schon seit ein paar Jahren alle, die es noch nicht aufgegeben haben, auf eine bessere Zukunft des deutschen Films zu hoffen. (…) Wenn Peter Lilienthal sich entschließt und die Zeit findet, einen abendfüllenden Spielfilm zu versuchen, werden wir einen westdeutschen Film haben, der sich sehen lassen kann.« 2 Wenige Jahre später wurde er einer der Repräsentanten des Neuen Deutschen Films und in einem Atemzug mit Rainer Werner Fassbinder, Wim Wenders und Werner Herzog genannt. Lilienthals Kinofilme, wie Malatesta (1969), Es herrscht Ruhe im Land (1975), David (1979) oder Das Autogramm (1984), wurden in Deutschland preisgekrönt und nahmen an internationalen Filmfestivals teil. 3 Vorerst jedoch, in der Fernsehlandschaft der 1960er Jahre, einer »westlich (...) geprägte(n) Form der massenmedialen Kultur«, 4 war Lilienthals Name 1
The German Cinema Book , 2020
In 2001, the feminist director Jutta Brückner wrote that films by women were the product of an of... more In 2001, the feminist director Jutta Brückner wrote that films by women were the product of an often arduous "quest for traces. " 1 Her comment echoed an interview three decades earlier, when Brückner had spoken of film as a means to "reconstruct symbolically" the "disrupted physical integrity" of women in history. 2 The reference in both instances was not only to her own work but in general to filmmaking by women who seek new forms of articulation for feminine subjectivity and experience. Brückner's observations have resonance too for a different cultural practice of retrieval, that of history-writing in respect of women's film. This chapter attempts a reconstruction of key moments in German women's filmmaking, which we explore in particular, but not solely, in its relation to feminism. Like Brückner's film narratives, our history-which for reasons of space is necessarily partial-starts from an assumption of "disrupted integrity, " though not, as for Brückner, in the physical or symbolic body of woman, but in the similarly fractured cinematic body of work by women over twelve decades of German film. It is, moreover, not only Brückner's understanding of film as a medium capable of lending tangible presence to an otherwise invisible or fragmented gendered experience that is useful for this chapter. Her filmmaking method offers further helpful insights for approaches to women's cinema history. Early in her filmmaking career, in films including the experimental documentary Tue recht und scheue niemand (Do right and fear nobody, 1975) and the semi-autobiographical Hungerjahre (Years of Hunger, 1979), Brückner used newsreel inserts, still photographs, voice-over, and found sound to "suggest the complexity of a whole period": in Tue recht, five decades of one woman's mid-twentieth-century petit bourgeois existence; in Hungerjahre, the 1950s as viewed from the perspective of a bulimic adolescent. Brückner's juxtapositions of archive image and sound with memory fragments and fictional narrative revealed female subjectivities in a state of emergence, developing as "the result of a long cultural process" that is "constituted by … history. " 3 Analogously, the history of women's filmmaking-of the moments, then, in which women become the active subjects of cinematic perception as well as social actors in film production and circulation-demands an approach that registers traces of feminine subjectivity and agency as the products of specific conditions of historical emergence: conditions that may at one moment facilitate women's filmmaking and at others suppress female participation in the film industry or cinematic practice. Examples from early film history should serve to illustrate the point. Three women who would later move into production and directing-Henny Porten, Asta Nielsen (see Chapter 5), and Leontine Sagan-began careers in acting at a historical moment in which film performance and stardom belonged to, indeed were significantly shaping an early twentieth-century culture of public visibility for women. In Emilie Altenloh's pioneering sociological study of early cinema audiences, Asta Nielsen in particular figures not merely as an audience magnet for a cross-class community of female fans. 4 Feminist historians including Miriam Hansen, Heide Schlüpmann, and Andrea Haller have also shown how the mass presence of women in the film audience may be understood as part of a broader early twentieth-century challenge to the "dominant organization of public experience" around masculine norms. 5 That challenge was rooted in socio-historical developments including the expansion of women's education, the advance of 31 FEMINISM AND WOMEN'S CINEMA
The German Cinema Book , 2020
The German Cinema Book , 2020
The German Cinema Book , 2020
Contemporary Latin American Cinema. Resisting Neoliberalism?, 2018
This chapter investigates the relationship between neoliberalism and Latin America filmmaking fro... more This chapter investigates the relationship between neoliberalism and Latin America filmmaking from the 1990s onwards. Which impact did the privatizing of state-owned companies have on distribution and exhibition arrangements? How did narrative and aesthetic formats reflect these changes? In which way does contemporary Latin American cinema criticize but also benefit from neoliberal advancements? The author argues that there are loopholes within spaces of commodification that invite criticism and resistance. Initiatives on national, regional and pan-regional level support Latin American film and the ever-expanding funding scape offer opportunities to get film projects off the ground. Filmmakers use the subversive potential of genres to capture specifically Latin American experiences and sensibilities, reflecting on neoliberal ideology, its middle-class conventions and moral regimes.
Contemporary Latin American Cinema. Resisting Neoliberalism?, 2018
This chapter deals with Maximiliano Schonfeld’s work with and about the rurally-based Volga Germa... more This chapter deals with Maximiliano Schonfeld’s work with and about the rurally-based Volga German community in the Argentine province, Entre Ríos. The films of the young Argentine director interlink themes of social marginality, rural setting and neoliberal critique. Utilising documentary and fictional modes, open narrative structures and enticing visuals, they draw pictures of a community in crisis. Consumer culture has begun shaping the desires of younger Volga Germans, while a concentration of capital and business in the agricultural sector threatens the existence of small-scale businesses. With reference to the shorts Esnorquel (2006), Entreluces (2006) and the feature film Germania (2012), the author argues that Schonfeld’s filmmaking is an act of resistance to the loss of community-based living and working structures in rural environments.
Uploads
Journal Papers by Claudia Sandberg
http://screenworks.org.uk/archive/volume-8-1/hidden-treasures-hidden-films
Eine Schlüsselszene spielt 1939 in Berlin. David sitzt in der Wohnung seiner Eltern, die gerade verhaftet worden sind. Einen Moment lang lässt er den Kopf auf den Tisch sinken, eine Geste der Trauer und Verzweiflung. Dann aber konzentriert sich der junge Mann aufs Durchhalten. Er markiert mit Kreisen quietschende Stellen auf dem Parkettboden und lernt sich geräuschlos zu bewegen. Er klebt Zettel an die Wand, auf denen hebräische Wörter stehen. Er beobachtet im Spiegel, wie er ein Zigarettenpapier befeuchtet. Er spielt kleine Rollen. Es sind Überlebensstrategien in einer scheinbar hoffnungslosen Situation.
Schon lange vor DAVID hatte sich Lilienthal, der als Kind mit seiner Mutter aus Deutschland emigriert war, durch seine Arbeiten für den Südwestfunk und den Sender Freies Berlin sowie seine Spielfilme MALATESTA (1969), HAUPTLEHRER HOFER (1974) und ES HERRSCHT RUHE IM LAND (1975) Anerkennung und Respekt verdient. Nun warteten Filmkritiker darauf, dass er sich Deutschlands Gegenwart und Vergangenheit deutlich und kritisch zuwenden würde. Mit DAVID wagte es Lilienthal, das dunkelste Kapitel in der Geschichte der deutsch-jüdischen Beziehungen anzupacken. Er konsolidierte damit seinen Status als Filmemacher, der dem Projekt des Neuen Deutschen Films eng verbunden war. Gleichzeitig sorgte sein Film für Irritationen und Enttäuschungen. So wurde der Regisseur bei den Dreharbeiten ebenso enttäuscht wie später die Filmkritiker, die sich einen anderen Film zum Thema Holocaust erhofft hatten. Die folgenden Ausführungen widmen sich den unterschiedlichen Ideen, Perspektiven und Erwartungen in der Entstehungs- und Rezeptionsgeschichte des Filmes, der den Konflikt zwischen Assimilation und Heimatlosigkeit zum Thema hat und – unausgesprochen – von einem bis dahin noch ausstehenden Dialog zwischen Juden und Deutschen handelt.
Staging the narrative of a female protagonist, this melodrama intends to attract female audiences in particular. They have to learn that abandoning ones home-(land) in favor of an illusion and challenging cultural boundaries will be punished. Form and subject of La Habanera communicate to women that an alternative way of living outside of their home and social position as wives and mothers does not exist.
Books by Claudia Sandberg
Book Chapters by Claudia Sandberg
http://screenworks.org.uk/archive/volume-8-1/hidden-treasures-hidden-films
Eine Schlüsselszene spielt 1939 in Berlin. David sitzt in der Wohnung seiner Eltern, die gerade verhaftet worden sind. Einen Moment lang lässt er den Kopf auf den Tisch sinken, eine Geste der Trauer und Verzweiflung. Dann aber konzentriert sich der junge Mann aufs Durchhalten. Er markiert mit Kreisen quietschende Stellen auf dem Parkettboden und lernt sich geräuschlos zu bewegen. Er klebt Zettel an die Wand, auf denen hebräische Wörter stehen. Er beobachtet im Spiegel, wie er ein Zigarettenpapier befeuchtet. Er spielt kleine Rollen. Es sind Überlebensstrategien in einer scheinbar hoffnungslosen Situation.
Schon lange vor DAVID hatte sich Lilienthal, der als Kind mit seiner Mutter aus Deutschland emigriert war, durch seine Arbeiten für den Südwestfunk und den Sender Freies Berlin sowie seine Spielfilme MALATESTA (1969), HAUPTLEHRER HOFER (1974) und ES HERRSCHT RUHE IM LAND (1975) Anerkennung und Respekt verdient. Nun warteten Filmkritiker darauf, dass er sich Deutschlands Gegenwart und Vergangenheit deutlich und kritisch zuwenden würde. Mit DAVID wagte es Lilienthal, das dunkelste Kapitel in der Geschichte der deutsch-jüdischen Beziehungen anzupacken. Er konsolidierte damit seinen Status als Filmemacher, der dem Projekt des Neuen Deutschen Films eng verbunden war. Gleichzeitig sorgte sein Film für Irritationen und Enttäuschungen. So wurde der Regisseur bei den Dreharbeiten ebenso enttäuscht wie später die Filmkritiker, die sich einen anderen Film zum Thema Holocaust erhofft hatten. Die folgenden Ausführungen widmen sich den unterschiedlichen Ideen, Perspektiven und Erwartungen in der Entstehungs- und Rezeptionsgeschichte des Filmes, der den Konflikt zwischen Assimilation und Heimatlosigkeit zum Thema hat und – unausgesprochen – von einem bis dahin noch ausstehenden Dialog zwischen Juden und Deutschen handelt.
Staging the narrative of a female protagonist, this melodrama intends to attract female audiences in particular. They have to learn that abandoning ones home-(land) in favor of an illusion and challenging cultural boundaries will be punished. Form and subject of La Habanera communicate to women that an alternative way of living outside of their home and social position as wives and mothers does not exist.
https://pursuit.unimelb.edu.au/articles/actress-ballerina-engineer
gegenüber Technologien, die der Mensch erschafft und die ihn umgeben. Bilder des
Hollywood-Kinos existieren neben Produktionen jeglichen Genres, von Sci-Fi zum
Melodram, die unser Leben in intimer Weise von Maschinen gesteuert darstellen.
Over the course of a career that started with his graduation film at the Betrayed lovers, unfulfilled desires and second chances are ingredients in Petzold’s thoughtful cinema that comments on the human condition in the political calamities which have destroyed, divided and reunited German society in more than half a century.
Over the course of a career that started with his graduation film at the German Film and Television Academy Berlin, Pilotinnen (Pilots, 1995), Christian Petzold (born in 1960) has emerged as one of the most critical voices of German film. To date, he has made sixteen films for television and cinema that have garnered important national and international prizes.
Petzold’s feature films deal with the afterlife of terrorism (Die innere Sicherheit/The State I am in, 2000), East Germany and post-reunification issues (Yella 2007, Jerichow 2008; Barbara, 2012), and lately, the heritage of WWII and the Holocaust (Phoenix, 2014, Transit 2018). The collaboratively made thriller trilogy Dreileben (Three Lives) was the TV highlight of the year 2011. Where fellow German directors reanimate life in the Weimar Republic and continue to mystify the East in ever more opulent pictures, Petzold’s films stimulate spectators to look for meaning in the symbolic world of his concentrated images and otherworldly soundscapes. Films such as Yella or Wolfsburg (2003) undo the rationalities of fast-paced life in urban settings, expose the tricks of tastefully dressed venture capitalists, and examine the facets of a materialistic society. Petzold’s characters are often caught in ‘dead’ spaces and haunted by choices made earlier in their lives.
Español:Películas escondidas es mucho más que la recuperación de un testimonio fílmico del exilio chileno en una serie de películas filmadas en la Alemania Oriental de los setenta. Es un cuento de aventuras moderno que transita aquellas historias secretas de la DEFA alemana como estaciones de un viaje hacia un pasado complejo y revelador.
Después del Golpe de Estado de 1973 que derrocó al gobierno de Salvador Allende, chilenos emigrados a Alemania del Este, tanto artistas como técnicos de cine, colaboraron con la compañía de producción estatal DEFA en más de cincuenta películas. Este material trató el tema de la vida en el exilio y fue muy crítico con las dictaduras de América Latina. La existencia de éstas películas es casi desconocida hasta hoy en Sudamérica. ¿Cómo es que películas hechas en Bulgaria, evocando el paisaje de los Andes, con actores alemanes y búlgaros, en un país que ya no existe, tengan algo que decir sobre las condiciones represivas de Chile durante la época de Pinochet y otros países de América Latina? El director argentino Alejandro Areal Vélez y la investigadora y académica alemana Claudia Sandberg revisitan este histórico material cinematográfico para acceder a la memoria, tanto personal como colectiva, de esa turbulenta época de violencia política y exilio. Con entrevistas a estudiantes, críticos de cine, intelectuales, actores, escritores, directores y representantes de instituciones culturales e imágenes del paisaje urbano de Berlín, Buenos Aires y Santiago, Puebla, Areal Vélez y Sandberg han contextualizado clips de éstas películas históricas, conectando el pasado con el presente.
El joven director Schonfeld traza la vida de la comunidad Alemana del Volga en Entre Ríos. Germania expone la tensión creada entre el patrimonio cultural y lingüístico alemán, y la vida en un entorno rural que frustra las esperanzas y los deseos de las jóvenes generaciones. La película nos pregunta si las tradiciones de la comunidad alemana del Volga podrían desaparecer pronto, junto con su lengua.
Hay una cierta ambigüedad entre la cultura visual Alemana, Rusa y Argentina, ya que Germania juega con las ideas del romanticismo alemán y recuerda también la obra del cineasta ruso Andrei Tarkovsky. Por otra parte, la composición estética, de final abierto y ritmo lento, nos lleva a cierto estilo usual en el cine argentino contemporáneo. Sin embargo, a pesar de la noción de melancolía que existe en la película, los personajes jóvenes sugieren que la pérdida de los valores de los mayores es inevitable. La referencia cultural de una Alemania de otro siglo, hace mucho tiempo se ha perdido en la comunidad, y hace que el sentimiento de pertenencia a ese país esté cuestionado. Las nociones y mandatos de una identidad colectiva Alemana, se enfrentan entonces a los desafíos del siglo XXI de la Argentina de hoy.