Spektakl – Granica – Ekran : Mur Berliński W Filmie Niemieckim

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Spektakl – Granica – Ekran : Mur Berliński W Filmie Niemieckim Title: Spektakl - granica - ekran : mur berliński w filmie niemieckim Author: Marta Halina Brzezińska Citation style: Brzezińska Marta Halina. (2013). Spektakl - granica - ekran : mur berliński w filmie niemieckim. Praca doktorska. Katowice : Uniwersytet Śląski UNIWERSYTET ŚLĄSKI W KATOWICACH WYDZIAŁ FILOLOGICZNY INSTYTUT NAUK O KULTURZE Marta Halina Brzezińska SPEKTAKL – GRANICA – EKRAN MUR BERLIŃSKI W FILMIE NIEMIECKIM Praca doktorska napisana pod kierunkiem Prof. zw. dr. hab. Andrzeja Gwoździa Katowice 2013 Spis treści Wstęp .................................................................................................................................. 3 Część pierwsza Spektakl Między spektaklem kultury a spektaklem politycznym ................................................... 21 Rozdział 1 Budowa i upadek muru berlińskiego ............................................................. 30 1.1. Prolog ........................................................................................................................ 30 1.2. Publiczność, aktorzy i scena dramatu ........................................................................ 31 1.3. Wielkie monologi sceniczne ....................................................................................... 34 1.4. W stronę kulminacji ................................................................................................... 37 1.5. Zdobycie berlińskiej Bastylii ...................................................................................... 38 Rozdział 2 1989 – „Rewolucja telewizyjna” ................................................................... 46 Rozdział 3 Odgrywanie NRD i życie jako spektakl......................................................... 61 Część druga Granica Między granicą terytorialną a symboliczną ...................................................................... 81 Rozdział 4 Mur berliński w filmie niemieckim przed 1989 rokiem ................................ 91 Rozdział 5 Kino o granicy jako kino traumy ................................................................. 102 5.1. Ucieczki do wolności ............................................................................................... 112 Rozdział 6 Ramy przestrzeni prywatnej – figura niemieckiej rodziny .......................... 124 6.1. Miłość i mur ............................................................................................................. 139 6.2. Rodzice, dzieci i Stasi ............................................................................................... 142 6.3. Bunt młodych ........................................................................................................... 147 Część trzecia Ekran Między ekranem pamięci a ekranem historii .................................................................. 157 Rozdział 7 Praca pamięci ............................................................................................... 167 Rozdział 8 Medium pamięci, medium historii ............................................................... 182 8.1. Pamięć w polu historii. Przypadek Pałacu Republiki .............................................. 196 Rozdział 9 Ekran historii ................................................................................................ 207 9.1. Upadek muru berlińskiego, koniec wojny i ekranowi bohaterowie ......................... 216 9.2. Obraz w obrazie: nawiązania .................................................................................. 223 Zakończenie ................................................................................................................... 233 Bibliografia ..................................................................................................................... 239 Filmografia ...................................................................................................................... 255 Spis ilustracji ................................................................................................................... 262 2 Wstęp Mur berliński jest i go nie ma. 9 listopada przecina samo serce Berlina – szarpana rana w środku wielkiego miasta, zimnowojenna przepaść. 10 listopada staje się parkietem tanecznym, galerią sztuki, tablicą ogłoszeń, ekranem kinowym, kasetą wideo, muzeum, i jak określiła to kobieta, która sprzątała moje biuro « jedynie kupą kamieni ». 1 Robert Darnton, Berlin Journal 1989-1990 2 Rok 1989, wedle określenia Ralfa Dahrendorfa „annus mirabilis” , zajmuje w historii państw Europy Środkowo-Wschodniej miejsce wyjątkowe. Wydarzenia zwane metaforycznie „Jesienią Narodów”, „Jesienią Ludów” były punktem kulminacyjnym erozji systemu komunistycznego w regionie, zapoczątkowały zróżnicowane, złożone procesy 3 transformacji o charakterze politycznym i społecznym . Jednym z utrwalonych za pomocą mediów motywów zmiany roku 1989 był tzw. upadek muru berlińskiego, który posłużył za znak przemian, pokojowej rewolucji końca XX wieku. Sam mur (a raczej w dużej mierze jego obrazowe przedstawienia) stał się symbolem, budującym sensy nowego ładu politycznego i współtworzącym doświadczenie społeczne. Wybudowanie muru berlińskiego, jego obecność a potem zburzenie znalazło swoje odzwierciedlenie i komentarz w wielu tekstach kultury – od literatury, przez sztuki plastyczne po film, któremu chciałabym przyjrzeć się w mojej pracy. Interesowała mnie możliwość zobaczenia muru berlińskiego poprzez film niemiecki wyprodukowany po roku 1989, który to rok traktuję jako swego rodzaju cezurę. Kino niemieckie, szczególnie kino nowe z ostatnich dwudziestu lat, nie jest w Polsce jeszcze dobrze znane i opisane. Próby bilansu dokonane przez Ewę Fiuk w książce Inicjacje, 1 The Wall is there and it is not there. On November, it cut through the heart of Berlin, a jagged wound in the middle of a great city, the Great Divide of the Cold War. On November 10, it had become a dance floor, a picture gallery, a bulletin board, a movie screen, a videocassette, a museum, and, as the woman who cleaned my office put it,«nothing but a heap of stone». Cyt. za: Robert Darnton, Berlin Journal 1989-1990 , New York 1993, s. 74-75. 2 Cyt. za: Ralf Dahrendorf, Rozważania nad rewolucją w Europie , przeł. Maja Gottesman, Warszawa 1991, s. 8. 3 Literatura dotycząca roku 1989 w Europie jest obfita. Na potrzeby pracy proponuję źródła ujmujące transformację systemową w perspektywie ogólnej i porównawczej jak na przykład: Adama Burakowskiego, Aleksandra Gubrynowicza, Pawła Ukielskiego, 1989- Jesień Narodów , Warszawa 2009. 3 4 tożsamość, pamięć. Kino niemieckie na przełomie wieków oraz opracowania Magdaleny 5 Saryusz-Wolskiej Berlin: filmowy obraz miasta i Spotkania czasu z miejscem . Studia o 6 pamięci i miastach są właściwie jedynymi publikacjami na gruncie polskim, które (choć w sposób wybiórczy i przy okazji innych zagadnień) przybliżają tematykę podziału Niemiec w perspektywie wybranych filmów. Temat muru, choć obowiązkowy w tych ujęciach (podział i zjednoczenie Niemiec to bardzo ważny punkt niemieckiej i europejskiej przeszłości), to jednak nie występuje autonomicznie, pojawia się na marginesie lub w ramach innych rozważań. Kino niemieckie nie jest, jak zaznaczyłam, opisane w Polsce w dostatecznym stopniu i opracowania dotyczące filmów o murze są też, jak się wydaje, proporcjonalnym odzwierciedleniem całości zainteresowania. W wypadku prac anglojęzycznych sytuacja wygląda nieco inaczej, o tyle że niemieckie filmy z murem w tle pojawiają się przy okazji odczytań związanych z 7 obecnością Niemieckiej Republiki Demokratycznej w kulturze zjednoczonych Niemiec (chociaż znów – nie ma ich wiele). Tak jest w wypadku pracy Paula Cooke’a Representing East Germany since unification. From colonization to nostalgia 8, gdzie autor posiłkuje się metodologią badań postkolonialnych i z tej perspektywy ocenia również filmowe wyobrażenia dotyczące NRD, problematyki zjednoczeniowej i różne konfiguracje, w jakich się przejawiają (ujęcie nostalgiczności). Używam sformułowania „również” – bowiem nie film jest tu centrum i przedmiotem zainteresowania brytyjskiego autora, lecz jedynie środkiem do celu. Leonie Naughton natomiast, w znakomitej pracy That was the Wild East. 9 Film culture, unification and the «New» Germany , poświęcając swoją uwagę filmom, skupia się jednak na NRD – jej produkcji filmowej, śledząc nie tyle upadek muru, co sytuację po, czyli kino pozjednoczeniowe i relacje między Wschodem a Zachodem z dominującym spojrzeniem skierowanym w stronę wizerunku NRD jako punktu wyjścia rozważań. Perspektywa spojrzenia na NRD nie jako na beneficjenta zmiany, a 4 Zob. Ewa Fiuk, Inicjacje, tożsamość, pamięć. Kino niemieckie na przełomie wieków , Wrocław 2012. To kompendium oparte na dysertacji doktorskiej autorki, wskazujące najważniejsze motywy i kierunki. Jest nieco podobne w charakterze do antologicznych opracowań anglojęzycznych, o których piszę dalej (zakres, rozłożenie akcentów), stanowiąc, jak sądzę, ich ciekawe uzupełnienie i punkt do dyskusji. 5 Magdalena Saryusz-Wolska, Berlin: filmowy obraz miasta , Kraków 2007. 6 Magdalena Saryusz-Wolska, Spotkania czasu z miejscem . Studia o pamięci i miastach , Warszawa 2011. 7 Refleksja podejmowana jest głównie przez ośrodki w Stanach Zjednoczonych i Wielkiej Brytanii. 8 Paul Cooke, Representing East Germany since unification. From colonization to nostalgia , Oxford 2005. 9 Leonie Naughton, That was the Wild East. Film culture, unification, and the «New» Germany , Ann Arbor 2002. 4 poszkodowanego, znaczy w jakimś sensie obie te prace, w których podkreśla
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