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Depictions of Social Dissent in East German Television Detective Series, 1970–1989

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Depictions of Social Dissent in East German Television Detective Series, 1970–1989 Depictions of Social Dissent in East German Television Detective Series, 1970–1989 ✣ Christoph Lorke Only a few weeks before the Berlin Wall was opened in November 1989, the East German magazine Rundfunk und Fernsehen published an article in which Werner Krecek—at the time the head of dramatic arts for East German television—discussed the natural human desire for security, safety, and shel- ter. He drew attention to “two popular detective series” (Polizeiruf 110 and Der Staatsanwalt hat das Wort), emphasizing the importance of artistic con- tributions and their function as an instrument for guaranteeing the stability of the socialist state under the ruling Communist party (Sozialistische Ein- heitspartei Deutschlands, or SED).1 The SED officials who oversaw television in the German Democratic Republic (GDR) considered these series not just entertainment but also a phenomenon with a huge social impact. Following up on contemporaneous political claims, this article concen- trates on the processes of social and moral engineering in the GDR orches- trated by the state within the context of television. These detective series represented fertile ground for depicting social contrasts in a manner appro- priate to a socialist state. The Communist ideal of an egalitarian society was persistently and enthusiastically espoused in the GDR’s official political cul- ture, with no space for social grievances. Nevertheless, social differences were constantly present in the socialist state, and, accordingly, forms of vertical so- cial stratification also had a place in broadcast media.2 The media relevance of this topic was reconstructed by reading film sources “between the lines” and analyzing the specific ways in which social reality was constructed. 1. Werner Krecek, “Zwei beliebte Kriminalreihen,” Rundfunk und Fernsehen, Vol. 39, No. 5 (1989), pp. 3–4. 2. Jens Gieseke, “Social Inequality in State Socialism—An Outline,” Zeithistorische Forschungen / Studies in Contemporary History (Online Edition), Vol. 10, No. 2 (2013), http://www.zeithistorische -forschungen.de/16126041-Gieseke-2-2013#engl. Journal of Cold War Studies Vol. 19, No. 4, Fall 2017, pp. 168–191, doi:10.1162/JCWS_a_00768 © 2017 by the President and Fellows of Harvard College and the Massachusetts Institute of Technology 168 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/jcws_a_00768 by guest on 28 September 2021 Depictions of Social Dissent in East German Television Detective Series The concept of social images is central to the article’s methodological ap- proach. The images can be deconstructed by using film material and internal documents. Referring to social, psychological, and art-history models, social images can be defined as a mental conception of perceived, imagined, and supposed features of persons or social phenomena. Social images can act as microcosms of the production and reproduction of social inequality. Through their performativity, they represent the result of the struggle for interpretative dominance over the “appropriate” (or socially accepted) classification, presen- tation, and performance of social differences.3 We can also understand so- cial images as a mirror and manifestation of effective public attention to and perception of social dissent. Therefore, they may help to dismantle contem- porary constructions of social and symbolic order. To fulfill their politically intended communicative purpose, social images must be repeated constantly in the public sphere.4 Detective series were influential media for these im- ages. The role and nature of both series in the context of GDR television will be discussed here. I will then examine selected episodes to illustrate the au- diovisual representation of social grievances.5 The article is not intended to 3. Defined first by Trigant Burrow, “Social Images versus Reality,” Journal of Abnormal and Social Psy- chology, Vol. 19, No. 3 (1924/1925), pp. 230–235. The term “public image” was defined by Kenneth Boulding, The Image: Knowledge in Life and Society (Ann Arbor: University of Michigan Press, 2005). For further details, see Daniel J. Boorstin, The Image: Or What Happened to the American Dream? (Lon- don: Weidenfeld & Nicolson, 1961). For the relation between visual and verbal images, see William John Thomas Mitchell, Iconology: Image, Text, Ideology (Chicago: University of Chicago Press, 1986); and York Kautt, Image: Zur Genealogie eines Kommunikationscodes der Massenmedien (Bielefeld: Tran- script, 2008). 4. For discussions of the relevance of crime in media, see Richard Osborne, “Crime and the Me- dia: From Media-Studies to Post-Modernism,” in David Kidd-Hewitt and Richard Osborne, eds., Crime and the Media. The Post-Modern Spectacle (London: Pluto Press, 1995), pp. 25–28; and Richard Sparks, Television and the Drama of Crime: Moral Tales and the Place of Crime in Public Life (Buck- ingham, UK: Open University Press, 1992); Joachim Linder and Claus-Michael Ort, “Zur sozialen Konstruktion der Übertretung und zu ihren Repräsentationen im 20. Jahrhundert,” in Joachim Linder and Claus-Michael Ort, eds., Verbrechen—Justiz—Medien: Konstellationen in Deutschland von 1900 bis zur Gegenwart (Tübingen: Niemeyer, 1999), pp. 3–80; and Reinhold Viehoff, “Der Krimi im Fernse- hen. Überlegungen zur Genre- und Programmgeschichte,” in Jochen Vogt, ed., Medien Morde: Krimis intermedial (Munich: Fink, 2005), pp. 89–100. Highly illustrative is Ernst Mandel, Delightful Murder: A Social History of the Crime Story (Minneapolis: University of Minnesota Press, 1984). 5. The criteria for the selection of the episodes for this research were whether and how social dis- sent was explicitly displayed. Seven broadcasts were evaluated after a systematic review of all episodes. For Polizeiruf: “Per Anhalter” (Hitchhiking), GDR television channel 1, 27 January 1974 (director: Hans-Joachim Hildebrandt), in German Broadcast Archive (DRA) Babelsberg, Potsdam, ID 023321; “Schuldig” (Guilty), GDR TV channel 1, 2 October 1978 (director: Rolf Römer), in DRA Babelsberg, Potsdam, ID 012700; “Verführung” (Seduction), GDR TV channel 1, 1 August 1985 (director: Peter Hagen), in DRA Babelsberg, Potsdam, ID 015502; “Flüssige Waffe” (Liquid Weapon) 18 Decem- ber 1988 (director: Helmut Krätzig), in DRA Babelsberg, Potsdam, ID 028043; Staatsanwalt:“Zwei Promille” (Two per Mile), 22 December 1971 (director: Werner Röwekamp), in DRA Babelsberg, Potsdam, ID 031063; “Felix kauft ein Pferd” (Felix Buys a Horse), GDR TV channel 1, 22 January 1976 (director: Vera Loebner), in DRA Babelsberg, Potsdam, ID 012529; and “Der Fall Petra Hansen” 169 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/jcws_a_00768 by guest on 28 September 2021 Lorke determine the extent of social inequality in the GDR. Rather, it traces the line between the one-way propaganda against “anti-social” behavior and filmmak- ers’ attempts to express themselves artistically and to reach the public. Teaching Right and Wrong: Polizeiruf 110 and Der Staatsanwalt hat das Wort A new era of television programming began after Erich Honecker became General Secretary of the SED in 1971. The goal was to overcome “certain boredom” in the broadcast media at that time. Although the East German media were still restrictive in content and topics, the regime’s greater efforts to react to the audience’s demand for entertainment were noticeable. One main reason for this shift was the availability of West German television almost ev- erywhere within the territory of the GDR. The Western programming offered a welcome alternative to the “ideologically suffused media, partly because they were seen through and recognized as blatant propaganda, partly because they were simply unattractive.”6 In comparison to pluralistic societies where com- peting ideological models are publicly discussed, the monothematic socialist societies were able to propagate their social views directly. But how did the SED try to gain control of the symbolic order after publicly announcing the new entertainment role of the television as a fundamental part of leisure time in 1971? Taking into consideration viewer opinion polls, party functionaries could easily discern the audience’s preferences. Broadcasts of the detective and adventure genres regularly received the top ratings.7 Nevertheless, portraying (The Case of Petra Hansen), GDR TV channel 1, 14 December 1979 (director: Achim Hübner), in DRA Babelsberg, Potsdam, ID 012124. 6. Christoph Classen, “Thoughts on the Significance of Mass-Media Communications in the Third Reich and the GDR,” Totalitarian Movements and Political Religions, Vol. 8, No. 3–4 (2007), pp. 547–562. On the particular role of West German television, see also Jens Ruchatz, ed., Medi- endiskurse deutsch/deutsch (Weimar: VDG, 2005); Knut Hickethier, “Das Fernsehen der DDR,” in Ste- fan Zahlmann, ed., Wie im Westen, nur anders (Berlin: Panama-Verlag, 2010), pp. 119–130; Heather Gumbert, “Split Screens? Television in East Germany, 1952–1989, Television in GDR,” in Karl Chris- tian Führer and Corey Ross, eds., Mass Media, Culture and Society in Twentieth-Century Germany (Basingstoke, UK: Palgrave Macmillan, 2006), pp. 146–165; Claudia Dittmar, “GDR Television in Competition with West German Programming,” Historical Journal of Film, Radio and Television,Vol. 24, No. 3 (2004), pp. 327–343; and Franziska Kuschel, Schwarzhörer, Schwarzseher und heimliche Leser: Die DDR und die Westmedien (Göttingen: Wallstein-Verlag, 2016). 7. Rüdiger Steinmetz and Reinhold Viehoff, “The Program History of Genres of Entertainment
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