The German Film Series Spring 2018

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Amherst College Department of German Presents The German Film Series Spring 2018 Thursdays at 4:00 and 7:30 pm, Stirn Auditorium, Amherst College (in German with English subtitles) February 8th: Hannah Arendt (Margarethe von Trotta, 2012; 113 min.) Fascinating biopic with acclaimed actress Barbara Sukowa in the title role, centering on the controversies that erupted in 1961 when the famous German-Jewish political philosopher reported on the trial of Adolf Eichmann in Israel. February 22nd: Berlin Calling (Hannes Stöhr, 2008; 105 min.) Fast paced film depicting Ickarus, a DJ/Producer, who is working on an album and touring techno clubs with his girlfriend. After consuming drugs, he goes into a drug induced psychosis and ends up in a psychiatric hospital. A prize winning tragic comedy in the Berlin of today. March 8th: Grüße aus Fukushima (Greetings from Fukushima, Doris Dörrie, 2016, 105 min.) Award-winning poetic drama about the aftermath of the 2011 nuclear disaster: traveling to Fukushima, a troubled young German woman encounters a feisty elderly Japanese lady who, after years of living in a makeshift container city, is determined to rebuild her life at home, right in the contaminated evacuation zone. Screenings co-sponsored by the Goethe-Institut Boston. March 22nd: Stefan Zweig: Farewell to Europe (Maria Schrader, 2016; 106 mins.) Emotional drama telling the story of the Austrian writer and his life in exile from 1936 to 1942. Zweig was one of the most famous writers of his time, but as a Jewish intellectual he struggled to find the right stance towards the events in Nazi Germany. Driven to emigrate to South America, Zweig fell into despair at the sight of Europe’s downfall. Shown in conjunction with Pioneer Valley Jewish Film Festival. April 12th: Erbsen auf halb 6 (Peas at Half Past 5, Lars Büchel, 2004; 111 min.) Charming comedy drama centered on an unlikely romance: a young woman, born blind, is assigned to help a theater director cope after he loses his eyesight in an accident. Undeterred by his rejection, she doggedly decides to pursue him in a bizarre journey across northeastern Europe. .

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Post-1990 Screen Memories: How East and West German Cinema Remembers the Third Reich and the Holocaust
German Life and Letters 59:2 April 2006 0016–8777 (print); 1468–0483 (online) POST-1990 SCREEN MEMORIES: HOW EAST AND WEST GERMAN CINEMA REMEMBERS THE THIRD REICH AND THE HOLOCAUST DANIELA BERGHAHN ABSTRACT The following article examines the contribution of German feature films about the Third Reich and the Holocaust to memory discourse in the wake of German unifi- cation. A comparison between East and West German films made since the 1990s reveals some startling asymmetries and polarities. While East German film-makers, if they continued to work in Germany’s reunified film industry at all, made very few films about the Third Reich, West German directors took advantage of the recent memory boom. Whereas films made by East German directors, such as Erster Verlust and Der Fall Ö, suggest, in liberating contradiction to the anti-fascist interpretation of history, that East Germany shared the burden of guilt, West German productions subscribe to the normalisation discourse that has gained ideological hegemony in the East-West-German memory contest since unification. Films such as Aimée & Jaguar and Rosenstraße construct a memory of the past that is no longer encumbered by guilt, principally because the relationship between Germans and Jews is re-imag- ined as one of solidarity. As post-memory films, they take liberties with the trau- matic memory of the past and, by following the generic conventions of melodrama, family saga and European heritage cinema, even lend it popular appeal. I. FROM DIVIDED MEMORY TO COMMON MEMORY Many people anticipated that German reunification would result in a new era of forgetfulness and that a line would be drawn once and for all under the darkest chapter of German history – the Third Reich and the Holocaust.
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Introducing Margarethe Von Trotta
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INEMA INTERNATIONAL Students, Faculty, Staff and the Community Are Invited • ADMISSION IS FREE • Donations Welcome 7:30 P.M
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Stefan Zweig Farewell to Europe
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To Download SEARCHING for INGMAR BERGMAN
SYNOPSIS Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and takes us to the places that were central to Bergman’s creative achievements. DIRECTOR’S BIOGRAPHY The daughter of Elisabeth von Trotta and the painter Alfred Roloff, Margarethe von Trotta was born in Berlin in 1942 and spent her childhood in Düsseldorf. After fine art studies, she moved to Munich to study Germanic and Latin language. She then joined a school for dramatic arts and began an acting career, in the theatres of Düsseldorf and afterwards in the Kleines Theater of Frankfurt in 1969 and 1970. At the end of the 1960 she moved in Paris for her studies and immersed herself in the film-lover circles of the time. She took part in script redacting and directing of short films and discovered via the Nouvelle Vague directors and critics the films of Ingmar Bergman and Alfred Hitchcock. In Germany, Margarethe von Trotta has worked with a new generation of young filmmakers: Herbert Achternbusch, Volker Schlöndorff who she married in 1971 and with whom she directed and wrote The Sudden Wealth of the Poor People of Kombach (1971) and The Lost Honour of Katharina Blum (1975), as well as Rainer Werner Fassbinder who made her act in four of his films. She directed in 1978 her first long feature, The Second Awakening of Christa Klages.
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1 Through Rosa-Colored Glasses: Rosa Luxemburg As
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