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Berlin” in Selected Pre- and Post-Unification German Films

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Berlin” in Selected Pre- and Post-Unification German Films “The Wall in the Head”: Reading “Berlin” in Selected Pre- and Post-Unification German Films by Rachel E. Beattie B.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario (September 23, 2005) 2005, Rachel E. Beattie Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18242-0 Our file Notre reference ISBN: 978-0-494-18242-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be includedBien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. i * i Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract: This thesis examines the setting and thematization of Berlin in selected pre- and post-unification West German films. Give the symbolic importance of a divided Berlin to the Cold War period, the opening of the Wall and the subsequent unification of Germany in 1990 were read internationally as symbols of the end of an era. Yet the initial euphoria soon gave way to a more complex picture within Germany, as citizens of the former East and West Germany were faced with gaps in memory and history, alongside a material and economic divide. This thesis reads the “meaning” of Berlin as a focus for these issues. It analyzes five representative films that negotiate issues of pre- and post-unification memory, history mediated through commercial genres, and questions of nostalgia. It raises questions about the difficulties still ahead for the new Berlin, as well as the new Germany. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgements I gratefully acknowledge my thesis supervisor Barbara Gabriel who graciously agreed to supervise me despite being on sabbatical. I will not forget her reassurance and sage guidance. I also wish to thank the Film Studies professors at Carleton University who have offered me much support and advice. I would also like to show my appreciation to Gisela Ehrenberg and Eva Ledwig at the Goethe Institute for helping me begin to learn German. Thanks as well to all my friends and colleagues, for their tireless moral support and encouragement, especially Murray Leeder, Amy Ratelle, Lisa Johnson, Jessica Aldred, Chrystie McWade, Meghan Conly, Steve Rifkin, Alex Clark, and Matt Croombs. I would like to dedicate this thesis to my parents, Larry and Marie Beattie, who each, in their own way, provided invaluable assistance to me during the process of writing this thesis. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Abstract Acknowledgements Introduction: “The Wall in the Head”: A Brief Introduction Chapter 1: Berlin as “City-Text”: Post-Unification Germany and the Shadow of History Chapter 2: Angels in the Cities: Berlin and the Burden of Germany History in Wim Wenders’s Wings of Desire and Faraway, So Close! Chapter 3: The Post-Wall Cinema of Consensus Chapter 4: “I Love this Scheissland ”: Ostalgia and Wolfgang Becker’s Good Bye Lenin! Conclusion Appendix: Ampelmannchen photos Bibliography Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “The Wall in the Head”: A Brief Introduction Even before the infamous 13th of August, 1961, when East German border guards began the construction of the Wall, Berlin stood at the centre of the Cold War. Events such as the Berlin Airlift (1948), Soviet ruler Nikita Khrushchev’s “Berlin Ultimatum” (1958) demanding the withdrawal of the other Allied powers from the city, and threats of war between Khrushchev and American president John F. Kennedy in Vienna (1961)1 solidified Berlin as the battle ground of ideological warfare on both sides. When, on November 9th 1989, the border at the Berlin Wall was unexpectedly opened, Berliners on both sides rejoiced. Millions of Ossis (East Germans) flooded into Berlin to finally see A the capitalist zone that had been so long forbidden to them. Although the Wall was dismantled and official unification took place on October 3,1990, the concrete Wall was replaced by an equally daunting psychological Wall, what Berlin writer Peter Schneider famously called the “Wall in the Head/die Mauer im Kopf ”3 Despite the trials of unification,4 Berlin once more became the focus of the world. Internally, the fall of the Wall heralded the longed-for unification of Germany; externally, it marked the end of the Cold War, and even for some, the symbolic end of the Twentieth Century. In my thesis I will examine five films by former West German directors that use “Berlin”5 as both a setting and what Andreas Huyssen calls a “city text”6 for staging individual lives caught up in moments of historical crisis. Due to the centrality of post­ war German history to the issues at stake, my opening chapter reprises the history of the post-war period leading up to the debates surrounding unification and after the fall of the Wall. My intention is to analyze the way these filmmakers use “Berlin” (both in its 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 divided and reunified incarnations) to work through the history of the Cold War and the new dilemmas for German identity that arose from the post-unification era. My initial intention was to examine West German films from the post-unification period exclusively.7 However, in doing so I could not possibly leave out one of the most important recent films about Berlin: Wim Wenders’s Wings of Desire!Himmel iiber Berlin (1987). It is for this reason that my study o f film ic representations o f Berlin begins with the filming of Wings of Desire in 1986 and not with the fall of the Wall in 1989. However, in using Wenders’s film I am able to provide a striking “before-and- after” portrait o f the city. In Chapter 2 , 1 will analyze both Wings of Desire and Wenders’s 1993 revisiting of Berlin: Faraway So Close!In weiter Feme so nah! In the first film, Wenders uses the site of Berlin to examine issues of memory and history that follow from the trauma of World War II. In comparing these two films with the same director, setting, and leading characters, I propose to ask questions about shifts that took place after the Wall fell, including changes in tone and relative optimism about unification itself. My third chapter locates Margarethe von Trotta’s The Promise/Das Versprechen (1995) and Roland Suso Richter’s The Tunnel/Der Tunnel (2001) within the context of a more recent German commercial cinema that has been called the “Cinema of Consensus.” How are attempts to look at German identity and history hindered by marketplace constraints? What can be retrieved or salvaged in spite of commercial imperatives which include the dominance of popular genres and frameworks? This last question is also addressed in my final chapter, which examines Wolfgang Becker’s commercially and critically successful film Good Bye Lenin! (2002) in terms of the particularly dramatic identity crisis faced by East Germans after the Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. dissolution of the German Democratic Republic (GDR). In reading the most internationally popular German film in recent history, I will grapple with the pervasive but paradoxical phenomenon of Ostalgia, the ongoing former East German fascination with the trappings o f the old communist regime. Throughout this study, I will return persistently to several questions. How does Berlin focus the ongoing history and memory of the Third Reich? How does this “city- text” focus the challenge of reuniting two disparate sets of Germans who have completely different memories of the previous forty years and of their part in the Second World War? Finally, how are the identity-problems raised by the “Stunde Nul” ’ (“Zero Hour”) of Germany post-1945 intensified by the new challenges of the post-unification era? Because my thesis crosses issue of history and representation, these questions are raised in relation to a number of specifically cinematic concerns (the category o f auteur, formal issues, material categories of production and reception).
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