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UNIVERSITY of CALIFORNIA Los Angeles UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses. Furthermore, I articulate to what extent and in what way the experiences of “others” (e.g. Jews, Ukrainians, ii Soviets, etc.) are (or are not) integrated into these narratives of victimhood. To these ends, I conduct close analyses of ten films, focusing on those scenes that depict refugee treks and “repatriate” trains. Both as representations in a filmic narrative and as historical, real-world facts, the refugee trek and the repatriate train are specific subsets of what Mikhail Bakhtin calls the “chronotope of the road,” and function within a text as a representation of that real-world fact— indeed, many of the filmic representations clearly utilize documentary images for their own compositions. It is at the intersection of chronotope and photographic/filmic index, I argue, that the films negotiate between competing myths, politics, and collective memories with regard to the hotly contested topic of forced migration as a socio-political reality. By conducting close readings of the films and by situating the films and their chronotopic representations of forced migration in the historical, political, and social contexts that generated them, I am able to articulate the function of these scenes, find potential explanations for their paucity in pre-1970 cinema, and express to what extent they contribute to what Cornelia Brink calls the “soziales Bildgedächtnis” (“social image memory”) of these forced migrations in German and Polish contexts. iii The dissertation of Jamie Leigh Zelechowski is approved. Kathleen L. Komar John A. McCumber Roman Koropeckyj, Committee Co-Chair Todd S. Presner, Committee Co-Chair University of California, Los Angeles 2017 iv Table of Contents List of Figures ............................................................................................................................... vi Abbreviations ............................................................................................................................. viii Acknowledgements ...................................................................................................................... ix Vita ................................................................................................................................................ xi Chapter 1: Introduction ............................................................................................................... 1 Chapter 2: Icy Roads to the FRG: The Refugee Trek in West German Feature Film ........ 57 Chapter 3: How the Umsiedler Built Socialism: Representations of Flight in the Feature Films of the SBZ/GDR .............................................................................................................. 114 Chapter 4: Repatriates in the Recovered Territories: Forced Migration and the Border Changes in Feature Films of the Polish People’s Republic ................................................... 167 Chapter 5: Conclusion .............................................................................................................. 233 Filmography .............................................................................................................................. 253 Bibliography .............................................................................................................................. 264 v List of Figures Figure 1: Still from Wolfgang Liebeneiner's Waldwinter (1956) ................................................. 71 Figure 2: Still from Wolfgang Liebeneiner's Waldwinter (1956) ................................................. 71 Figure 3: Still of initial frame of Wolfgang Liebeneiner's Waldwinter (1956) ............................ 76 Figure 4: Still of final frame of Wolfgang Liebeneiner's Waldwinter (1956) .............................. 76 Figure 5: Still of the church in Silesia in Wolfgang Liebeneiner's Waldwinter (1956) ............... 76 Figure 6: Still of the Silesian church reconstructed in Bavaria in Wolfgang Liebeneiner's Waldwinter (1956) ........................................................................................................................ 76 Figure 7: Still from Wolfgang Schleif's Preis der Nationen (1956) ............................................. 87 Figure 8: Vinzenz Engel: “Flüchtlingstreck zieht über das zugefrorene Frische Haff” (January/February 1945), Inv. En. © Copyright bpk / Vinzenz Engel. ........................................ 87 Figure 9: Still from Wolfgang Schleif's Preis der Nationen (1956) ............................................. 87 Figure 10: Still of archival footage embedded in Frank Wisbar's Nacht fiel über Gotenhafen (1959); original source: Deutsche Wochenschau 754 (16 March 1945) .................................... 103 Figure 11: Maria with child during flight ................................................................................... 106 Figure 12: Generalin von Reuss with Maria’s child during the sinking of the Gustloff ............ 106 Figure 13: Frau Kubelsky defending Herr Wiśnewski ............................................................... 106 Figure 14: East Prussian woman singing during flight ............................................................... 106 Figure 15: Still from Milo Harbich's Freies Land (1946) ........................................................... 124 Figure 16: Still from Milo Harbich's Freies Land (1946) ........................................................... 124 Figure 17: Still from Milo Harbich's Freies Land (1946) ........................................................... 126 Figure 18: Still from Deutsche Wochenschau 754 ..................................................................... 133 Figure 19: Still from Kurt Maetzig's Schlösser und Katen (1957) ............................................. 133 Figure 20: Gertrud with the children in an abandoned church (during the flight). Still from Martin Eckermann's Wege übers Land (1968) ........................................................................... 150 Figure 21: Mala plays with down feathers during deportations. ................................................ 153 Figure 22: Gertrud blows away a remaining down feather during the first night in a home expropriated from Polish residents. Still from Martin Eckermann's Wege übers Land (1968), Part II .................................................................................................................................................. 153 Figure 23: Refugee trek and retreat of the Wehrmacht. Still from Martin Eckermann's Wege übers Land (1968), Part III .......................................................................................................... 158 Figure 24: Still from Deutsche Wochenschau 754 ..................................................................... 159 Figure 25: Still from Martin Eckermann's Wege übers Land (1968), Part III ............................ 159 Figure 26: Still from Stanisław Różewicz's Trzy kobiety (1957) ............................................... 182 Figure 27: Still from Stanisław Różewicz's Trzy kobiety (1957) ............................................... 182 Figure 28: Repatriates enter Zielno (I) ........................................................................................ 192 Figure 29: Repatriates enter Zielno (II) ...................................................................................... 192 Figure 30: Bożek with "homeless 'mayor'" on the bridge in Zielno ........................................... 192 Figure 31: Street brawl in the background .................................................................................. 192 Figure 32: Still from Kazimierz Kutz's Nikt nie woła (1960) .................................................... 195 Figure 33: Still from Kazimierz Kutz's Nikt nie woła (1960) .................................................... 195 Figure 34: Still from Kazimierz Kutz's Nikt nie woła (1960) .................................................... 195 Figure
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