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DIE WICHTIGSTE ALLER KÜNSTE: DER FILM ALS MEDIUM DES GEDÄCHTNISSES IN DER NACHKRIEGSPERIODE. DER WIDERSTAND IN NEPOŢII GORNISTULUI UND DAS BEIL VON WANDSBECK
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DIE WICHTIGSTE ALLER KÜNSTE: DER FILM ALS MEDIUM DES GEDÄCHTNISSES IN DER NACHKRIEGSPERIODE. DER WIDERSTAND IN NEPOŢII GORNISTULUI UND DAS BEIL VON WANDSBECK
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DIE WICHTIGSTE ALLER KÜNSTE: DER FILM ALS MEDIUM DES GEDÄCHTNISSES IN DER NACHKRIEGSPERIODE. DER WIDERSTAND IN NEPOŢII GORNISTULUI UND DAS BEIL VON WANDSBECK
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Journal Article
DIE WICHTIGSTE ALLER KÜNSTE: DER FILM ALS MEDIUM DES GEDÄCHTNISSES IN DER NACHKRIEGSPERIODE. DER WIDERSTAND IN NEPOŢII GORNISTULUI UND DAS BEIL VON WANDSBECK
2018
Overview
The post-war period represented a time of political and social upheaval that largely affected collective memory. The present paper explores the question of how this collective memory was constructed by the medium of cinematography in Romania and GDR. On the basis of two film analysis, the topos of the resistance fighter is firstly examined as a main negotiation subject between filmmakers and party officials, in order to finally draw comparative conclusions on memory politics in both states.
Publisher
Journal Studia Europaea,Babeș-Bolyai University
