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„Ostalgie“ – Wie geht Good Bye, Lenin! mit der DDR-Vergangenheit um?
Ostalgie: eine utopische Neugestaltung der DDR
(Good Bye, Lenin!)
Präpositionen
Passivformen
Word count: 665
„Ostalgie” ist eine Mischform aus den Worten „Ost” und „Nostalgie”. Man kann daher sagen, dass es wörtlich Nostalgie nach dem Osten bedeutet. „Goodbye, Lenin!” ist ein preisgekrönter Film von Wolfgang Becker und er beschreibt Ostalgie. Der Film erzählt die Geschichte der Familie Kerner und er betont die plötzlichen Änderung in (Ost-)Deutschland nach dem Fall der Berliner Mauer. Weil die Mutter von Alex sehr krank ist, entscheidet der Sohn sich, als seine Mutter aus dem Koma erwacht, ihr nicht zu sagen, dass die Berliner Mauer gefallen ist. Alex beschließt einen Mikrokosmos der DDR in ihrem Schlafzimmer zu erschaffen. Er tut dies auf unterschiedliche kreative Art und Weise. Zum Beispiel macht er falsche Fernsehnachrichten für seine Mutter. In diesem Aufsatz wird argumentiert, dass dies es ihm erlaubt, die Geschichte umzuschreiben und seine Ostalgie für die Deutschen Demokratischen Republik (DDR) symbolisiert. Nicht, wie es wirklich war, erzählt er von der Geschichte, sondern wie er die Geschichte und die DDR gerne gehabt hätte.
Es ist kein Zufall, dass „Good Bye, Lenin!“ und der "Ostalgie" Trend hat sich in einer Zeit der Not und Krise für Deutschland entstanden. In den letzten Jahren ist die Wirtschaftliche Ungleichheit zwischen Ost-und West-Deutschland nur gestiegen. „Die Kluft zwischen Arm und Reich in Deutschland am größten in der Euro-Zone […] Die Unterschiede zwischen Ost und West sind weiterhin deutlich: In Westdeutschland liegt das Medianvermögen bei 21.000, in Ostdeutschland nur bei 8000 Euro.” In diesem Zusamm...
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...nthony, „The politics of Ostalgie: post-socialist nostalgia in recent German film“,Oxford University Press, 48:4 Winter 2007.
Hillman, Roger, „Goodbye Lenin (2003): History in the subjunctive“, Rethinking history: The journal of Theory an Practice, 10:2, (2007): S. 221-237.
Sierp, A., ‘Nostalgia for Times Past: On the Uses and Abuses of the Ostalgie Phenomenon in Eastern Germany’, Contemporary European Studies, Bd. 2, 2009, S. 48-60.
‘Vergleich in der Euro-Zone: Kluft zwischen Arm und Reich in Deutschland am gröβten’, Die Spiegel, 26 Februar 2014, http://www.spiegel.de/wirtschaft/soziales/vermoegen-in-deutschland-ungleicher-verteilt-als-im-rest-der-eurozone-a-955701.html (Abgerufen am 10 April 2014).
Wilson, D., ‘Ostalgie und der Identitätskampf der ehemaligen DDR-Bürger in Good Bye, Lenin!’, Best Practice Essays, University of Western Australia, 2012, S.10-12.
The film illustrates the common social and sexual anxieties that the Germans were undergoing at that period of time. It also employs cinematic aesthetics alongside with new technology to create what would be considered as one of Germany’s first sound-supported films. Furthermore, it was the film that popularized its star Marlene Dietrich. The film is also known for combining elements of earlier expressionist works into its setting without becoming an expressionist film itself. It is important also to point out that the visual element has helped to balance the film easily against the backdrop the nightclub lifestyle that Lola leads the professor to fall into.
In the Early years of film one can easily say that Germany lead the way in experimentation, with such striking examples as Dr. Caligari, Nosferatu and Dr. Mabuse the Gambler. How when looking at two of these film, Nosferatu and Dr Mabuse the Gambler one can find a similar theme that run throughout. This theme is that of Weimar’s insecurity about outsiders and otherness different cultures. While both films have different stories at their very simplest both films see someone come into the idyllic lives of the protagonist not only wrecking their lives but the lives of ordinary people as well. It’s worth noting that borth Nosferatu and Dr. Mabuse the Gambler were filmed in the turbulent early 20’s of the Weimar period where Germany was still dealing with the aftermath of the war and outside powers such as France encroaching on German territory and at the same time political unrest had reached its high. With all these changes going on it easy to see why Germany might have felt that outsider were at work trying to remold modern Germany. This is why in these turbulent early years befor the Weimar Golden age we see such strong use of the other/outsider as a stand in for events taken place in Germany
Calhoon, Kenneth S. “Horror vacui.” Peripheral Visions: The Hidden Stages of Weimar Cinema. Wayne State University Press: Detroit, 2001.
Trotsky, L., 2014. The Overthrow of Tzarism and the Triumph of the Soviets. In: L. Trotsky, The Russian Revolution, 1st ed. Garden City, New York: Doubleday.
In order to establish whether Lenin did, indeed lay the foundation for Stalinism, two questions need to be answered; what were Lenin’s plans for the future of Russia and what exactly gave rise to Stalinism? Official Soviet historians of the time at which Stalin was in power would have argued that each one answers the other. Similarly, Western historians saw Lenin as an important figure in the establishment of Stalin’s socialist state. This can be partly attributed to the prevailing current of pro-Stalin anti-Hitler sentiments amongst westerners until the outbreak of the cold war.
Hagen W (2012). ‘German History in Modern Times: Four Lives of the Nation’. Published by Cambridge University Press (13 Feb 2012)
The Songerweg emphasizes the particular model of history that Germany, unlike other Western countries, has gone through. Specifically, ‘proponents of this concept emphasize the peculiarities of German history, such as political institutions, social structures, or mentalities and experience, usually in comparison with other Western countries, to demonstrate the unique course of German history’ (Buse & Doerr, 1998, p. 934). Although initially the theory of Sonderweg viewed the characteristics of German historical development as positive, the situation has changed after the World War II. Specifically, in the 19th and early 20th centuries historians applied the Sonderweg model to stress a focus on the role of strong central state and military as the driving force of the development of the country (Buse & Doerr, 1998). In addition to this, historians regarded social reforms in Germany that were made from ‘above’ rather than being the outcomes of revolution to be a positive feature that depicted German state in a favorable way. Finally, the historical school viewed the course of German industrialization and culture as superior to similar processed in the rest of Western European
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[6] Holborn, Halo. A History of Modern Germany. Princeton: Princeton University Press, 1969. p. 277-280.
Althusser, Louis. Lenin and Philosophy and Other Essays. Http://virginiabonner.com/courses/cms4310/readings/althusser.pdf. Ben Brewster, Apr. 1970. Web. 29 Apr. 2014 8.
Canning, Kathleen. “Responses to German Reunification.” The Journal of the International Institute. 2000. The Regents of the University of Michigan. 07 March 05
Wood, A. (1986). The Russian Revolution. Seminar Studies in History. (2) Longman, p 1-98. ISBSN 0582355591, 9780582355590
Director Mark Herman presents a narrative film that attests to the brutal, thought-provoking Nazi regime, in war-torn Europe. It is obvious that with Herman’s relatively clean representation of this era, he felt it was most important to resonate with the audience in a profound and philosophical manner rather than in a ruthlessness infuriating way. Despite scenes that are more graphic than others, the films objective was not to recap on the awful brutality that took place in camps such as the one in the movie. The audience’s focus was meant to be on the experience and life of a fun-loving German boy named Bruno. Surrounding this eight-year-old boy was conspicuous Nazi influences. Bruno is just an example of a young child among many others oblivious of buildings draped in flags, and Jewis...
Huber, Eduard, ‘On Progress, Values and Marx’, Studies in Soviet Thought, 30 (1985), nr.4, 365–377.