Publishing Institution: German Politics and Society Journal / Topic: Arts

Author:: Margaret McCarthy
Publication Date:: 12-2007
Content Type:: Journal Article
Journal:: German Politics and Society
Institution:: German Politics and Society Journal
Abstract:: German popular filmmakers who participated in the Denk ich an Deutschland series brought a range of conflicting impulses to their meditations on Germany, including the universalizing tendencies of popular culture, together with the personal and political strains often present in documentary films. With varying degrees of success, each director agitates national identity via an idiosyncratic selfhood, a process which in turn expands our notions of Germany beyond generic convention. The best of the five films discussed in this essay—directed by Doris Dörrie, Fatih Akin, Katja von Garnier, Sherry Hormann, and Klaus Lemke—feature their creators' struggle to box themselves out of a larger collective identity. By modeling their own existential Bildung, they chip away at an otherwise implacable German identity and provide a psychic service for Germans potentially more salutary than the way Hollywood films sustain American identity.
Topic:: Civil Society and Arts
Political Geography:: Germany

Author:: Margit Sinka
Publication Date:: 12-2007
Content Type:: Journal Article
Journal:: German Politics and Society
Institution:: German Politics and Society Journal
Abstract:: Launched in 1998 on the eve of the eighth Day of German Unity, the Denk ich an Deutschland television film series was intended to reframe discourses on national identity formation in a positive light through documentaries focused on the present rather than on the dark German past. While Andreas Kleinert's Niemandsland (No Man's Land, 1998) and Andreas Dresen's Herr Wichmann von der CDU (Vote for Henryk!, 2003), the first and last films televised, do center on the present, they highlight dissonances between personal and national concerns. Still, Kleinert deconstructs the dissonances and artificial syntheses he himself invents in order to reveal them as constructs to be reconfigured by viewers. By showing the inability of politicians to bridge the gap between personal and national concerns due to the erosion of their private identities, Dresen also appeals to viewers to initiate needed societal changes themselves.
Topic:: Civil Society, Nationalism, and Arts
Political Geography:: Germany and Berlin

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