The Negotiation of Collective Identities in German Cinema after Unification
Bechmann Pedersen, Sune LU
(2012)
In Studies in Eastern European Cinema
3(1).
p.53-68
- Abstract
- This article analyses the negotiation of German identities in two films of the ‘newer German cinema’: Sonnenallee/Sun Alley (Haussmann 1999) and Schultze gets the blues (Schorr 2003). It argues that the former represents a defiant stance towards a dominant West German narrative which devalorizes the lived experiences of former GDR citizens. As a consequence, east and west are consolidated as relevant categories of identification. In contrast, the article argues that Schultze gets the blues represents a post-national tendency in newer German cinema, which dissolves the east-west axis and instead foregrounds regional and post-national identities.
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/2254801
- author
- Bechmann Pedersen, Sune
LU
- organization
- publishing date
- 2012
- type
- Contribution to journal
- publication status
- published
- subject
- keywords
- nostalgia, post-communism, German film, GDR, unification, post-national
- in
- Studies in Eastern European Cinema
- volume
- 3
- issue
- 1
- pages
- 53 - 68
- publisher
- Routledge
- external identifiers
-
- scopus:85070474966
- ISSN
- 2040-350X
- DOI
- 10.1386/seec.3.1.53_1
- language
- English
- LU publication?
- yes
- id
- 4e1abd11-5d9e-4b2e-ac19-21269bdefdd4 (old id 2254801)
- alternative location
- http://www.tandfonline.com/doi/abs/10.1386/seec.3.1.53_1
- date added to LUP
- 2016-04-01 14:30:56
- date last changed
- 2022-01-28 01:02:52
@article{4e1abd11-5d9e-4b2e-ac19-21269bdefdd4,
abstract = {{This article analyses the negotiation of German identities in two films of the ‘newer German cinema’: Sonnenallee/Sun Alley (Haussmann 1999) and Schultze gets the blues (Schorr 2003). It argues that the former represents a defiant stance towards a dominant West German narrative which devalorizes the lived experiences of former GDR citizens. As a consequence, east and west are consolidated as relevant categories of identification. In contrast, the article argues that Schultze gets the blues represents a post-national tendency in newer German cinema, which dissolves the east-west axis and instead foregrounds regional and post-national identities.}},
author = {{Bechmann Pedersen, Sune}},
issn = {{2040-350X}},
keywords = {{nostalgia; post-communism; German film; GDR; unification; post-national}},
language = {{eng}},
number = {{1}},
pages = {{53--68}},
publisher = {{Routledge}},
series = {{Studies in Eastern European Cinema}},
title = {{The Negotiation of Collective Identities in German Cinema after Unification}},
url = {{http://dx.doi.org/10.1386/seec.3.1.53_1}},
doi = {{10.1386/seec.3.1.53_1}},
volume = {{3}},
year = {{2012}},
}