East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der Lügner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.

East Germany's film monopoly, Deutsche Film-Aktiengesellschaft, produced a films ranging beyond simple propaganda to westerns, musicals, and children's films, among others. This book equips scholars with the historical background to understand East German cinema and guides the readers through the DEFA archive via examinations of twelve films.

The first volume in English about the German Democratic Republic (GDR) as a cultural phenomenon, with essays by leading scholars providing a chronological and genre-based overview along with close readings of individual works. It addresses the history and context of GDR culture, including the two decades since its decline.

Rethinks the politics of public memory in East German film

This is the first comprehensive history of Jewish negotiations with East Germany regarding restitution and reparations for Nazi war crimes. Angelika Timm analyzes the politics of old and new anti-Semitism and the context in which they grew under the officially propagated ideology of antifascism. Investigating the mass of unpublished, newly available archival data from the United States, Israel, and the former German Democratic Republic, and more than forty personal interviews, Timm fills a critical gap in the scholarship on postwar Germany. She analyzes the role of the Holocaust and the image of Jews in the historical consciousness and political culture of East Germany and chronicles the efforts of Jewish organizations, especially the Conference on Jewish Material Claims Against Germany, to negotiate reparations with the East German state. The unique relationship between ideology and Realpolitik defined the manner in which East Germany confronted the crimes of its past and allowed anti-Semitism to reemerge.

This volume locates and explores historical and contemporary sites of contested meanings of Holocaust memory across a range of geographical, geo-political, and disciplinary contexts, identifying and critically engaging with the nature and expression of these meanings within their relevant contexts, elucidating the political, social, and cultural underpinnings and consequences of these meanings, and offering interventions in the contemporary debates of Holocaust memory that suggest ways forward for the future.

This collection of essays by leading scholars in their fields provides the most comprehensive and up-to-date survey of Holocaust historiography available. Covering both long-established historical disputes as well as research questions and methodologies that have developed in the last decade's massive growth in Holocaust Studies, this collection will be of enormous benefit to students and scholars alike.

The History of German film is diverse and multi-faceted. This volume can only suggest the richness of a film tradition that includes five distinct German governments [Wilhelmine Germany, the Weimar Republic, the Third Reich, the Federal Republic of Germany (West Germany), and the German Democratic Republic (East Germany), s well as a reunited Germany], two national industries (Germany and Austria), and a myriad of styles and production methods. Paradoxically, the political disruptions that have produced these distinct film eras, as well as and the natural inclination of artists to rebel and create new styles, allow for construction of a narrative of German film. Disjuncture generates distinct points of separation, and yet also highlights continuities between the ruptures. This second edition of Historical Dictionary of German Cinema contains a chronology, an introduction, appendixes and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on directors, actors, films, cinematographers, composers, producers, and major historical events that greatly affected the direction and development of German cinema. This book is an excellent resource for students, researchers, and anyone wanting to know more about German cinema.

CHOICE Outstanding Academic Title 2016 Focussing on German responses to the Holocaust since 1945, Postwar Germany and the Holocaust traces the process of Vergangenheitsbewältigung ('overcoming the past'), the persistence of silences, evasions and popular mythologies with regards to the Nazi era, and cultural representations of the Holocaust up to the present day. It explores the complexities of German memory cultures, the construction of war and Holocaust memorials and the various political debates and scandals surrounding the darkest chapter in German history. The book comparatively maps out the legacy of the Holocaust in both East and West Germany, as well as the unified Germany that followed, to engender a consideration of the effects of division, Cold War politics and reunification on German understanding of the Holocaust. Synthesizing key historiographical debates and drawing upon a variety of primary source material, this volume is an important exploration of Germany's postwar relationship with the Holocaust. Complete with chapters on education, war crime trials, memorialization and Germany and the Holocaust today, as well as a number of illustrations, maps and a detailed bibliography, Postwar Germany and the Holocaust is a pivotal text for anyone interested in understanding the full impact of the Holocaust in Germany.

Motion picture production, distribution, exhibition and reception has always been a transnational phenomenon, yet East Germany, situated at the edge of the post-war Iron Curtain, separated by a boundary that became materialized in the Berlin Wall in 1961, resembles nothing if not an island, a protected space where film production developed under the protection of government subsidy and ideological purity. This volume proposes on the contrary that the GDR cinema was never just a monologue. Rather, its media landscape was characterized by constant dialogue, if not competition, with both the capitalist West and socialist East. These thirteen essays reshape DEFA cinema studies by exploring international networks, identifying lines of influence beyond national boundaries and recognizing genre qualities that surpass the temporal and spatial confines. The international team of film specialists present detailed analyses of over fifty films, including fiction features, adaptations of literary classics, children's films, documentaries, and examples from genres such as music, sci-fi, Westerns and crime films. With contributions by Seán Allan, Hunter Bivens, Benita Blessing, Barton Byg, Jaimey Fisher, Sabine Hake, Nick Hodgin, Manuel Köppen, Anke Pinkert, Larson Powell, Brad Prager, Marc Silberman, Stefan Soldovieri, and Henning Wrage.