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By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR’s rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA’s complex post-unification “afterlife.”
By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote
Traces the development of the state-sponsored company (DEFA), which was primarily responsible for film production in East Germany from 1946 to 1992. Most of the
East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast
East Germany's film monopoly, Deutsche Film-Aktiengesellschaft, produced a films ranging beyond simple propaganda to westerns, musicals, and children's films, a
Daniela Berghahn demonstrates that East German cinema occupies an ambivalent position between German national cinema on the one hand and East European and Sovie
