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ContemporaryGermanDocumentaryCinema

(19992007):
theRuralRepresented,theRegional
DefamiliarisedandHeimatRevived

ChristinaBruns

PhD
TheUniversityofEdinburgh
2009

Ideclarethatthisthesisisentirelymyownwork.
ChristinaBruns

Abstract

Thethesisidentifiesadevelopmentintegraltocontemporary

Germandocumentarycinemathathasnotyetbeentakenintoacademic
consideration:namelyanewwilltodepicttheregional,therural,or
Heimat.Ihaveorganisedtheresearchunderpreciselythesethreethematic
motifs:therural(ChapterOne),theregional(ChapterTwo),andHeimat
(ChapterThree).Theimportanceoftheruralandtheregionalhastodate
beenlargelyoverlookedbyacademicsinthefieldoffilmstudies.Yetinthe
contextofGermanytheyarekeyculturalmarkersbotharefundamentalto
thedeeprootedGermanculturalconceptofHeimat.Heimat,ontheother
hand,hasattractedtherecentattentionoffilmscholars;theirfocus,
however,hasbeenmainlylimitedtohistoricalanalyses.

Ihaveimplementedanumberoftheoreticalframeworksinorderto

modelamuchneededunderstandingofthisemergingGermancinema.My
examinationofrepresentationsoftheruralisrootedinageographic
approachtothemediumoffilm,withanemphasisontheshaping(orlack
thereof)ofcinematiclandscapes.Myinvestigationofrepresentationsofthe
regionalbenefitsfromethnographicconceptssuchasOtheringand
exoticism.MydiscussionofarevivalofHeimatonscreenisbasedon
historicalanalysesofthegenreoftheHeimatfilm.Thesetheoretical

frameworksareguidedbyclosetextualanalysisofeightcasestudyfilms
spanningtheperiod19992007:DieBlumederHausfrau(DominikWessely,
1999),OutofEdeka(KonstantinFaigle,2001),SchotterwieHeu(WiltrudBaier
andSigrunBaier,2002),HerrWichmannvonderCDU(AndreasDresen,
2003),IchkennkeinenAlleinunterHeteros(JochenHick,2003),DieBlutritter
(DouglasWolfsperger,2004),Durchfahrtsland(AlexandraSell,2005),Full
MetalVillage(SungHyungCho,2007).Thethesisnotonlyidentifiesand
analysesthisnewdevelopmentinGermancinemabutalsocontextualisesit
inanacademicframework.

Tomyparents
withloveandthanks

TableofContents

Acknowledgements
EditorialNote
Introduction
0.1.

GeneralOrientation:ContemporaryGermanCinema

0.2.

ResearchObjective

0.2.1.AGermanFramework

0.2.2.Contextualisation:TheRuralinGermanDocumentary

0.3.

LiteraryReview:GapsinFilmStudies
0.3.1. LiteraryReview:TheRural
0.3.2. LiteraryReview:TheRegional
0.3.3. LiteraryReview:TheHeimatFilm

0.4.

Overview:CaseStudies

0.4.1. DieBlumederHausfrau(DominikWessely,1999)

0.4.2. OutofEdeka(KonstantinFaigle,2001)

0.4.3. SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

0.4.4. HerrWichmannvonderCDU(AndreasDresen,2003)

0.4.5. IchkennkeinenAlleinunterHeteros(JochenHick,2003)

0.4.6. DieBlutritter(DouglasWolfsperger,2004)

0.4.7. Durchfahrstland(AlexanderSell,2005)

0.4.8. FullMetalVillage(SungHyungCho,2007)

0.5.

Overview:RegionalFilmFunding/NationalTelevisionSupport

0.6.

Overview:DocumentaryAesthetics

0.6.1.AestheticsandHumour

0.7.

ChapterDescriptions

ChapterOne:TheRuralRepresented
1.0.

TheRuralRepresented:IntroductoryNote

1.1.TheRuralRepresented:TheLand
HerrWichmannvonderCDU(AndreasDresen,2003)
IchkennkeinenAlleinunterHeteros(JochenHick,2003)

1.2.

TheRuralRepresented:TheLandscape
DieBlutritter(DouglasWolfsperger,2002)

1.3.

FullMetalVillage(SungHyungCho,2006)

TheRuralRepresented:TheLandandtheVillage
OutofEdeka(KonstantinFaigle,2001)
SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

1.4.

TheRuralRepresented:TheLandinBetween
DieBlumederHausfrau(DominikWessely,1999)

Durchfahrtsland(AlexandraSell,2005)

1.5.

TheRuralRepresented:ConcludingNote

ChapterTwo:TheRegionalDefamiliarised
2.0.

TheRegionalDefamiliarised:IntroductoryNote

2.1.

TheRegionalDefamiliarised:ThePrimitiveOther

IchkennkeinenAlleinunterHeteros(JochenHick,2003)

SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

2.2.

TheRegionalDefamiliarised:TheDividedOther

Durchfahrtsland(AlexandraSell,2005)

HerrWichmannvonderCDU(AndreasDresen,2003)

2.3.

TheRegionalDefamiliarised:TheExoticOther

DieBlutritter(DouglasWolfsperger,2004)

OutofEdeka(KonstantinFaigle,2001)

2.4.

TheRegionalDefamiliarised:The(Non)IndigenousOther

DieBlumederHausfrau(DominikWessely,1999)

FullMetalVillage(SungHyungCho,2007)

2.5.

TheRegionalDefamiliarised:ConcludingNote

ChapterThree:HeimatRevived
3.0.

HeimatRevived:IntroductoryNote

3.1.

HeimatRevived:TheRuralandtheUrban

IchkennkeinenAlleinunterHeteros(JochenHick,2003)

FullMetalVillage(SungHyungCho,2007)

3.2.

HeimatRevived:ModernisationandTradition

SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

DieBlutritter(DouglasWolfsperger,2004)

3.3.

HeimatRevived:HeimwehandFernweh

HerrWichmannvonderCDU(AndreasDresen,2003)

OutofEdeka(KonstantinFaigle,2001)

3.4.

HeimatRevived:GemeinschaftandGesellschaft

DieBlumederHausfrau(DominikWessely,1999)

Durchfahrtsland(AlexandraSell,2005)

3.5.

HeimatRevived:ConcludingNote

4.0. ConclusionandFurtherResearch
Bibliography
Appendices
AppendixI
AppendixII
AppendixIII

Acknowledgements

IwouldliketothankmyresearchsupervisorsattheUniversityof
Edinburgh,ProfMartineBeugnetandProfSarahColvin,fornurturing
ideasalreadythereandstimulatingmore;ProfThomasElsaesseratthe
UniversityofAmsterdamforfirstrecognisingthepotentialoftheseideas;
andtheArtsandHumanitiesResearchCouncilforsupportingthem
financially.
AspecialthankyoutoMaureen,JanandMark,fortheirloving
encouragementandsupport;toDomenicforlivingwithitallsopatiently;
andtoAnnaformakingtheboatlesslonely.

Thankyouallforalwaysbeingthere.

EditorialNote

Unlessotherwisestated,alltranslationsaremyown.Althoughsomecase
studyfilmsdoprovideEnglishsubtitles,Ihavechosentousemyown
translationsduetothelackofqualityinsomeofthesesubtitledtranslations.
IfaGermanfilmtitlealsocarriesanEnglish/internationaltitle,thisis
placedinitalicsinsquarebracketsinafootnotetoavoidaninterruptionto
theflowofreading.IfthefilmdoesnotcarryanEnglishtitle,atranslationis
providedinafootnoteinsquarebracketsandnotitalicised.Unless
otherwisestated,allfilmsmentionedareofGermanproductionorigin.

Germanwordsareitalicised.AnexceptiontothisisthetermHeimat.

AsthetermhasnoEnglishequivalent,thewordisincreasinglyenteringthe
EnglishlanguageinitsGermanform.Ihavetakenthelibertyofreferringto
theGermangenreofHeimatfilmasHeimatfilmtofacilitatereadingand
avoidlinguisticconfusion.

Directquotationsfromthecasestudyfilmsoftencarrystrong

dialects,whichleadtodevationsfromthegrammarofstandardGerman
theselinguisticinaccuracieshavenotbeenrectifiedbutleftindialectfor
reasonsofauthenticity.

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Introduction
0.1.GeneralOrientation:ContemporaryGermanCinema

The past decade has witnessed dynamic changes in German cinema.


Signifiers are not hard to find. Abroad, German films are once again
attracting attention. Renowned international awards such as the Academy
Award and the European Film Award have recently had a number of
German recipients.1 German films are touring the festival circuit and the
numberofGermanfilmfestivalshasrisensignificantlyinthepastdecade.
In Germany, the Filmfrderungsanstalt (FFA), the German Federal Film
Board, has recorded a significant rise in audience numbers for domestic
productions.2TheemergenceofaGermanpublication,Revolver,3pilotedby
film students turned filmmakers, has established a thriving domestic
forumforcriticalfilmdiscussionandprovesthatthedevelopmentsonthe
Germancinemahorizonarealsofosteringnewdebatesoffscreen.
TheAcademyAwardforBestForeignLanguageFilmwasawardedtoGerman
productionsinboth2002and2006:NirgendwoinAfrika[NowhereinAfrica](CarolineLink,
2001);DasLebenderAnderen[TheLivesofOthers](FlorianHenckelvonDonnersmarck,
2006).
TheEuropeanFilmAwardsforBestEuropeanFilmwasawardedtoGermanproductions
in2003,2004and2006:GoodBye,Lenin!(WolfgangBecker,2003);GegendieWand[HeadOn]
(FatihAkin,2004);DasLebenderAnderen[TheLivesofOthers](FlorianHenckelvon
Donnersmarck,2006).
2Kinoergebnisse5JahreaufeinenBlick,FFAMarktdatenhttp://www.ffa.de/[accessed
6thMarch2009].
3Revolverwasfirstpublishedin1998.
1

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Firstattemptstodefinethesechangesarevaried.WhiletheFrench
CahiersduCinmareportsofaNouvelleVagueAllemande[NewGerman
Wave],4othersspeakoftheBerlinerSchule[BerlinSchool].5The
definitionsmaybedebatableandthefilmmakersmaybereluctanttobe
uniformlycategorised;acinematicchange,however,isundeniable.

Thesecinematicdevelopmentscomeafterapostwalldecadeof

GermanproductionswhichprimarilyfollowedgenericAmericancomedy
conventions.TheproductionsofferedanarrowvisionofGermany:young
professionalsinpredominantlyurbanenvironments.Thefocus,however,
wasnotlimitedtothenewcapital,Berlin.Onthecontrary,thesettingswere
forthemostpartWestGermancities,suchasHamburg(Stadtgesprch,1995;
Mnnerpension,1996),6Munich(Abgeschminkt,1993;Irrenistmnnlich,1996;
DasSuperweib,1996;Rossini,1997)7andCologne(DerbewegteMann,1994).8
Althoughsuccessfulwithnationalaudiencesofthetime,thefilms
havebeencriticisedforlackingengagementwithanyrealidentitiy
developmentsofpostwallGermany.EricRentschlerseesinthemalackof

Seeforexample,ElisabethLequeret,Printempsallemand,CahiersduCinma,609(2006),

4553.
5ThetermwasfirstusedbyfilmcriticRainerGansera,GlcksPickpocket,Sddeutsche
Zeitung,3November2001,buthassinceturnedintocommonuse.
6[TalkoftheTown](RainerKaufmann,1995);[Jailbirds](DetlevBuck,1996).
7[MakingUp!](KatjavonGarnier,1993);[FathersDay](SherryHorman,1996);[The
Superwife](SnkeWortmann,1996);[Rossini](HelmutDietl,1997).
8[TheMostDesiredMan](SnkeWortmann,1994).

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oppositionalenergiesandcriticalvoices,()amarkeddisinclination
towardsanyseriouspoliticalreflectionorsustainedhistorical
retrospection.9
Itispreciselythehegemonyofgenericandculturalreferents,suchas
narrative,stars,settingsandidentities,whichcontemporarycinematic
trendsinthepastdecadehavearguablysupersededwiththeconstruction
ofnewstories,faces,placesandcharactersforpostunificationGermany,as
wellasretrospectivelyforpreunificationGermany.Thefilmsofthenew
millenniumaddressGermanyscomplexpastfromtheThirdReich(Der
Untergang,2004)10totheGermanDemocraticRepublic(DasLebender
Anderen,2006),11andthe1970spoliticalupheaval(DiefettenJahresind
vorbei,2004)12aswellasitsfuture:secondandthirdgenerationGerman
immigrants(GegendieWand,2004),13thenewEurope(Lichter,2003),14social
deterioration(Knallhart,2006)15andprovincialisolation(Schultzegetsthe
Blues,2003),16tonameafew.

EricRentschler,FromNewGermanCinematoPostwallCinemaofConsensus,inCinema
andNation,ed.byMetteHjortandScottMacKenzie(NewYork:Routledge,2000),pp.260
277(p.263).
10[Downfall](OliverHirschbiegel,2004).
11[TheLivesofOthers](FlorianHenckelvonDonnersmarck,2006).
12[TheEdukators](HansWeingartner,Germany/Austria,2004).
13[HeadOn](FatihAkin,2004).
14[DistantLights](HansChristianSchmid,2003).
15[ToughEnough](DetlevBuck,2006).
16[SchultzeGetstheBlues](MichaelSchorr,2003).
9

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ItisacinemanotonlymadeinGermanybutonethatisverymuch
aboutGermany.Germanfilmmakersarelookingwithinforthefirsttime
afterunificationfilmmakersareengagingcriticallywiththesubjectmatter
Germany.Unificationdidnotimmediatelyactasacatalystfornew
cinematicexplorationsintothenewrealityofoneGermany.Itwasalmosta
decadeafterunificationbeforefilmmakersreflectedontheidentity
dynamicscreatedbythemergingoftwoGermanies.AsKatjaHofmann
notesinSightandSound:Germansarerediscoveringthemselves.17Film
criticGeorgSeelendescribesthecinemaasaBewegungzursozialen
Wirklichkeit[movementtowardsasocialreality],18whileacademic
GabrieleMuellersimilarlytalksofthesocialasanarrativefocus.19Amidst
allthesenoteworthydevelopmentsinGermanpostwallcinema,however,
thereisonesectorwhich,despiteevidentactivity,hasbeenoverlooked,
namelycontemporarydocumentarycinema.Thisthesisaimstorectifythis
omission.

KatjaHofmann,RefoundSelves,Sight&Sound,12(2006),28(p.28).
GeorgSeelen,DieDritteGeneration,epdFilm:WastutsichimdeutschenFilm?
Sonderheft(2007),1619(p.16).
19GabrieleMueller,WelcometoReality.ConstructionsofGermanIdentityinLichter
(Schmid,2003)andHalbeTreppe(Dresen,2002),NewCinemas:JournalofContemporaryFilm,
4(2006),117127(p.117).
17
18

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0.2.ResearchObjective

Thethesisidentifiesacorpusofdocumentaryfilmsthatshowsome
remarkablesimilarities.Thefilmsinquestionspanalmostadecade:1999
2007.Thistimeframecorrespondstothebreakwithpostwallgeneric
productions(seemyexamplesabovein0.1.GeneralOrientation)andthe
currentchangestakingplaceontheGermancinemahorizon.

Theresearchobjectiveistoofferapreliminaryunderstandingof

thesefilmsasadevelopmentincontemporaryGermandocumentary
cinemathathasyettobetakenintoacademicconsideration.Thethesis
providesthecasestudyfilmswithasolidacademicframeworkforan
anlysisofthefilms.Thedocumentariesunderinvesigationshow
similiaritiesonthreethematiclevels:theirrurallocations,theirregional
protagonistsandtheirHeimatnarratives.Thesethreemotifsprovidethe
researchportalsforthethesis:therural,theregional,andHeimat.The
purposeofthethesisistoprovidetheoreticalframeworksinwhichthese
filmscanbeexamined.Eachchapterwillengageinadiscussioncentred
aroundtheseportals:theruralisconsideredintermsofanecocritical
framework,theregionalisexaminedfromanethnographicperspective,and
HeimatisinvestigatedintermsofaHeimatfilmgenrecontext.Inaddition,

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thesubdivisionswithinthethreechaptersillustratethestylisticapproaches
whichtheobjectsofthecasestudiesshare.

0.2.1. AGermanFramework
TheparametersofthethesisaresetwithinaGermanframework.Thethree
thematicresearchportalslinkingthecorpusoffilmsunderdiscussionhave
powerfulculturalimplicationsinGermany:fromthesymbolicroleofrural
natureandtherepresentativeroleoftheregiontothemysticalroleof
Heimat.Therolesoftheruralandtheregionalaredeeplyembeddedin
understandingsofnationalidentities.AxelGoodbodypointsout:The
significanceofindividualaspectsofnatureinagivencountryis()
culturallydefinedinalengthyprocess.20Theseprocessescreatespaces
whicharefarfromneutralbutrathercontinuouslychargedwithcultual
implicationswhichplayasignificantroleinidentityformation.Thomas
LekanandThomasZellerrefertoa`centurieslonginteractionbetween
communitiesandtheirnaturalsurroundingsinGermanyasspatialand
symbolicglue:

AxelGoodbody,Anxieties,VisionsandRealities:EnvironmentalisminGermany,inThe
CultureofGermanEnvironmentalismAnxieties,Visions,Realities,ed.byAxelGoodbody
(NewYork&Oxford:BerghahnBooks,2002),pp.3343(p.42).
20

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Theculturallandscapeidealemphasizedregionaldiversityand

vernacularlandscapesasthefoundationsofGermanculture().In

theGermanenvironmentalimagination,thisculturallandscape,the

resultofcenturieslonginteractionbetweencommunitiesandtheir

naturalsurroundings,wasthespatialandsymbolicgluethat

anchoredeachGermantoaparticularlocalitydespitethe

dislocationsofpoliticalandsocialmodernization.Thelandscapewas

thefoundationofhomeland,orHeimat,signifyingauniquelyand

oftenregionallydefinedGermansenseofplace.21

Germanyslateentryintonationhoodmaybeoneofthereasonswhy
Germannationalselfawarenesshasbeen,andstillis,soprofoundly
interlinkedwiththeprovinces,regions,andLnder[Germanfederalstates]
ratherthanwithacentralisedorgan.Thedirepoliticalassociationswith
nationalisminGermanyareanotherprobableimpetusfortheGermanwish
toidentifywithregionovernation.Thefascistabuseoftheconceptof
HeimatbytheNationalistSocialistregimesignificantlychangedthe
meaningofHeimatandtherural.ThemisuseprovidedbothHeimatand
thecountrysidewithanational(andracial)frameworkwhichreplacedthe
regionalone,andcastashadowontheunderstandingofHeimat.However,
asPeterBlickleexplains,formanyGermansHeimathassurviveddifferent
LekanandZeller,Introduction:TheLandscapeofGermanEnvironmentalHistory,in
GermanysNature:CulturalLandscapesandEnvironmentalHistory,ed.byThomasM.Lekan
andThomasZeller(NewBrunswick:RutgersUniversityPress,2005),pp.114(p.34).
21

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usesandabusesasamoreinnocentvlkischnationalism.[]Sucha
nationalismbasedincultureandlanguage,predatingthemodernnations,
andtodaynolongerevencallednationalismisoneofthefoundationsof
theGermanideaofHeimat.22

0.2.2.Contextualisation:TheRuralinGermanDocumentary
Althoughacademicresearchintotheruralonscreenissparse,theruralon
screenisfarfromnew.The1970sprovidesafineexampleofthestrong
emphasisontheruralindocumentaryfilminGermany.Duringthistime
theGermancountrysidebecamethefocusofdocumentaryfilmmakers
bothintheFederalRepublicofGermany(FRG)andintheGerman
DemocraticRepublic(GDR).FilmmakersintheGDRincreasinglyturned
theircamerastowardstheruralvillagesandtownstorevealworkinglifein
theprovinces.InHeuwetter(1972)filmmakerGittaNickelvisitsfemale
workersintheAgriculturalProductionCooperativeSocietyinthesmall
regionofHohenselchow;forhisWittstockseriesoffilmsdocumentarian
VolkerKoeppvisitsworkersinatextilefactoryinthesmalltownof
Wittstockoveraperiodoftwodecades(from1974);intheeighteenGolzow
filmsWinfriedJungeobservesGDRschoolchildreninthesmallvillageof

PeterBlickle,Heimat.ACriticalTheoryoftheGermanIdeaofHomeland(Rochester,NY:
CamdenHouse,2004),p.29.

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Golzowoveraperiodoffourdecades(from1961).Theportrayalofthe
workingdaylifeofsocialistworkersandagriculturalsocialist
developmentscompliedwithGDRethicsandpolitics.WilhelmRothclearly
commentsonthispoliticalaspectofruralityonscreenintheGDR:Die
HinwendungzumLandhatauchpolitischeGrnde.[]Daswaren
wichtigeProjektefrdieEntwicklungderDDR.23[Thechangeofdirection
towardsthelandalsohaspoliticalreasons.Thosewereimportantprojects
forthedevelopmentoftheGDR.].
Atthesametime,asimilarshiftinfocustowardsthecountryside
becameevidentinthedocumentarysceneintheFRG.Fuelledbythe
criticalpoliticalattitudesofpost1968Germany,theportrayalsofthe
ruralontheothersideofthewallwereequallypolitical.InDieLiebe
zumLand(1973/1974)documentarianKlausWildenhahnrevealsthe
economicdifficultiesfacedbyfarmersinSchleswigHolstein;Edgar
ReitzinGeschichtenausdenHunsrckdrfern(1980)showstheproblems
broughttotheHunsrckregionbyanAmericanairbase.The
countrysideplayedaspecificrole:thatofthevictim. TheFRGfocuswas
verymuchonthedestructionofthecountrysidethroughcapitalistic
forces,comparedtotheemphasisontheconstructionofacountryside

WilhelmRoth,DerDokumentarfilmseit1960(Mnchen&Luzern:VerlagC.J.Bucher,
1982),p.112.

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throughsocialistforcesintheGDR.Ruralityandfilmservedaspartofa
politicalideologyorclimate.
Althoughtherelationshipbetweenruralanddocumentaryfilm
isnotanewone,ithastakenonaninnovativedimensioninthenew
millenium.Thecorrelationhasadoptedareflexiveapproach
incorporatinghistoriesofruralonscreenfromtheGermanHeimatfilm
genre(seeLiteraryReview0.3.3.),therebyrevealingnovelfacetsofthis
relationship.

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0.3.LiteraryReview:GapsinFilmStudies

Thefactthatthecorpusoffilmsunderdiscussioninthisthesishasnotyet
receivedanyattentioninscholarlyliterature,norbeenplacedintoany
academicframework,isdueonlyinparttothetopicalnatureofthefilms
underdiscussion.Athoughtherehasbeenincreasingscholarlyattention
devotedtocontemporaryGermancinema,suchasintherecentcollectionof
essaysGermanCinema:SinceUnification,24forexample,attentionremains
focusedoninvestigationsintodevelopmentsinfictionalfilm.Themodest
amountofrecentliteratureonGermannonfictionfilm,suchasProjecting
History:GermanNonfictionCinema,19672000(2005)25andGeschichtedes
dokumentarischenFilmsinDeutschland(2005),26isgenerallylimitedtoa
historicalapproach.Thisthesisaimstoaddnotonlytotheacademic
examinationofGermandocumentaryfilmhistorybutalsototheongoing
scholarlyinvestigationintocontemporaryGermancinema.

DavidClarke,ed.,GermanCinema:SinceUnification(London&NewYork:Continuum,
2006).
25NoraM.Alter,ProjectingHistory:GermanNonfictionCinema,19672000(AnnArbor:
UniversityofMichiganPress,2005).
26PeterZimmermann,ed.,GeschichtedesdokumentarischenFilmsinDeutschland(Stuttgart:
Reclam,2005).
24

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0.3.1.LiteraryReview:TheRural
Therepresentationoftheruralonscreenhasbeenmuchoverlookedinfilm
studiesresearchcomparedtotherepresentationoftheurban,whichhas
dominatedscholarlyfocus.Thisowessomethingtothefactthatthecityis
thebirthplaceofcinema;cinemaisachildoftheindustrialeraandhasbeen
vonAnfanganeinMediumderMetropolen[fromtheverybeginninga
mediumofthemetropolises].27
Itisonlyrecentlythattheimportanceofaruralcinemastudyhas
beenstressedandaddressed.AlthoughGermancinemaisnotitsspecific
focus,therecentcollectionofessaysentitledRepresentingtheRural:Space,
PlaceandIdentityinFilmsabouttheLand(2006)highlightsthecrucialgapin
studiesoffilm:

Thereisverylittlewrittendirectlyabouttheuseoflandortherural

inthecinemadespitethefactthatitsofrequentlyformsabackdrop

tobothfictionanddocumentarywork.28

KarlPrmm,Ergebnisse,Tendenzen,PerspektivenZumStandderregionalen
Filmforschung,inSpurensucheFilmundKinoinderRegion,ed.byJoachimSteffen,Jens
ThieleandBerndPoch(Oldenburg:CarlvonOssietzkyUniversitt,1993),pp.1931(p.19).
28CatherineFowlerandGillianHelfield,Introduction,inRepresentingtheRural:Space,
Place,andIdentityinFilmsabouttheLand,ed.CatherineFowlerandGillianHelfield
(Michigan:WayneStateUniversityPress,2006),pp.114(p.2).
27

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AnotherrecentcollectionofessaysentitledCinematicCountrysides(2008)
seesasitsobjectivearedirectionoffocus:

Thevolumeathandisdesignedtofunctionassomethingofan

interventionin,andsubversionof,thisdominantspatialimagery

(countrysidesaresomehownoncinematicinformandexperience).

()Itisanefforttoforegroundadifferentimagerywithinthe

accountsofcinemaandspace.29

Thereisstillaquestionmarkoverhowaruralcinemamightbebest
approached.OveradecadeagoP.AdamsSitneyinhisarticleLandscapein
theCinema:theRhythmsoftheWorldandtheCamera(1996)drew
attentiontothisfundamentalgapinfilmstudies:

Landscapeseemstohavebeengrantednoplaceamongthetopicsof

argumentintheaestheticsofthecinema.()Althoughtheoreticians

describecinematiclandscapesinordertoexemplifypoints,thetopic

itselfisvirtuallyanunconsciousissueoffilmtheory.30

RobertFish,Whatarethesecinematiccountrysides?,inCinematicCountrysides,ed.by
RobertFish(Manchester:ManchesterUniversityPress,2008),pp.114(p.3).
30P.AdamsSitney,LandscapeintheCinema:theRhythmsoftheWorldandtheCamera,
inLandscape,NaturalBeautyandtheArts,ed.bySalimKemalandIvanGaskell(Cambridge:
CambridgeUniversityPress,1996),pp.103126(p.103).
29

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Intheabsenceofauniformframeworkinthestudyofruralcinema,
approachesstillvary:theruralisseenasaplatformofnationalidentity,31or
perceivedasanextensionofurbancinemastudy.32Theruralalsofeaturesas
landscapestudy33orasculturalgeography.34
Allinall,althoughtheruralispresentonscreen,ithasyettogain
standinginacademicdiscourseinfilmstudies.

0.3.2.LiteraryReview:TheRegional
Theregionalhasbeenanequallyneglectedareawithinfilmstudies.In
termsofhistoricalandgeopoliticalapproach,thecontextofnational
cinemashaslongdefinedscholarlyresearchinfilmstudies.Thisnational
umbrellahasledtoafailuretotakenoteoftheregion.Generallyspeaking,
researchintotheregionalhassufferedfrombeingviewedassecondary.
HistorianCeliaApplegateexplains:Thestudyofregions,provinces,and
localplaces()becamesubordinatetothenationalhistoryproject.35

CatherineFowlerandGillianHelfield,eds,RepresentingtheRural:Space,PlaceandIdentity
inFilmsabouttheLand(Michigan:WayneStateUniversityPress,2006).
32RobertFish,ed.,CinematicCountrysides(Manchester:ManchesterUniversityPress,2008).
MartinLefebrve,ed.,LandscapeandFilm(NewYork&London:Routledge,2006).
33GnterGiesenfeldandThomasKoebner,eds,BlickeaufLandschaften(Marburg:Schren,
2005).
34ChristopherLukinbealandStefanZimmermann,eds,TheGeographyofCinemaA
CinematicWorld(Wiesbaden:FranzSteinerVerlag,2008).
35CeliaApplegate,AEuropeofRegions:ReflectionsontheHistoriographyofSub
NationalPlacesinModernTimes,TheAmericanHistoricalReview,104(1999),11571182
(p.1160).
31

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Theregionisnotonlydefinedbyitspositioningvisvisthenational

butissubjecttomanyotherframeworks.GeographerAnssiPaasigives
detailsoftheseinthecontextofregionalidentity:

Narrativesofregionalidentityleanonmiscellaneouselements:ideas
onnature,landscape,thebuiltenvironment,culture/ethnicity,
dialects,economicsuccess/recession,periphery/centrerelations,
marginalization,stereotypicimagesofapeople/community,bothof
usandthem,actual/inventedhistories,utopiasanddiverging
argumentsontheidentificationofpeople.36

TheissueoftheGermanregiongainedmuchhistoricalconsiderationinthe
1990s.HistorianssuchasCeliaApplegate(ANationofProvincials:The
GermanIdeaofHeimat,199937),AlonConfino(TheNationasLocalMetaphor:
Wrttemberg,ImperialGermany,andNationalMemory,18711918,199738)
andTomScott(RegionalIdentityandEconomicChange:TheUpperRhine,1450

AnssiPaasi,RegionandPlaceRegionalidentityinquestion,ProgressinHuman
Geography,28(2003),475485(p.477).
37CeliaApplegate,ANationofProvincialsTheGermanIdeaofHeimat(Berkeley&Los
Angeles:UniversityofCaliforniaPress,1990).
38AlonConfino,TheNationasLocalMetaphor:Wrttemberg,ImperialGermany,andNational
Memory,18711918(ChapelHill:UniversityofNorthCarolinaPress,1997).
36

25

1600,199839),tonameafew,havecreatednewunderstandingsofthe
significanceofregioninGermanidentity.HistorianNancyReaginobserves:

Someofthebestrecentresearchusefullybothcomplicatesand
enrichesourunderstandingofGermanidentitybybringinginan
awarenessofotherfactorsthathelpedshapednotionsof
Germanness:region,locality.40

SociologicalandanthropologicalwritingsabouttheconceptoftheGerman
regionhaveseensimilargrowthinthe1990sandthereafter,with
publicationssuchas:Region:HeimatenderindividualisiertenGesellschaft
(1995);41RegionaleIdentittimvereintenDeutschland:ChanceundGefahr
(1996);42RegionundNation:ZudenUrsachenundWirkungenregionalerund
berregionalerIdentitt(2004).43

Therehasbeenarecentrenaissanceoftheregioninotherareasof

study,asPaasihasobserved:

TomScott,RegionalIdentityandEconomicChangeTheUpperRhine,14501600(Oxford:
ClarendonPress,1998).
40NancyR.Reagin,RecentWorkonGermanNationalIdentity:Regional?Imperial?
Gendered?Imaginary?,CentralEuropeanHistory37(2004),273289(p.276).
41HeinzSchillingandBeatricePloch,eds,Region:HeimatenderindividualisiertenGesellschaft
(Frankfurta.M.:InstitutfrKulturanthropologieundEuropischeEthnologie,1995).
42BerndMtterandUweUffelmann,eds,RegionaleIdentittimvereintenDeutschland:
ChanceundGefahr(Weinheim:DeutscherStudienverlag,1996).
43KurtMhlerandKarlDieterOpp,RegionundNation:ZudenUrsachenundWirkungen
regionalerundberregionalerIdentitt(Wiesbaden:VSVerlag,2004).
39

26

Thisoldidea[regionalidentity]hasgainednewimportancenotonly

ingeographybutalsoinsuchfieldsascultural/economichistory,

literature,anthropology,politicalscience,sociology,psychology

andmusicology.44

Comparedtomanyotherdisciplines,however,filmstudiesstilllacksa
basisforexaminingtherelationshipbetweencinemaandregion.Ina
preliminaryinvestigationintothedifficultiesinvolvedinthestudyof
regionalandlocalfilmcultureinGermany,JensThielepointstoexactlythis
disparity:

ImGegensatzetwazudenSozialwissenschaftengibtesinder

FilmwissenschaftkeineRichtung,keineSchule,keinen

SchwerpunktundschongarkeinewissenschaftlicheEinrichtung,

diesichhauptthematischmitGrundproblemenregionalerund

lokalerForschungauseinandersetzt.

[Incontrasttothesocialsciences,infilmstudiesthereisnodirection,

noschoolofthought,nomainfocusandleastofallanyscientific

institutionwhichdealswiththebasicproblemsofregionalandlocal

researchasaprincipaltheme.]45

Paasi,p.475.
JensThiele,DerbegrenzteundderweiteBlick.FragenandieregionaleFilmforschung,
inSpurensuche.FilmundKinoinderRegion,ed.byJoachimSteffen,JensThiele&BerndPoch
(Oldenburg:BISVerlag,1993),pp.918(p.11).
44
45

27

Itisthereforeofimmediateimportancethatfilmscholarsacknowledgethe
regionalwithinfilmstudiesaswellastheneedtoconsideraregional
perspective.Inwhatwayssucharegionalperspectiveonthecinematiccan
beacademicallyanchoredisaresearchchallengewhichthisthesisaimsto
engagewith.

0.3.3.LiteraryReview:TheHeimatFilm
TheHeimatfilmiscentraltoGermancinemahistory.ThomasElsaesser
referstoitasDeutschlandseinzige[s]eigenstndige[s]undhistorisch
bestndigste[s]Genre[Germanysonlyautonomousandhistoricallymost
consistentgenre].46Nevertheless,thescholarlyliteratureonthegenreofthe
Heimatfilmhaslongbeensporadic,nottosaylimited.Thereasonforthis
lackofscholarlymaterialisthetabooingofHeimatasawordorideaafter
theSecondWorldWar.Hitlerspolitical(ab)useofthetermshedadark
cloudovertheconcept,whichdeterredscholarsfromapproachingthetopic
inanydetail.Hence,the1950s,theHeimatfilmepoch,tendstofunction
historiographicallyasapostscripttoNazicinemaorsimplyasacinematic
wastelandawaitingrebuildingbythepioneersoftheYoungGerman

ThomasElsaesser,DerNeueDeutscheFilm.VondenAnfngenbiszudenNeunzigerJahren
(Munich:WilhelmHeyne,1994),p.195.
46

28

Cinema.47Consequently,theHeimatfilmgenrewaslongneglectedbyfilm
scholars.AnexceptiontothisisWilliHfigswork,DerdeutscheHeimatfilm
19471960,publishedin1973.48Hisinvestigationcoversmorethan300
Heimatfilmsandisconductedwithgreatprecision.Thisattentiontodetail
isbasedonstatisticalanalysisandnumericalcalculationsofproduction
modesaswellasonscreenmotifs.Whilehisfindingsprovideapreliminary
insightintothe1950sHeimatfilm,theydonot,however,addressanywider
socioculturaldimension.The1980ssawGerhardBliersbachsSogrnwar
dieHeide.DerdeutscheNachkriegsfilminneuerSicht(1985)49andManfred
BarthelsSowareswirklich.DerdeutscheNachkriegsfilm(1986),50aswellasthe
projectpublicationentitledDerdeutscheHeimatfilm:BildweltenundWeltbilder
Bilder,Texte,Analysenzu70JahrendeutscherFilmgeschichte(1989),51which
providedtheHeimatfilmwithhistoricalcontextualisationandcultural
implications.PossiblyduetonewGermanidentitydynamicsfollowingre

JohannesvonMoltke,NoPlaceLikeHomeLocationsofHeimatinGermanCinema
(Berkeley:UniversityofCaliforniaPress,2005),p.21.
48WilliHfig,DerdeutscheHeimatfilm19471960(Stuttgart:FerdinandEnke,1973).
49GerhardBliersbach,SogrnwardieHeide.DerdeutscheNachkriegsfilminneuerSicht
(Weinheim&Basel:Beltz,1985).
Revisededition:GerhardBliersbach,SogrnwardieHeideDiegarnichtsoheileWeltim
Nachkriegsfilm(Weinheim&Basel:Beltz,1989).
50ManfredBarthel,Sowareswirklich.DerdeutscheNachkriegsfilm(Munich&Berlin:
F.A.Herbig,1986).
Revisededition:ManfredBarthel,AlsOpasKinojungwar.DerdeutscheNachkriegsfilm
(Frankfurta.M.&Berlin:Ullstein,1991).
51WolfgangKaschubaandothers,eds,DerdeutscheHeimatfilm:BildweltenundWeltbilder
Bilder,Texte,Analysenzu70JahrendeutscherFilmgeschichte(Tbingen:TbingerVereinigung
frVolkskundee.V.,1989).
47

29

unificationin1989,the1990switnessedthebeginningofanincreasing
interestinHeimatfilmamongstfilmscholars,notablyfromwithin
Germany:AndreaGreis(DerBundesdeutscheHeimatfilmderfnfzigerJahre,
199252),ManuelaFiedler(HeimatimdeutschenFilm:EinMythoszwischen
RegressionundUtopie,199553),JrgenTrimborn(DerdeutscheHeimatfilmder
fnfzigerJahreMotive,SymboleundHandlungsmuster,199854),tonameafew.
Theseinvestigationsusedcomparableapproachessegmentingthegenre
intopolarunderstandings,e.g.city/countryside,tradition/modern,
familiar/foreign.Thepastdecadehaswitnessedrenewedcriticalinterestin
theroleofHeimatinGermanfilmhistory,mostnotablyfromJohannesvon
Moltke.VonMoltkesrecentpublicationNoPlaceLikeHome:Locationsof
HeimatinGermanCinema(2005)55developsthebinaryapproachbeyond
suchpolarunderstandings.HesuggeststhattheHeimatfilmactually
revealsnegotiationsbetweentheseeminglyopposingbinaries.Hisworkis
asignificantmilestoneintheprocessofunderstandingthe1950sHeimat
film.ElizabethBoaandRachelPalfreyman56mapouttheculturalterrainof

AndreaGreis,DerBundesdeutscheHeimatfilmderfnfzigerJahre(Frankfurta.M.:Deutsches
Filmmuseum,1992).
53ManuelaFiedler,HeimatimdeutschenFilm:EinMythoszwischenRegressionundUtopie
(Coppengrave:CoppiVerlag,1995).
54JrgenTrimborn,DerdeutscheHeimatfilmderfnfzigerJahreMotive,Symboleund
Handlungsmuster(Cologne:Teiresias,1998).
55vonMoltke,p.21.
56
Elizabeth Boa & Rachel Palfreyman, Heimat: A German Dream. Regional Loyalties and National
Identity in German Culture 1890 1990 (Oxford & New York: Oxford University Press, 2000).
52

30

thedevelopmentofHeimatthroughthepastcenturyandposecrucial
questionsaboutthefutureofHeimat.

AlthoughtheHeimatfilmisseentohavereacheditspinnacleinthe

1950s,theHeimatgenreisnotconfinedtothepostwarera.Bothprewar
andpostwarcinematicdevelopmentshavebeenequaldrivingforcesofthe
Heimatgenre:theBergfilm(1920s),theAntiHeimatfilm(1970s),Edgar
ReitzsHeimatfilms(1980s),forexample.TheseHeimatfilmmovements
havealsobeenthesubjectofrecentgrowingacademicinterest.
Heimatoncontemporaryscreens,however,hasnotbeenfully
explored.Someattemptshavebeenmadetoreinterprettheconceptwithin
othercontemporaryparameters:AlexandraLudewigappliestheterm
(Heimat)toEasternEuropeanCinema,57andDanielaBerghahninterprets
theconceptthroughthedynamicsofimmigrationonscreen.58Unlike
LudewigandBergfelder,whobothpointtoacinematicreinvention,this
thesisidentifiesacinematicrevival:areturntotraditionalHeimatsettings
andconventionalHeimatnarrativestructures.

AlexandraLudewig,AGermanHeimatintheBalticRegion?ContemporaryGerman
FilmasaEuropeanProvocation,JournalofEuropeanStudies,36(2006),157179.
58DanielaBerghahn,Noplacelikehome?OrimpossiblehomecomingsinthefilmsofFatih
Akin,NewCinemas:JournalofContemporaryFilm,4(2007),141157.
57

31

0.4.Overview:CaseStudies

Theobjectiveofthethesisistoidentifyandbringtoacademicattentiona
corpusoffilmsthatareboundbyastrikingunityinthematicarrangement
andproductionmode.

Ihavelimitedmyresearchcasestudiestoeightfilmstoallowfor

sufficienttextualanalysis.Thefilmsspantheperiod19992007,thereby
coincidingwithtransitionaldevelopmentsincontemporaryGermancinema
(see1.0.GeneralOrientation).Anintroductiontoeachcasestudyfilm
follows.Wherepertinenttothecontextofthisstudy,filmographicdetailsof
therespectivefilmmakershavebeenincorporated.

0.4.1. DieBlumederHausfrau(DominikWessely,1999)
DieBlumederHausfrau59isDominikWesselysfilmdirectingdebut.
OriginallyfromMunich,Wesselydecidedtomakeafilmabouttheregion
whereheattendedtheprestigiousfilmschool,theFilmakademieBaden
Wrttemberg,fromwhichhegraduatedin1996.Thefilmwasproducedbya
fellowfilmschoolgraduate,MichaelJungfleisch,whowentontoproduce

NoEnglishtitleavailable[TheFloweroftheHousewife].

59

32

SchotterwieHeu(WiltrudBaierandSigrunKhler,2002)anothercase
studyfilmforthisresearch.

IntheGermanregionmostnotedforcleanlinessandorderliness,

Swabia,Wesselyfollowsfivedoortodoorvacuumcleanersalesmenfrom
thereputablecompanyVorwerkontheirvisitstothelivingroomsof
Swabianhousewives.60OvertheperiodofonemonthWesselyobservesthe
salescharmoffourItalianSwabians(AngeloDitta,MassimoSantagatti,
MaurizioMarino,SalvatoreTrovato)andoneGermanSwabian(Steffen
Widule)astheyattempttooutdoeachotherintheirsellingresults.The
filmstitlemetaphoricallyreferstoavacuumcleanersnozzleasa
housewifesflower.ThefilmwasanaudiencesuccessattheInternational
HofFilmDaysin1998andtheMaxOphlsFilmFestivalin1999.

Wesselywentontodirectandcodirectanumberofdocumentary

filmsfortelevisionaswellasforthecinemascreenusingtheruralandthe
regionalasrecurringthemesinmuchofhiswork:BroadwayBruchsal
SchauspielertrumeinderProvinz(televisiondocumentaryseries,2001),61

ThedocumentarysfocusondoortodoorsalesmenstrikeschordswiththeAmerican
documentarySalseman(AlbertMaysles,DavidMaysles,CharlotteZwerin,1969).
61NoEnglishtitleavailable[BroadwayBruchsalActorsDreamsintheProvince].
BruchsalisasmallcityinBadenWrttemberg.
60

33

PatientLandarzt(televisiondocumentary,2005),62GebenedeitesGebein
(documentaryfilm,2008).63

0.4.2. OutofEdeka(KonstantinFaigle,2001)
OutofEdekaisKonstantinFaiglesfirstdocumentaryfilm,madewhilehe
wasstudyingforapostgraduatedegreeattheAcademyofMediaArts
Cologne.InthefilmFaiglereturnstohischildhoodandteenagehome,the
SwabianvillageofEmpfingen.Thereherevisitsthevillageshopownedby
hisparents(HansandJosefineFaigle),whichisabouttobecloseddown.In
betweentheshopaislesandthedailyvillagelifeofhisparents,hissister
(UlrikeGaus)andhisbrother(GerhartFaigle),Faiglesfilmstartstodrift
betweendifferentrealities:childhoodmemories,familyhistoryand
daydreamstakeovertoofferaverypersonalportrayaloftheSwabian
province.Reenactmentswithlavishcostumestransporttheviewer
betweenmemoryanddream,andFaiglesSpanishgirlfriendactsasthe
catalystformanyfantasyscenes.Towardstheendofthefilm,Faigletravels
withhiscameratoGeorgiatoreveal,tothesurpriseoftheviewer,afurther
familyprotagonist:ayoungdaughter.

NoEnglishtitleavailable[CountryDoctorPatient].
NoEnglishtitleavailable[BlessedBones].

62
63

34

TheautobiographicalfilmreceivedtheBavarianDocumentaryFilm

Prize,DerjungeLwe,in2001.In2005Faiglereleasedhissecond
documentaryfilm,DiegroeDepressionmadeinGermany,64which
documentedhissociologicaljourneyacrossGermanyinsearchofthe
originsofthenationsdepressivesoul.LikeOutofEdeka,thefilmhasan
autobiographicalcomponent:Faigle(aswellashisfather)becomepartof
theonscreennarrative.ItalsoseesFaiglecontinuinghiscinematicconcern
withGermanbelongingandidentity.

0.4.3. SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)
SchotterwieHeu65isthesecondfilmjointlydirectedbyWiltrudBaierand
SigrunKhler.Baier,atrainedpastrychef,andKhler,atrainedtypescript
editor,attendedtheFilmakademieBadenWrttemberg,wheretheycodirected
theirfirstfilmHowTimeFlies(2000).Thefilminitsshortversion(11
minutes)andlongversion(88minutes)wastherecipientofnumerousfilm
prizesandwasshownatmanyfilmfestivals(notablytheCannesFilm
Festivalin2002).Since2000BaierandKhlerhavebeenworkingjointly
underthenameofBllerundBrot[fireworkandbread].HowTimeFlies
alreadysetsthetoneforSchotterwieHeu:thefocusisona100yearold

NoEnglishtitleavailable[TheGreatDepressionmadeinGermany].
NoEnglishtitleavailable.Discussionoftitlefollowsinmaintext.

64
65

35

lifelongfarmer,Khlersgrandfather.InSchotterwieHeutheruralregionof
HohenloheinSouthernGermanybecomesthefocusofthecamera.Within
HohenloheitisFritzVogt,anelderlybankdirector,whodrivesthe
narrative.FritzVogtisnotonlythedirector,butbookkeeper,bankteller
andbankclerkofthelastbankinGermanytofunctionwithoutacomputer,
andalsoaparttimefarmer.OveraperiodofsixmonthsBaierandKhler
explorethevillagebeyondthesmallestbankinGermany(thevillageshop,
thechurch,twofootballfields,thegravelfactory,thevoluntaryfirebrigade,
thepub)torevealtheupsanddownsofprovinciallife.Thefilmstitlenot
onlyliterallyreferstothevillagesindustrialincome(Schotter=gravel)and
thevillagesruralincome(Heu=hay),butalsometaphoricallytothebank:
SchotterwieHeutranslatesidiomaticallyas:lotsofmoney.Thefilmalso
carriestheEnglishalternativetitle:TheGood,theBadandtheMoney.Baier
andKhlertookhometheawardforbestdocumentaryattheInternational
FilmweekendinWrzburgin2003.

BaierandKhlersnextfilmproject,thedocumentary,Dergroe

Navigator(2007),66remainstruetotheGermanprovinces.Overtheperiodof
ayearthetwodirectorsfollowaSwabianmissionaryonhisjourney
throughtheEastGermancountryside.TheshortfilmprojectHomemade

NoEnglishtitleavailable[TheGreatNavigator].

66

36

(2007)takesthetwofilmmakerstotheruralhabitatofanothernation,
Scotland.InasmalltowninAberdeenshirethewomencollaboratewitha
localartsprojectandobservechildrenoveraperiodofthreemonths
attemptingtoreplicatewellknownconsumersnacksandsweetsbymaking
themthemselvesinthekitchenofalocalclub.

0.4.4. HerrWichmannvonderCDU(AndreasDresen,2003)
AndreasDresengrewupintheGDRhisfilmsrevealhisengagementwith
hishometurf:theyareforthemostpartsetineasternpartsofGermany.
Havingworkedforoveradecadepredominantlydirectingintheatreand
television,Dresensbreakthroughcamewithhisawardwinningfeature
filmsaboutcitylife,Nachtgestalten(1999)67andHalbeTreppe(2001),68Setin
BerlinandFrankfurtanderOder(atthePolishborder),bothfilmsfocuson
urbaninhabitantsandtheirbuiltupgreyenvironments.Dresenhasbeen
praisedforhiscinematicrealism:althoughfictional,bothfilmssharea
semidocumentarynatureastheydrawupontechniquesattributedtothe
documentarygenresuchasimprovisation,interviewsandnonprofessional
actors.

[NightShapes].
[GrillPoint].

67
68

37

ForthedocumentaryHerrWichmannvonderCDU69Dresenvisitsa

ruralsettingbutstaystruetohisgeographicalsettingofchoice:Germanys
northeasternregion.IntheweeksleadinguptotheGermanParliament
electionsinSeptember2002,Dresenaccompanies25yearoldCDU
candidateHenrykWichmannonhiselectioncampaignthroughthe
provincesoftheUckermark,aregionnotoriousforhighunemploymentand
emigrationrates.Whethervisitingahomeforseniorcitizens,afactory,a
schoolorgivingoutpensandpostcardsfrombeneathhisumbrellaatthe
roadside,WichmannsCDUenthusiasmanddeterminationremainresolute
inaregionknowntobeoneofthebiggeststrongholdsoftheoppositional
SPD.70Filmedovertheshortperiodoffifteenfilmingdays,thefilmfollows
adirectcinemaapproach,abstainingfromvoiceoverandallnondiegetic
soundtrack.

DresensworkcontinuestoputeasternregionsofGermanyonthe

cinemascreen:Willenbrock(2005)71tracesthedownspiralofacarsalesman
inMagdeburg;SommervormBalkon(2006)72outlinesthefriendshipoftwo

NoEnglishtitleavailable[Mr.WichmannfromtheCDU].
CDU=ChristlichDemokratischeUnion[ChristianDemocraticUnion]isapoliticalparty.
70SozialdemokratischeParteiDeutschlands[SocialDemocraticPartyofGermany]
71NoEnglishtitleavailable.Willenbrockisthenameofaperson.
72[SummerinBerlin].
69

38

womeninBerlin;Wolke9(2008)73thematisestheloveandlustofanelderly
coupleinBerlin.

0.4.5. IchkennkeinenAlleinunterHeteros(JochenHick,2003)
JochenHickisacclaimedforfilmsaddressingissuesofhomosexuality.
AlthoughhewasbroughtupinGermany,hisfilms,havebeeneithersetin
Brazil(ViaAppia,1990)ortheUSA(MenmaniacsTheLegacyofLeather,1995;
Sex/LifeinL.A.,1998).IchkennkeinenAlleinunterHeteros[TalkStraight:The
WorldofRuralQueers]ishisfirstfilmshotinGermany.Overaperiodoftwo
yearsfilmmakerHicktravelledrepeatedlyintotheadjoiningregionsof
SouthernGermany,BadenandSwabia,toaskthesamequestion:Kennen
SieeinenSchwulen?[Doyouknowanygays?].Andoverandoveragainhe
wasconfrontedwiththesameanswer:Ichkennkeinen.[Idontknow
any.].Hick,however,hasfoundmanyahomosexuallivingthelifeofthe
province.HisfilmIchkennkeinenAlleinunterHeterosisdevotedtothe
portrayalofthelifeoffivehomosexuals:Claudio,Hartmut,Richard,Stefan
andUwe.Themen,allofdifferentages,aretornbetweenthelovefortheir
regionwithitsrurallifestyleandthehostilityandprejudicesagainst
homosexualsinthathabitat.Claudio,whosebrotherisalsogay,helpshis

[CloudNine].

73

39

mother,Erica,inherbattleforgayrightsinthechurch;57yearoldHartmut
hasrecentlyoutedhimselfafterbecomingHIVpositive;Richardis78years
oldandhadneveroutedhimselfuntilbeingfilmedbyHick;Stefanis
openlyhomosexualandworksasalocalforester;Uweliveswithhis
mother,whostillhopesthathersonwillbringhomeagirloneday.The
filmalsotravelswithitsprotagonistsoutoftheruralregionstoBerlin,
ThailandandZurich.Thefilmitselfhastravelledtoscreensinternationally,
particularlytotheUSA.Hickcommentsonthis:SchwuleLebenswelten
unterscheidensichzwischenLandundStadtvielmehralszwischenKln
undbeispielsweiseLosAngeles.74[Gaylifestylesdiffermuchmorebetween
ruralandurbanthanbetweenCologneandLosAngeles,forexample.].The
filmwasawardedtheTeddyPrize2003,aprizegrantedtofilmswithagay
contextattheBerlinale,theBerlinInternationalFilmFestival.

Hickhascontinuedtomakefilmsthattackleissuesofhomosexuality

inadocumentaryformat:RainbowsEnd(2006);East/WestSexandPolitics
(2008);TheGoodAmerican(premiereattheBerlinale2009).

Presseheft:IchkennkeinenAlleinunterHeteros,p.6
<www.salzgeber.de/presse/pressehefte/heteros_ph.pdf>[accessed9March2009].

74

40

0.4.6. DieBlutritter(DouglasWolfsperger,2004)
DouglasWolfspergerbeganhiscareerwithfictionfilmproductionsofa
comicalandsatiricalnature:Lebekreuzundsterbequer(1985);75Probefahrtins
Paradies(1992);76MeinePolnischeJungfrau/Heiratemir!DieBrautundihr
Totengrber(1999).77Aftermakingdocumentariesforthetelevisionscreen,
Wolfspergermarkedhisentryintothedocumentarycinemascenewith
Bellaria!Solangewirleben(2002),78afilmaboutaViennesearthousecinema
anditselderlyaudience.Acclaimedbyaudiencesandcritics,thefilmwas
awardednumerousfilmprizessuchastheBavarianFilmPrize,theErnst
LubitschPrizeandthePrixEuropa.LikeBellaria!Solangewirleben,
Wolfspergersnextdocumentaryfilm,DieBlutritter[RidersoftheSacred
Blood](2004),isafilmabouttraditionsofthepastsurvivinginmodernday
society.ThefilmdocumentstheeventoftheBlutritt,anequestrian
processioninhonourofareligiouslegend,inthesmalltownofWeingarten
inUpperSwabiaheldonthedayafterthefeastoftheAscension.Three
thousandmenonhorsesrideannuallyfromthemonastery,throughthe
NoEnglishtitleavailable[Livecrosswaysanddiediagonally].Theidiomaticmeaningis
lostintranslation.KreuzundquerinGermantranslatesidiomaticallyascrisscross.
76[TestRuntoParadise].
77NoEnglishtitleavailable[MyPolishVirgin/Marryme!TheBrideandher
Gravedigger].
Notethatthesecondtitleintheoriginalcarriesadeliberategrammaticalerroroftenmade
bynonnativespeakersofGerman.
Thefilmcarriesdifferentvariationsoftheabovetitledependingoncinema/tv/dvd
release.
78[Bellaria!AsLongasWeLive].
75

41

townandoutintothecountrysideinhomageoftheHolyRelic.TheBlutritt
countsasthelargestequestrianprocessionintheworld.Byinterviewing
andobservingacrosssectionoflocalsabutcher,anundertaker,anurse,a
monk,aretiree,abeekeeper,theownerofaprivatemuseumintheir
preparationsforthebigday,Wolfspergerprovidesaportrayalofpeople
whobelieveandlivebytheregionstraditions.Theregionispartoffilm
makerWolfspergerspersonalhistoryitiswhereheattendedboarding
school.

Wolfspergerhascontinuedhiscareerindocumentaryfilmmaking

withWarnSieschonmalinmichverliebt?(2005),79DerlangeWegansLicht
(2006),80DerentsorgteVater(2008).81

0.4.7. Durchfahrtsland(AlexandraSell,2005)
Durchfahrtsland[RemoteArea](2005)isAlexandraSellsfirstfeaturelength
film.Sell,whohasabackgroundinFineArtsandhasworkedasa
photographer,madeherfirstfilm,DasAvonProjekt(2000),82whilststudying
attheAcademyofMediaArtsColognewheredirectorKonstantinFaigle

[Didyoueverfallinlovewithme?].
NoEnglishtitleavailable[Thelongwayintothelight].
81NoEnglishtitleavailable.Thetitlecarriesanambiguousmeaning:DerentsorgteVater
referringbothtoafatherwhohasbeendisposedofaswellasafatherwhoserighttocare
hasbeenremoved.
82[TheAvonProject].
79
80

42

coincidentallyalsomadehisfirstfilm.DasAvonProjektfollowsthree
representativesoftheAvoncosmeticfirmthroughtheEnglishprovinces.
ThedepictionofEnglishruralitypromptedSelltoexploretheruralityofher
ownhomecountry.Dahabeichgemerkt,wiewenigichbermeineigenes
LandweiBesondersfremdwarmirDeutschlandzwischendengroen
Stdten.[InoticedhowlittleIknewaboutmyowncountryGermany
betweenthebigcitieswasparticularlyforeigntome].83Althoughbornin
Hamburg,SellchoosesanareabetweenCologneandBonnasthelocation
forherfilm:thefoothillsintheRhinelandknowninGermanasthe
Vorgebirge.84Thefilmdocumentsthelivesoffourfoothillinhabitants:Mark
Basinski,HansWilhelmDmmer,GuiseppeScolaroandSophiaRey.Mark
Basinskiistheyoungestmemberofalocalbachelorclubbutismore
interestedinpaintingandshopwindowdesignthanintheclub;Hans
WilhelmDmmerisalocalchurchpastorresponsiblefortwovillage
communitiesdividedbyhistorichostility;GuiseppeScolarostrugglesto
findanewwayoflifeafterfallingoutwithhisbrassband;SophiaReyisa
writerwhosenovelsaresetintheregionbutfailtofindaregional
readership.Overtheperiodofayearmarkedbythecycleoffolkloric

Presseheft:Durchfahrtsland,p.3
<http://www.realfictionfilme.de/filme/durchfahrtsland/assets/durchfahrtsland_presseheft.p
df>[accessed9March2009].
84NoEnglishtitleavailable[Thefoothills].
83

43

festivitiesSellobservesthefourprotagonistsintheirsurroundingsand
offersthevieweranomniscientcommentaryontheirdevelopments.The
filmwasawardedtheSpecialPrixEuropain2005.Sellhassinceturnedher
focustoscriptwriting.

0.4.8. FullMetalVillage(SungHyungCho,2007)
FilmmakerSungHyungChowasbornandbredinSouthKoreaandcame
toGermanytostudy.ShehassincemadeGermanyhersecondhome.Full
MetalVillageisChosfirstfeaturelengthfilm.Thefilmfocusesonthesmall
villageofWackenintheregionofSchleswigHolsteininNorthern
Germany.EveryAugustWackenwelcomes,inthecourseofthreedays,
overfortythousandHeavyMetalfansattheWackenOpenAirFestival.
Choscameracapturesthecultureclash,theencounterbetweeninhabitants
andfans,andatthesametimeportraysfivevillageresidentsinparticular:
FarmerTrede,FarmerPlhn,KathrinandhergrandmotherIrma,and
Norbert.FarmerTredetakespleasureinearningafewextraEurosbybeing
inchargeofthelocalfestivalvolunteersbutspendsmostofhistimeinhis
armchairinfrontofthetelevisionkeepingtrackofhissharesonthestock
market;FarmerPlhnprefersthecalmofhisbarnandthecompanyofhis
animals;teenagerKathrinenthusiasticallyparticipatesinthefestival

44

whereashergrandmothertakesaholidaytoavoidtheupcomingmusic
scene;familymanNorbertisunemployedandregretshavinggivenupthe
chanceofbeingoneofthefestivalfounders,whoarenowverywelloff.

FullMetalVillagereceivedtheMaxOphlsPrize2007thefirst

documentaryevertobeawardedtheprestigiousmainprize.Thefilmwas
alsotherecipientoftheregionalHesseFilmPrizeandtheFilmPrize
SchleswigHolstein.Chosnextprojecthascontinuedtoexplorethe
dynamicsofculturalrelationships:thistimebetweenGermanyandSouth
Korea.EndstationderSehnschte(2009)85portraysKoreansreturningtotheir
homeoforiginafterhavinglivedandworkedinGermanyforover30years.
TheemigrantsreturnwiththeirGermanpartnerstoenjoyretirementina
purposebuiltGermancommunitywheretheGermanwayoflifeand
Koreanlocalconditionscometogether.

[HomefromHome].

85

45

0.5.Overview:RegionalFilmFunding/NationalTelevision
Support

Thefilmsunderstudyareverydependentonregionalaswellasnational
institutionsforfundingandsupport.Theregionaloccupiesavitalposition
inthenationalfilmproductionindustry.Germanysfilmproductionis
supportedbyauniquefundingstructure.Itisadecentralisedstructureof
fundingorgansofwhichthemajorityareregionalfilmfunds.In1967the
firstFilmfrderungsgesetz[FilmFundingLaw]waspassedandwasfollowed
bytheestablishmentoftheFilmfrderungsanstalt(FFA)[TheGermanFilm
Board]in1968whichraisesafilmlevyfromfilmexhibitorsand
distributors.In1979theBundeslnder(federalstates)followedthisnational
exampleoffilmsubsidyforthefirsttimeandestablishedtheirownregional
fundinginstitutions,which,however,arenotfinancedbyfilmleviesbutby
individualBundeslnderpolicies.Inthe1980sregionalfilmfundsdeveloped
astheyprovedtobeameansofboostingtheregionaleconomyand
awarenessoftheregion.
Itwasnotuntilthe1990s,however,thattheregionalfilmfunds
reachedthesignificantpositioninGermanfilmfundingstructuresthey
holdtoday.Theyhaveadditionallyincreasedtheirpresencebyintroducing

46

afilmcommissiontoeveryregionalfilmfund.Regionalfilmcommissions
werecreatedasinformationservicesinordertopromotetheregionasa
filmlocationandattractnationalaswellasforeigninvestors.Withtheirso
calledLnderEffekt[localeffect]manyregionalfilmfundsguaranteethat
acertainpercentageoffundingisreinvestedintheregioninformof
productioncosts.Regionalfilmprizesofferadditionalpromotionand
exposure.Regionalfundingisundoubtedlylinkedtoregionalendorsement
andisknownasStandortpolitik,thepoliticsofplace.86

Therelationshipbetweenthefilmsunderinvestigationandregional
fundingseemstobeasymbioticone.Sincethenichesubjectsofthe
documentaryattractalimitedaudienceandthedocumentaryformatcannot
competewiththeaudiencefiguresofitsfictionalcounterpart,the
documentarycinemaunderinvestigationisreliantonpublicfinancing.The
onlypartyforwhomitiseconomicallyviabletopromotetheregionalon
screenistheregionalfunder.Thedisadvantage,ofcourse,isapotential
cinematiccompromise,inwhichfilmmakersseektosatisfytheeconomic
requirementsofthefilmfundbytailoringtheirfilmstosuitmarketing
purposes.GermanFilmsQuarterly,publishedbytheGermanFilmService+
Marketing,ensuresthatthiskindofeconomiccompromiseisatleastno

SeeThomasElsaesser,GermanCinemainthe1990s,inTheBFICompaniontoGerman
Cinema,ed.byThomasElsaesser(London:BFIPublishing,1993),pp.316.

86

47

longeranissuewhenfundingisgivenbydifferentfilmfunds
simultaneously:

TheheadsoftheBigSix87havetakenvariousmovesto

harmonizetheirguidelinesandfundingapplicationformsaswellas

haltingthespreadofartificialroadmoviesbycomingtosocalled

barteringagreementsinwhichthedemandforproofofan

economiceffectineachregioncanbewaivedifthereisreciprocity

betweenthefunds.88

Allthesame,theregionalfilmfundshaveproventobethefinancialmeans
tosuccessfullygenerateregionalmatteronscreen.Sevenoftheeight
documentarycasestudiesreceivedfundingfromregionalfilmfundssuch
as:MedienundFilmgesellschaft(MFG)BadenWrttemberg89(Schotterwie
Heu,DieBlumederHausfrau,OutofEdeka,DieBlutritter),FilmFernsehFonds
(FFF)Bayern(DieBlutritter),FilmboardBerlinBrandenburg(HerrWichmann
vonderCDU),FilmstiftungNordrheinWestfalen(NRW)&Nordmedia
(Durchfahrtsland),MedienfrderungSchleswigHolstein,Kulturelle

FilmboardBerlinBrandenburg,FilmFernsehFondsBayern,FilmFrderungHamburg,
FilmstiftungNRW,MFGBadenWrttemberg,andMitteldeutscheMedienfrderung.
88Anon,RegionalfilmfundinginGermanytheBigSix,GermanFilmQuarterly,1
(2002),815(p.9).
89In2009theMFGhadanannualbudgetof15millioneuros.In2010thiswillberaisedto
20million.BademWrttembergsstrongsupportofthefilmindustryisreflectedinthe
casestudyfilms.www.mfg.de[accessed10thApril2010]
87

48

FilmfrderungSchleswigHolstein,HessischeFilmfrderung(FullMetal
Village).
InadditionDurchfahrtslandandFullMetalVillagereceivedfunding
andsupportfromauniquefoundationwithintheweboffilmfunding
federalism:theKuratoriumjungerdeutscherFilm.90Thisinstitution,
establishedasaresultofthe1960sGermanfilmmovementtogeneratenew
talentinGermanCinema,istheonlyoneinitsfieldtobefundedjointlyby
allofGermanysBundeslnder.
OnanationallevelitisGermanpublictelevisionthataccountsfor
supportinsevenoftheeightcasestudies.TheroleofGermantelevisionin
cinemaculturewasestablishedin1974withtheTelevisionFramework
AgreementbetweenFFAandbroadcastersZDFandARD.Theagreements
obligedbroadcastingchannelstocofundfilmswhichweresuitableforboth
cinemareleaseandbroadcasting.Theagreementshavesincebeenextended
toincludeprivatebroadcasters.
TheZDFprogrammeseriesDaskleineFernsehspiel91mustbegiven
specialconsideration.ThisGermanpublictelevisionserieshasbeena
weeklyplatformandshowcaseforyoungfilmmakerssince1963.The
programmeoffersfinancialaswellaseditorialsupporttoyoungtalent.

LiteralTranslation:BoardofYoungGermanFilm.
LiteralTranslation:TheLittleTelevisionPlay.

90
91

49

FourofthedocumentarycasestudieswerepartiallyfundedbyDaskleine
Fernsehspiel:SchotterwieHeu,DieBlumederHausfrau,Durchfahrtsland,Herr
WichmannvonderCDU.DieBlutritterreceivedsupportfromthechannel
3sat,aZDFledculturechannelincooperationwithAustrianORFand
SwissSRG.FullMetalVillage,HerrWichmannvonderCDUandOutofEdeka
receivedsupportfromregionaloffspringsofARDpublictelevision.
Nationaltelevisionbackingiscrucialinreachingaudiencesoncecinema
releasehasceased.

50

0.6.Overview:DocumentaryAesthetics

Thefilmsunderdiscussionarefirstandforemostunitedbytheirthematic
focus.Aestheticallythefilmsdifferconsiderably,coveringadiversityof
cinematictechniquesandstyles.Farfromdetractingfromthethematic
unityofthefilms,thediverseaestheticnotonlyillustratestheversatilityof
thedocumentaryformbutalsoprovesthattheaestheticchoicein
documentaryisbasedonJohnGriersonwellknowncreativeinterpretation
ofactuality.Interpretationissubjecttoaestheticcreativitywhichmaydiffer
fromfilmtofilm;theactualityinallcases,however,remainscentraltothe
filmsintention.Itistheactualityoftherural,regionandHeimatin
contemporaryGermanythatthesefilmsintendtobringuscloserto,albeit
indifferentways.PaulWardcomments:

Theonlyunchangingthingaboutdocumentaryisthatitisaform

thatmakesassertionsoftruthclaimsabouttherealworldorreal

peopleinthatworld(includingtherealworldofhistory);howitdoes

thisissomethingthatissubjecttochange.92

PaulWard,Documentary:TheMarginsofReality(London:WallflowerPress,2005),p.8.

92

51

Aninitialoverviewofthevaryingdocumentaryaestheticsinthecase
studyfilmswillallowforamoreindepthdiscussionofstyleineachofthe
chapterstofollow.

AndreasDreseninHerrWichmannvonderCDUomitsallvoiceover

andmusic,andutilizeslonglensesandremotemicrophonestomaintainan
observationalandemotionaldistancetohissubjects.Exterioropenspaces
allowDresentoobservehisprotagonistwhilstheandhiscameraoften
remainconcealedtoothers.Instead,however,Dresenreliesheavilyon
montageandimagecompositionforcommentary.

KonstantinFaigleinDieBlumederHausfraufollowsasimilar

observationalmode.Inhiscase,however,thepracticalitiesoffilmmaking
oftenprohibithisflyonthewallapproach.IncontrasttoHerrWichmann
vonderCDU,thecamerainDieBlumederHausfraumovespredominantly
withininteriorspacesinwhichthecamerastrugglestoremainunintrusive.
UnlikeDresenandunlikeconventionsofobservationalcinema,however,
Faigleoptsfortheusageofasoundtrack.Faigleschoiceofunconventional
musicaddsasubtlelevelofcommentarytothefilmsimagery.

DouglasWolfspergerinDieBlutritteralsoexcludesvoiceover

narration.AlthoughWolfspergerremainsbehindthecamera,hispresence
isstillconveyedonscreen.Hissubjectsdirecttheirspeechtowardsthe

52

cameratherebyalludingtoanoffscreeninterviewer(althoughhisvoice
remainsunheard).Wolfspergersonscreendirectionisalsofeltelsewhere
inthefilm.Scenesoftencarrystagedelements.Extensivelighting,
premeditatedlengthycamerapansandelaboratemusicinsinuateastrong
directionalforceoffscreen.

JochenHickinIchkennkeinenAlleinunterHeterossimilarlyremains

offscreenbutatthesametimeheisverymuchpresent.AsinDieBlutritter,
subjectsdirectlyaddressthecamera(orHickbehindthecamera).Evenin
instanceswhensubjectsarenotaddressingthecamera,thecameraremains
closeby,framingsubjectstightly.Thecameraallowssubjectslittlespace
andoftenliterallytowersoverthoseitrepresents.Intrusive,thecamera
seekstoestablishauthoritybyexercisingphysicalsuperiorityoverits
subjects.

AlexandraSellinDurchfahrtslandusesvoiceovernarrationto

establishthefilmsauthority.AlthoughSellsvoiceoverisnotauthoritative
incontent(shemovesbetweennotionsofrumour,legendandstory),her
voicecontinouslydominatestheimagery.Shecomments,interpretsand
speculates,therebyleavinglittleroom(andtime)fortheaudiencetodothis
ontheirown.Thecamera,ontheotherhand,remainsunintrusive,often

53

observingsubjectsfromafar.Sellinvitesheraudiencetolistentoa
cinematicstory.

WiltrudBaierandSigrunKhlerinSchotterwieHeu,ontheother

hand,choosetohandovernarrationtotheirsubjects.Minimizingtheir
presencetobehindthecamera,thefilmmakersgivetheirsubjectsthetime
andspacetotalkfreely(omittinganyinterviewingformat),thereby
allowingthefilmsnarrativetobedrivenbythesubjectsandthuslending
anairofauthenticspontaneity.Althoughlimitedtoanoffscreenpresence,
BaierandKhlerallowtheirrelationshipswithsubjectsassumeacentral
role.Thecameraoftenbecomessecondaryassubjectsbypassthecameras
gazetoaddressthefilmmakersonmorepersonalmatters.

SyungChoinFullMetalVillagecreatesasimilarrapportwithher

subjects.AswithSchotterwieHeu,conversation(ratherthaninterview)
dictatestherhythmofscenes.Chooccasionallymovesonscreentointeract
withhersubjectsalthoughhervoiceisrarelyheard.Choneverquestions
theaccuracyofhersubjectsclaimsbutleavesjudgementopentothe
audience.Inafilmaboutmusic,itisunsurprisinglythesoundtrackthat
allowstheimagestodevelopanemotionaldimension.

KonstantinFaigleinOutofEdekaalreadysharesapersonal

relationshipwithhissubjectsbeforefilming.Faigleexploresthecomplexity

54

oftherelationshipshehashadinthepastwithhissubjects,thereby
adoptinganautobiographicalapproachwhichissteeredbyemotionaland
subjectivememory.Faiglealludestothereflexivenatureofhisfilmby
stagingreenactmentsandparodyingtheroleofdocumentaryvoiceover
andmusic.

Thechaptershavebeenstructuredthematically,asitisthe

filmmakersexplorationoftheruralandregionwhichunitesthecase
studies.Theroleofaestheticswillbeconsideredwhenformingtheoverall
argumentswithineachchapterandsubchapter.

0.6.1.AestheticsandHumour
Theuseofhumourisgenerallynotassociatedwiththedocumentarygenre:
ErnsthaftigkeitisteinSignumdesGenres.[Seriousnessisamarkofthe
genre.].93Humouronscreenstemsfromahighlevelofcreativetreatment
bythefilmmaker.Hence,comedicexpressioncanbeseentobeinconflict
withnotionsofdocumentarytruthorobjectivity.94Althoughtheoretical
discussionsondocumentaryandfictionfilmhavedevelopedbeyondan
aestheticpolarisationbetweendocumentaryandfictionfilm,humourin
PeterZimmarman,SpttischerBlickcontraLeidensmiene.DieSchwierigkeitdes
DokumentarfilmsmitIronieundSatire,inStrategiederBlickeZurModellierungvon
WirklichkeitinDokumentarfilmundReportage,ed.byDieterErtelandPeterZimmermann
(Konstanz:UniversittsverlagKonstanz,1996),pp.5163(p.56).
94Ward,p.67.
93

55

documentaryremainsafairlyunexploredtoolinacademicterms.The
increasingpopularityofcomediceffectsindocumentaryisechoedinthe
casestudyfilmsandmustbeconsideredasaresultofthefilmsaesthetic
aspirations.
Humourisatermopentomanydefinitions.Itsstructureshave
servedasatopicofdebateoverthecenuries.Thecommentsofthe
philosopherImmunuelKantonhumourprovideagoodstartingpointfora
basicunderstandingofthestructureofhumour:DasLachenisteinAffekt
ausderpltzlichenVerwandlungeinergespanntenErwartunginnichts.
[Laughteristheresultofthesuddentransformationofatenseexpectation
intonothing.].95Kantstheorycanbebrokendownintotwoopposing
elements:ontheonehandErwartung(expectation)andontheotherhand
theVerwandlung(metamorphosis)oftheErwartung.AccordingtoKant,
thesetwodifferentdynamicsarerequiredtocreatehumour.Followingthis
lineofthoughtArthurKoestlerhasarguedthathumouristheresultof
contextdeviation.InhistheoryKostlerspeaksofthelogicoflaughter
whichisbasedonbisociationwithtwoframes(ratherthanassociation
withone),i.e.twoplanesofthinkingarerequiredtocreatehumour:Das
PrinzipistsomitdasErfasseneinerSituationoderIdeeinzweiinsich
ImmanuelKantasdiscussedinUrsulaBerlin,DieMittelderKomikinDorisDrriesFilm
Mnner(Alfeld:CoppiVerlag,1996),p.22.
KantsoriginalcitationcanbefoundinhisworkKritikdersthetischenUrteilskraft(1790).
95

56

geschlossenen,abergewhnlichnichtmiteinenaderzuvereinbaren
Bezugssystemen.[Thecommonpattern()istheperceivingofasituation
oranideaintwoselfconsistentbutmutuallyincompatibleframesof
referenceorassociatecontexts].96Toexemplify,Koestlerspeaksofa
situationorideaLwhichisbisociatedwiththetwomatricesM1andM2.
BothM1andM2aregovernedbydifferentcodes.Thesecodesare
formulatedbytheresultsofthehumanlearningprocesswhichdevelopinto
nothingmorethan(unconscious)routine.Humourderivesfromthemental
leapfrommatrixM1toM2fromonecodeofthoughttoanothercodeof
thought.LikeKant,Koestlerreferstothisleapassudden,i.e.contraryto
expectation.Hence,humouristheresultofasuddencontext(matrixor
code)deviation.Aestheticsplayasignificantroleincreatingand
conveyingwhatKoestlerreferstoasmentalleaps.Koestlersframework
providesausefultoolforanalysingscenesofhumourinthecasestudy
films.

ArthurKoestler,DergttlicheFunke.DerschpferischeAktinKunstundWissenschaft(Bern
&Mnchen:ScherzVerlag,1966),p.24.

96

57

0.7.ChapterDescriptions

Thethesisisinthreechapters,eachexploringadifferentaspectofthe
relationshipbetweenhumanandhabitatintheeightcasestudyfilms.Every
chapterissubdividedintofoursections,eachofwhichdrawsupontwoof
thecasestudyfilmsforanalysis.Thisanalyticalstructuremeansthatall
eightfilmsarecoveredineachchapter.

ChapterOne(TheRuralRepresented)highlightstheimportanceof

theroleoftheruralonscreenandconsequentlyaddstothemuchneeded
discussiononfilmandrurality(see0.3.LiteraryReview).Throughthe
separationintosubdivisionseachsubdivisionexaminingtheroleofthe
ruralfromadifferentviewpointthischapteroffersinsightintomultiple
facetsofthefilmsunitingthematicofruralrepresentation.Thechapter
opensbydrawingupontheemergingstudyofecocriticismanditspotential
asanadditionalframeworkforthechapter.

SectionOne(HerrWichmannvonderCDUandIchkennkeinenAllein

unterHeteros)directsattentiontothenaturalenvironmentonscreen:the
land.Thekeytotheanalysisistherelationshipbetweenprotagonist,
cameraandsurroundings.Therelationshipisilluminatedwithreferenceto
FowlerandHelfieldsnotionoflandscapeonscreen.Closertextual

58

assessmentisgiventoscenesofdrivingthroughtheland,scenesofhomes
withintheland,andscenesoftravelawayfromtheland.

SectionTwo(DieBlutritterandFullMetalVillage)underpinsthe

cinematicruralasageographicalideal.Itcloselyanalysesframing:from
visualandauralframingtoeditorialframing.Theseformalaspectscreate
anidealgaze,therebyallowinglandtobeviewedaslandscape.Closer
attentionisgrantedtothedistinctionbetweentheterminologiesofsetting
andlandscape,asoutlinedbyMartinLefebvre,takingintoconsideration
theideaofautonomouslandscapeandtheroleofthefilmsnarrativesin
formingthisideal.

SectionThree(OutofEdekaandSchotterwieHeu)exploresthe

cinematicportrayalofthevillageaspartoftheruralland.Particular
emphasisisplacedontheroleofthefilmmakerswithintheir
representationsofthevillagesinwhatwaysdothefilmmakersshapethe
cinematicexperienceoftheruralhabitatbyenteringthespaceassubjectsof
theirownfilms?Thesectionalsocontemplatesthecinematicportrayalof
thespaceborderingthevillageaplacethatisregardedbyvillagersas
outsideofthevillage.

SectionFour(DieBlumederHausfrauandDurchfahrtsland)looksatthe

filmicrepresentationofalandinbetween,alandintransition,alandof

59

hybridity:Germansuburbia.DrawinguponRobertBeukasideasof
Americansuburbia,thispartofthechaptercontemplateshowthe
archetypalrepresentationofsuburbiaisexpressedinthefilmsunder
investigation,withspecificfocusontheroleofarchitectureandcarculture.
Itfurtherreflectsonthepointofcontactbetweentheruralandtheurban,
suchasruraldisintegrationandurbanlandscaping.

ChapterTwo(TheRegionalDefamiliarised)extendsandenrichesthe

understandingsofChapterOnebyconsideringtheroleoftheregionon
screen.Astheregiononscreenremainsanunchartedterritoryinfilm
studies(see0.3.LiteraryReview),thechapterborrowsatheoreticalmodel:
theresearchexaminesthewaysinwhichtheregionalsubjectisexploredas
amatterofethnographicOthernessbydrawinguponearlyfilmic
conventionsofethnography.AssenkaOksiloffsresearchintoearlyGerman
cinemasfirstencounterwithnonWesternbodies,PicturingthePrimitive:
VisualCulture,Ethnography,andEarlyGermanCinema(2001),97providesa
theoreticalbasisforthischapterwithrestrictions,ofcourse.Itisnotmy
intentiontoapplyacolonialapproachtoacontemporarycontextbutrather
toborrowaspectsfromtheethnographicresearchframeworktoprovide
fruitfulinsightsintoanunderstandingbetweentheoffscreenandonscreen

AssenkaOksiloff,PicturingthePrimitive:VisualCulture,Ethnograpy,andEarlyGerman
Cinema(NewYork:PalgraveMacmillan,2001).

97

60

relationshipbetweenfilmmakersandsubjectssurroundingthedynamics
ofnonlocalfilmmakersandlocalsubjects,selfandOther,anddomestic
andexotic.Thisapproachobviouslyrequiresacriticalandcautiousstance
whichwillbereflectedintheanalysisinChapterTwo.

ByadaptingAssenkaOksiloffsconceptoftheprimitivebodyon

screentotheregionalbodyonscreen,SectionOne(IchkennkeinenAllein
unterHeterosandSchotterwieHeu)exploresandexposestheregional
subjectsattitudestowardslanguage,technology,societyandpolitics.In
particular,therelationshipbetweencameraandregionalsubjectbecomes
centraltothisdiscussion.TheSectionconsidersinwhatwaysbothfilms
promoteaportrayaloftheregionalasprimitiveaswellasinwhatways
theychallengethatpreciseportrayal.

SectionTwo(DurchfahrtslandandHerrWichmannvonderCDU)

developsthetraditionalethnographicdividebetweenselfandOtherto
considerfurtherdividesapparentwithintheportrayaloftheOther.The
sectioncontemplatesinwhatwaysbothfilmmakersdisplaytheOtheras
divided.Thematicallytiedinwithregionalantagonismandsocial
oppositions,thefilmsformalaspects,however,createfargreatervisualand
auraldivides.

61

SectionThree(DieBlutritterandOutofEdeka)expandstheideaof

Otheringtheregionalagainstthebackgroundofexoticism.Theresearch
considersinwhichwaysbothfilmmakersexoticisethedomesticsphereof
theregional.Itconsidershowthegeographicallyfamiliarcanbecomethe
geographicallyestranged,howtheeverydayfamiliarcanbecomethe
everydayestranged.Furthermore,ittakesanindepthlookattheexotic
constructionofreligion(DieBlutritter)andfamily(OutofEdeka)aspartof
theregionalonscreen.

SectionFour(DieBlumederHausfrauandFullMetalVillage)seesthe

twofoldrelationshipofselfandOtherintherelationshipbetweenthe
indigenouspeopleandthenonindigenouspeople,i.e.betweentheregional
andthenonregional.Byadoptingaterminologygenerallyreservedfor
Westerncolonisation,thissectionisabletoshedlightonthedynamics
betweennativesandsettlerswithinaregionalcontext.Theresearch
considersinwhatwaysthesetwogroupsarerepresentedonscreen.What
roledotheprotagoniststakeon?Whatroledoesthefilmmakeroccupy?

Thefinalchapter(HeimatRevived)drawsattentiontoarecentre

emergenceofHeimatonscreenandoffersapreliminaryanalysisofthis
renaissanceoffilmicHeimatmotifs,therebycontributingsignificantlytoa
recentacademicinterestintheHeimatfilm(see0.3.LiteraryReview).A

62

briefhistoricaloverviewoftheHeimatfilmanditsendurancethrough
differentgenresovertimeisoutlinedintheintroductiontodemonstratethe
flexible,adaptableandlastingnatureofthisgenreitsappearanceon
contemporaryscreensprovesthegenresfilmicvigour.

Anunderstandingofboththerural(ChapterOne)andtheregional

(ChapterTwo)iscentraltomyanalysisoftheconceptofHeimatonscreen
andisdiscussedindetailinthischapter.

SectionOne(IchkennkeinenAlleinunterHeterosandFullMetal

Village)isdedicatedtoanexaminationofsettinganintegralcomponentof
theHeimatfilm.Theanalysisofthesettingisbasedonthedualityofthe
Heimatmotifsoftheruralandtheurban.Theresearchconsidersinwhat
waystheIdeallandschaften[ideallandscapes]andtheIdealzustand[ideal
situation]createdinthearchetypalHeimatfilmreappearoncontemporary
screenswithinthedynamicsofthethematicduality.
SectionTwo(SchotterwieHeuandDieBlutritter)continuesthe
thematictwofoldinvestigationofHeimatonscreenwithinthecontextof
traditionandmodernisation.Ontheonehand,theresearchexploresthe
representationsoftraditionfromanidealisedbygonetimeofinnocence
andnostalgiatoalongforgottentimeofostracismandregression.Drawing
uponvonMoltkesconceptofanegotiationandreconciliationbetween

63

traditionandmodernisationprevalentinthe1950sHeimatfilm,whichhe
termsnostalgicmodernization,98theresearchcontemplatestheinterplayof
thesetwoostensiblycontradictoryHeimatdynamicsonscreen.

SectionThree(HerrWichmannvonderCDUandOutofEdeka)

examinestherepresentationsofdualsentimentsintegraltotheHeimat
concept:thelongingtoreturntotheHeimat(Heimweh)andthelongingto
departfromtheHeimat(Fernweh).Theresearchinvestigatesinwhatways
illusionarylongingsandrealisticfindingsi.e.thephysical
return/departureareplayedoutonscreenandidentifiesinwhatways
utopianidealismandeverydayrealismare(dis)integrated.Furthermore,
thesectionexaminestheinterdependentrelationshipbetweenHeimwehand
Fernwehwithinaglobalcontext(OutofEdeka)aswellasaneconomic
context(HerrWichmanvonderCDU).

SectionFour(DieBlumederHausfrauandDurchfahrtsland)offersan

analysisofthesocialdimensionofHeimatbydrawinguponFerdinand
TnniesconceptsofGemeinschaft[community]andGesellschaft[society].
TextualanalysisundertheguidanceofTnniesmodeldemonstrateshow
thesentimentofHeimatiscinematicallyexpressed.Althoughthesocial
modellendsitselfasaresearchstructure,thesectionprovesthattheHeimat

vonMoltke,pp.114134.

98

64

imageoncontemporaryscreensisfarmorecomplexthanTnniessocial
model.

65

ChapterOne:TheRuralRepresented
1.0.

TheRuralRepresented:IntroductoryNote

ThischapterwillexaminethecinematicruralincontemporaryGerman
documentarycinemawithintheframeworkoffourdifferent
understandingsoftheruralcinematicgeography:theland,thelandscape,
thevillage,andthesuburbs.
Criticalevaluationsofculturalperspectivesontheenvironmenthave
recentlycometogetherundertheschoolofthoughtcalledecocriticism
definedatitsoutsetintheearly1990sbyCheryllGlotfeldyasthestudyof
therelationshipbetweenliteratureandthephysicalenvironment99andby
LawrenceBuellasthestudyoftherelationsbetweenliteratureand
environmentconductedinaspiritofcommitmenttoenvironmentalist
praxis.100Thepastdecadehasseenaremarkableincreaseinscholarly
engagementwiththefieldofecocriticism,whichgoeswellbeyondthe
bordersoftheUSA,wherethedevelopmenthaditsacademicoriginsin
naturewriting.

CheryllGlotfeldy,Introduction:LiteraryStudiesinanAgeofEnvironmentalCrisis,in
TheEcocriticismReader:LandmarksinLiteraryEcology,ed.byCheryllGlotfeldyandHarold
Fromm(Athens:UniversityofGeorgiaPress,1996),pp.xvxxxvii(p.xviii).
100LawrenceBuell,TheEnvironmentalImagination:Thoreau,NatureWriting,andtheFormation
ofAmericanCulture(Cambridge,Massachusetts&London:BelknapPress,1996),p.430.
99

66

Thisincreasedattentionhasallowedecocriticismtodevelopintoa
disciplineandtoexpandintointerdisciplinaryfieldsbeyondthatof
literature,toincludetoacertainextentfilmstudies.101Ecocriticismsplacein
filmstudies,however,mustbeviewedwithinseparateparameters.
Geographyonscreencannotbeinvestigatedsolelyinitsphysicality;onthe
contrary,itneedstobeconsideredinitsownfilmictopographyasa
cinematiclandscape:

Thislandscapehasitsowngeography,onethatsituatesthespectator
inacinematicplacewherespaceandtimearecompressed().The
pleasureoffilmliespartiallyinitsabilitytocreateitsowncinematic
geography().Thecinematiclandscapeisnot,consequently,a
neutralplaceofentertainmentoranobjectivedocumentationor
mirrorofthereal.102

Althoughthefocusofthisthesisisondocumentary,thefilmgenremost
associatedwiththereal,thegeographyrepresentedinthefilmsunder
studyisverymuchacinematicgeographyareelratherthanareal
Examplesinclude:
JhanHochman,TheLambsintheSilenceoftheLambs,inTheGreenStudiesReader:From
RomanticismtoEcocriticisim,ed.byLaurenceCoupe(London:Routledge,2000),pp.299301.
TheLandscapeofHollywoodWesterns:EcocriticisminanAmericanFilmGenre,ed.byDeborah
A.Carmichael(SaltLakeCity,Utah:UniversityofUtahPress,2006).
102JeffHopkins,AMappingofCinematicPlaces:Icons,Ideology,andthePowerof
(mis)representation,inPlace,Power,SituationandSpectacle.AGeographyofFilm,ed.by
StuartC.AitkenandLeoE.Zonn(Maryland&London:Rowman&Littlefield,1994),pp.
4765(p.49).
101

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geography.Itisageographythathasbeencomposedbythefilmmaker
throughangles,editingandframing.AndrewHortonexplainscinematic
geographyasfollows:Infilm,reallandscapescanbefilmedandthus
incorporatedintoanarrativeordocumentary,ortheycanbecreatedand
presentedasrealeventhoughweunderstandtheyareactually
imaginary.103Thisartisticformationoftherealintoareelgeography
containsmeaningsaboutaculturesrelationshipwiththeenvironmentin
whichitexists.Althoughnotlabelledasecocritical,therecentcollectionsof
essaysRepresentingtheRural(2006),104LandscapeandFilm(2006)105and
CinematicCountrysides(2008)106offeroriginalanalysesoftherelationship
betweenfilmandnaturalenvironments,whichwillbereferredtointhe
courseofthischapter.

Oneofthechallengesecocriticismfacesistoavoidasolelydualistic

approachtonatureandculture.KarlaArmbrusterandKathleenR.Wallace
callforamoreinterconnectedapproach,whichunderstandsnatureand
cultureasinterwovenratherthanseparatesidesofadualisticconstruct.107

AndrewHorton,ReelLandscapes:cinematicenvironmentsdocumentedandcreated,in
StudyingCulturalLandscape,ed.byIainRobertsonandPennyRichards(NewYork:Oxford
UniversityPress,2003),pp.7192(p.73).
104CatherineFowlerandGillianHelfield,eds,RepresentingtheRural:Space,Place,and
IdentityinFilmsAbouttheLand(Detroit:WayneStateUniversityPress,2006).
105MartinLefebrve,ed.,LandscapeandFilm(London&NewYork:Routledge,2006).
106RobertFish,ed.,CinematicCountrysides(Manchester:ManchesterUniversityPress,2008).
107KarlaArmbrusterandKathleenR.Wallace,Introduction:Whygobeyondnature
writing,andwhereto?,inBeyondNatureWriting:ExpandingtheBoundariesofEcocriticism,
103

68

Theyquestionaninvestigationofexclusivelynaturalenvironments,
emphasisingthatenvironmentalsoincludescultivatedandbuilt
landscapes.108Althoughthischapterfocusesontherurallocation,the
analysiswillnotinvestigatetheruralasasolitaryspace.Inadditionto
naturalenvironments,itwillalsotakecultivatedandbuiltenvironments
intoconsideration.Theinterplay(orlackofit)betweenruralandurban
environmentsoffersfruitfulinsightsintotheruralonscreen.

ed.byKarlaArmbruster&KathleenR.Wallace(Charlottesville&London:Universityof
VirginiaPress,2001),pp.125(p.4).
108ArmbrusterandWallace,p.4.

69

1.1. TheRuralRepresented:TheLand

HerrWichmannvonderCDU(AndreasDresen,2003)

IchkennkeinenAlleinunterHeteros(JochenHick,2003)

Thisstudywillusethetermlandtorefertotherawnaturalenvironments
oftherural:fromsoilandfields,hillsandmountains,tograssandtrees,
windandwater.TheprotagonistsinHerrWichmannvonderCDUandIch
kennkeinenAlleinunterHeterosexperiencetheirnaturalenvironments
differently.Intheformerfilmtheprotagonistisdenaturalizedwhileinthe
lattertheprotagonistisnaturalized.HenrykWichmann,thefilmsmain
protagonist,isatwentyfiveyearoldpoliticalcandidate.Wichmanns
politicalargumentsarebasedonarepudiationoftheGermanGreenParty,
thepoliticalembodimentofgreenenvironmentalism.Hecampaigns,
however,underasloganironicallyreminiscentofnaturesconstructive
energy:IchwillfrischenWindindiePolitikbringen.[Iwanttobringfresh
windintopolitics.].Thedesiredwind,however,isshowntobecounter
productive.AlongshotshowsWichmannsumbrellaandleafletsbeing
blownawaybyastronggustofwind.Wichmannspositivewindmetaphor
inhiscampaigncontrastswithhisnegativecommentsaboutthephysical
effectsofthewindonhiscampaignstand:Esistzuwindig!Dasistja

70

schlimm!DasWetteristnichtnormal![Itstoowindy!Itsreallybad!The
weathersnotnormal!].ThedeviationbetweenWichmannspositive
metaphoricalusageofthewindandhisnegativecommentsaboutnatures
strongwindcreateshumourinthescenes.Dresenaugmentsthiscomical
situationwithtechniquesofmontage.Thefilmcutsfromasceneinwhich
Wichmannislookingforhisblownawaycampaignleafletsstraighttoa
closeupofhimstating:IchwillfrischenWindindiePolitikbringen![I
wanttobringfreshwindintopolitics!].Thedirectconsecutivenessofthe
twoscenesunderlinesArthurKoestlershumourtheoryofcontext
deviation:theaudiencemakesamentalleapfromWichmanns
metaphoricalslogantoitsliteralmeaning.Wichmannsexperienceofthe
landisthwartedbyforcesbeyondhiscontrol.Heisportrayedasoutofsync
withhisnaturalenvironment,i.e.denaturalized.

InIchkennkeinenAlleinunterHeteros,ontheotherhand,the

protagonistsareportrayedasinharmonywiththeland.Thefilmendsby
depictingtherelationshipofoneofthefilmsprotagonistswiththeland.
Hartmut,oneofthefilmsfiveprotagonists,isseeninanextremeprofile
closeupsmokingandgazingontothehorizonoutatsea.109Thefilmcutsto
ashotofmovingseawater.Thisfinaldepictionofthelandnotonlyshows

SeeAppendixI,E8.

109

71

thatHartmutisatonewithhisenvironmentbutthathehasbecomeone
withhimselfwithhissexualidentity.Hartmutsvoiceovergivesvoiceto
hiscontentment:SosehrwieeinfachmeinOutingwar,rgereichmich,
dassichesnichtfrhergemachthabe.[Assimpleasmyoutingwas,Im
annoyedIdidntdoitbefore.].ThesentimentalsoundtrackofaChopin
pianotudepredictsahappyandharmoniousendingforHartmut.A
sequenceofstillsdepictinghimfromthepastuptothepresentfollowsthe
sceneatthebeach.ThesequenceconcludeswithastillofHartmutlyingon
awhitesandybeach,hisbodypartiallycoveredbytheclearbluewaterof
thesea.ThisfinalstillunderlinesHartmutsphysicalaswellasmentalease
withhisenvironment,i.e.naturalized.

ThedocumentariesHerrWichmannvonderCDUandIchkennkeinen

AlleinunterHeterosaresetatoppositeendsofGermany.HerrWichmann
vonderCDUissetinthenortheasternregionoftheUckermarckwhereas
IchkennkeinenAlleinunterHeterosismainlysetinthesouthwestern
regionsofBadenandSwabia.Despitetheirgeographicaldiscrepancy,the
documentariesofferasimilarimageoftheruraloftheregions.Inbothfilms
theruralsettingisnotconfinedtoonegeographicalplacebutexpandsover
fields,villagesandsmalltowns.Insteadofconcentratingononevillage
community,thefilmsfocusonindividualsfromvariedcommunitiesofthe

72

oneregion(IchkennkeinenAlleinunterHeteros)andononeindividual
throughhisencounterswithvariedcommunitiesofanotherregion(Herr
WichmannvonderCDU).Thisapproachconveyslittlesenseofonelocal
communitybutratheravastremotespaceofnonurbanlandandregion,
isolatedfromGermanysurbanhotspots.
Thevastnessandremotenessoftheenvironmentarereflectedand
echoedinthefilmschoiceofprotagonistsandtheirisolatedstatusintheir
regionalsocieties:HerrWichmannisacandidatefortheGerman
conservatives,theCDU,intheregionalstrongholdofGermanysother
majorpoliticalparty,thesocialdemocraticSPD(HerrWichmannvonder
CDU);thefourhomosexualmenUwe,Richard,Hartmut,Stefan,andErika,
themotheroftwohomosexualsons,allliveinahomophobicregion(Ich
kennkeinenAlleinunterHeteros).Thenotionofvastandremotespaceis
mostpreeminentinthedrivingsequencesfeaturedinbothfilms.Drivingis
aneffectivemethodofphysicallycombatingtheruralregionalvastnessin
thepursuitofsexual(IchkennkeinenAlleinunterHeteros)orpolitical(Herr
WichmannvonderCDU)interests:Uweneedstodrivetovisitagaybar(Ich
kennkeinenAlleinunterHeteros),Erikaneedstodrivetoorganiseherpro
gayactivities(IchkennkeinenAlleinunterHeteros),Wichmannneedsto
drivetovisitpotentialvoters(HerrWichmannvonderCDU).Themobilityof

73

theprotagonistsaddstothefilmsportrayedimageofthelandasavast
space.
Oneofthefirstsequencesofbothfilmsisadrivingsequencewitha
protagonistasthedriver.Bothsequencesopenwithashotthroughthefront
windowofamovingcar:aroadwindingthroughthehillycountrysteeped
inmist(IchkennkeinenAlleinunterHeteros)andaroadstretchingacross
theflatcountrywithalargetractorblockingtheway(HerrWichmannvon
derCDU).Althoughindifferentways,bothsequencescontinuetoconvey
spatialperpetuityofland.InIchkennkeinenAlleinunterHeterosthevoice
overofthedriverspeaksoffcamera:Ichhab150KilometernachStuttgart.
[Ihave150kilometrestodrivetoStuttgart.].Thefilmcutstoanalmost
identicalviewfromwithinthesamemovingcarandthevoicecontinues:
150KilometernachMnchenzumFahren,Freiburgsindseinbichen
mehrmit300Kilometer.[150kilometrestodrivetoMunich,Freiburgisa
littlebitmoreat300kilometres.].InHerrWichmannvonderCDUthecamera
thenshiftsitsfocusfromtheroadtothedriver,Wichmann,whoremains
silentthroughoutthesequence.Acontinuoushorizonoffieldsandasteady
lineofalleytreesareseentopassthecarthroughthedriverswindow.The
camerapansbacktothefrontofthewindowandrestsontheimageofa
straightalleywithtreesandfieldsoneitherside.

74

FilmmakerJochenHick(IchkennkeinenAlleinunterHeteros)
choosestoacceleratetheimagesofruralcountryfilmedfromwithinthecar
byabruptediting,fastpacedmusicandhighspeedviewing.Filmmaker
AndreasDresen(HerrWichmannvonderCDU),ontheotherhand,chooses
todeceleratehisimagesofthelandbypanningslowlyratherthanediting,
eliminatingmusicorvoiceoverandchoosingamonotonousalleyasafocal
point.Eachfilmmakerchoosesadifferenttechniquetocreateasimilar
viewingresult:bothscenesestablishanimageofamonotonousimmense
countryside.
Intheirrecentinvestigationintorurallandincinema,Fowlerand
Helfieldattempttoextricatethelandfromthelandscape.110Landas
opposedtolandscapecapture(s)scenesofthelandfromtheperspectiveof
thosewhodwellonit,ratherthanthosewhostandbacktoadmire.111This
approachrequiresamodificationinthefilmmakersframingofhisorher
subjectmatters.Thefilmmakerstepsawayfromtheelevatedpositionofan
onlookertoshareamoreintimaterelationshipwithhisorhertheme.
FowlerandHelfieldillustratethisrepositioningbymeansofthemediumof
eighteenthcenturypainting:thespacebetweenartistandsubjectis

CatherineFowlerandGillianHelfield,IntroductiontoPart1,inRepresentingtheRural:
Space,Place,andIdentityinFilmsAbouttheLand,ed.byCatherineFowlerandGillian
Helfield(Detroit:WayneStateUniversityPress,2006),pp.1718(p.17).
111FowlerandHelfield,IntroductiontoPart1,p.17.
110

75

condensed,theperspectiveisshiftedfromelevatedtoeyelevel;theartist
consequentlybecomespartofthelandscape.112
Thefilmsframingfromwithinthemovingcarsisafineexampleofa
cinematicrealisationofthis.Insteadofviewingthelandfromoutside,the
camerachoosestobewithinaconfinedspacewiththeprotagonist,therural
inhabitant.Ratherthantakingonatypicallandscapeperspective,which
FowlerandHelfieldrefertoasamagisterialgaze(theviewofferedfrom
anelevatedpositionatopamountainorhillsideprovidesalofty,colonizing
gazeuponthelandanditsinhabitants113),thecamera/filmmakersharesthe
subjectseyelevel,thussharinghisexperienceoftheland.
FowlerandHelfieldsinside/outsidelandscapedichotomy(The
artist,byextensiontheviewer,ispositionedwithinthelandscape114)is,
however,furthercomplicated.Thefilmmakerisinsidethelandscape,
withintheinhabitantsspace,thecar,butheisalsoseparatedfromthe
actuallandbythecar.Thecameracreatesapermanentintimatespacewith
theruralinhabitantbutatransitorydistantspacefromhisrural
surroundings,withthecar(windows,speed,noise)actingasabarrier.
Althoughthesharedexperienceofthelanddoesnotcreateacolonising
CatherineFowlerandGillianHelfield,Introduction,inRepresentingtheRural:Space,
Place,andIdentityinFilmsAbouttheLand,ed.byCatherineFowlerandGillianHelfield
(Detroit:WayneStateUniversityPress,2006),pp.114(p.9).
113FowlerandHelfield,Introduction,p.9.
114FowlerandHelfield,p.9.
112

76

gazeupontheinhabitants,itestablishes,however,anewkindofcolonising
gazeupontheland.Whereasamagisterialgazemayconveyacolonisation
bythefilmmaker,DresensandHickssharedexperiencegazeoffersa
colonisationbytheruralinhabitanthimself.Themobilityofhiscarandthe
consequentsweepingimagesofthelandcapturedbythecamera(andthe
inhabitant)conveydominanceovertheland,similartothemagisterial
gaze.Thelandisnotexperiencedasaplacebutratherasaspacewhichcan
bevisuallyconqueredbylookingoutthewindowofamovingcar,bythe
ruralinhabitantaswellastheviewer.AlthoughfulfillingFowlerand
Helfieldsnotionofprovidingameansofengagingandidentifyingwith
onscreensubjects,115thefilmmakersproximitytotheruralsubjectmatter
resultsinasharedmagisterialgazeontheland.
BesidesStefandriving,HickincludessequencesofprotagonistsUwe
andHartmutdrivingtheirvehicles,eachsequencefilmedfromthe
passengerseat.InthesequencewithUwe,Hickintercutstheimagesofthe
fleetinglandwithstillimagesofvariousvillageiconographythelocation
andidentityofthevillage(s)arenotspecifiedandaccompaniesthesewith
asteadyrepetitionofcomicalmusicandanimalnoises.Theeditingpattern
combinedwiththeaudiorhythmproducesarepetitiveaudiovisual

FowlerandHelfield,p.9.

115

77

arrangementwhichdiminishesthelandtolittlemorethanarepetitious
passingspaceofsameness.Thedrivingsequencecorrespondsvisuallyto
Uwesvoiceover(Dahabeichgedacht,ichbinimUmkreisvon100
KilometernderEinzigste![AndIfeltIwastheonlyoneinaradiusof100
kilometres!].)andhisfeelingofsocialisolationinaregionofsameness.The
drivingsequencewithHartmutalsorelatestohisownconcernsabouthis
reclusiveroleasahomosexualinthevastnessofthecountry.Driving
throughavillageandpassingatractorwithpeoplegatheredaroundit,
backsturned,hetalksaboutthedangerofbeinganoutsiderasa
homosexual.Thecamerapeersthroughthefrontwindowontothevillage
roadandthetractor,slowlypanningontoHartmutwhilstthecar
approachesthetractor.Again,thelocationofthecamerainsidethecar
offersasharedexperiencebetweentheviewer/filmmakerandHartmut.
Hartmutsroleasapotentialoutsiderduetohissexualityisvisually
conveyed:Hartmutaswellasthecameraaresetofffromthetractor
incident;Hartmutaswellastheviewerareonlyonlookers,effectively
outsiders.
Theprotagonistsmovingcarsareinthemselvesanotherformof
ruralcolonisation.Thecarandtheroad,heavilyrelieduponbytherural
inhabitants,actasphysicalconstructsofcolonisation.InHerrWichmannvon

78

derCDUtheruralcolonisationisonebroughtaboutbyphysicalhuman
constructs.Inonesequencetheviewofthelandisthroughawindscreen
ontoaroundabout.Greylamppostsloominthesky,roadanddirection
signscirclethetrafficisland.Thecarsfrontwindowissoiledandbroken;at
onepointnearlyhalfoftheimageconsistsofthecarsblackdashboard.
Verylittleoftheoutsidesurroundingsisvisiblesincethecamera,like
Wichmannhimself,isfocusedontheroad.Thenextsequenceisoftheland
itselfshotfromthecarssidewindow.Thecountrysideisgloomy:dark
trees,brownfields,asinglecow,occasionalelectricitymasts,greyovercast
skies.Theimageisdominatedbythecontinuoussoundofthecar.Notonly
istheviewersvisioncolonisingthelandbutitisdoingsofromthecaron
theroad,aphysicalmodeofruralcolonisation.Inadifferentdriving
sequence,Wichmannisdrivinghomeatnight.Thesurroundingsarebarely
visiblebecauseofthedarknesswhatisvisible,however,arethegleaming
whitelightsofapproachingcarsandtheredlightsofcarsinfront.Apetrol
stationaheadbeginstodominatetheenvironmentasitsneonbluelights
growwiththelesseningdistance,apictogramofhumancolonisationofthe
rural.
Dresenshiftshisperspectivetothesideoftheroad.Hiscamera
remainsmotionlessandfocusedforasubstantialamountoftime.These

79

sequencesresumethetensionsbetweenlandandhumancolonisation
alreadyestablishedinthefilmsdrivingsequences.Themarksofhuman
colonisationareunmistakable:acountrysideimageofahorizonofwoods
andfields,washedbysunlight,andaccompaniedbyfaintanimalnoisesis
markedbyasinglelamppostwithacampaigningposterattached.116The
sequenceisfurtherhumanlydisruptedbythesoundofanapproaching
motorandanunexpectedcardrivingpastinfrontofthecameralens.A
closeupofafrogcutstoawiderangleofthefrogsittingonablockof
tarmacwithbladesofgrasspeepingthrough.Avillagesceneisobscuredby
anearlamppost.117Blackbins,telephonemasts,lampposts,fencesandsigns
linetheroadasfarastheeyecanseetoahorizonoftalltrees.Notonlythe
carandtheroadbutalsoitsiconography(signs,lamps,lights,posters)are
markersofhumanauthority.Theimagesconstructtensionpointsbetween
humancivilisation,ruralcolonisationandtheland.

InIchkennkeinenAlleinunterHeterosthreeprotagonistsactually

traveloutsidetheruralland.Thefilmaccompaniesthemontheirjourneys:
RichardononeofhisfrequentvisitstoZrich,Uweonhisannualtripto
BerlinandHartmutonhisregulartriptoThailand.Allthreetripsare
motivatedbythedesiretoexplorehomosexuality.Thecitybecomesthe

SeeAppendixI,D4.
SeeAppendixI,D7.

116
117

80

placeofsexualexploration,liberationandfulfilment.Berlin,Zrichand
Thailandbecomeplacesofabundance.BerlinistheplacewhereUwecan
findwhathedesires:militaryclothes,sextoys,gaybarsandteddybears
(forhismother).ZurichistheplacewhereRichardcanreminisceabouthis
youthfuldaysinathrivinghomosexualcommunity.Thailandistheplace
Hartmutcanenjoymaleattentionandcompanionshipforaprice.

Theurbanenvironment,however,frequentlybecomesaspaceof

physicaldeteriorationorhumanfrailty.Hartmutvisitsamassageparlour
whereherevealshisAIDSriddenbody.Hisnakednessrevealshisphysical
deterioration,whichtheinteriorsoftheparlourecho:theparloursshower
andmassageareaaresmall,drabandpoorlymaintained.Richardvisitsa
festivehallinZurichofwhichhehasfondmemories.Theroomis
completelyempty,paintedgrey,sheetsofplasticcoverpartsofthewalland
thewindowsarepartiallyclosed.Richardandhisfriendsstandinthecentre
oftheroomsharingmemories.Theviewerisdeniedvisualaccesstothe
memoriesandsotheroomsinteriorsreiteratethefrailtyoftimeandage.
Uwesnighttimeadventuresaremarkedbyabarnotyetopen,ashut
downpub,adarkdoortoaclubwithneonlightsandfinallyaphonecallto
hismotherfromapayphone.ThefilmomitsanydepictionofUwewithhis
homosexualencountersinthecity.Uwesenvironmentsofsexualliberation

81

arelonesomeplaces,echoingUwesownloneliness.Althoughthecity
representsliberationforallthreemen,itsliberationislimitedandtakesits
toll:illness(Hartmut),oldageloneliness(Richard)andsocialsolitude
(Uwe).

HartmutstravelstoThailand,however,alsorevealscenesofthe

land,adifferentkindofland:alandofbeaches.Thesequencebeginswitha
sceneatthebeach:amediumshotofHartmutandhisyoungThailover
showsthemensittingatabeachbar.118TheconversationisheldinEnglish
andremainsonasimplisticlevelduetobothmenslackofEnglish.The
topicofconversationisHartmutsplaceoforigin,whichleadsthemtotalk
aboutanimalsinGermany.TheirdeficiencyinEnglishandtheiringenuous
choiceoftopicportraysthemeninaninnocentlight.Thesexualundertones
underlyingprevioushotelandmassageparlourscenesarenolonger
apparent.Thefollowingscenesstrengthenthisperception:theThailoveris
seenplayingwithastickonthewaterfront,Hartmutsfemalefriendisseen
posingbesideamoundofcolourfulswimmingrings.Theshotsindicate
playfulinnocence.Thenondiegeticsoundoflaughterandthemusicofa
ukuleleaddtothecarefreeatmosphere.

SeeAppendixI,E4.

118

82

Theroleofthephotocameraiscentraltothebeachscenesthefilm

offersnumerousshotsoftheactofshootingsnapshots:afemalefriendtakes
apictureofHartmutposingwithhisThaifriends;theGermanfriendspose
forHartmutscameraintheirsunloungers;thefemalefriendposeswitha
moundofswimmingringsforHartmut,whotakesapicturewithtwo
additionalcamerashangingfromhiswristsandeventuallythefiveGerman
friendsposeforthefilmscamera.119Thephotocamerasgoverning
presenceallowsforallpartiestobeartistaswellassubject.Thisallowsfor
anunproblematicinteractionbetweenHartmut,hisloverandhisGerman
friends.Theinterplaybetweenphotographerandsubjectbringstomind
FowlerandHelfieldsnotionofsharedexperience.Theartisticexperience
ofthebeachisliterallysharedbysharingtheuseofthecamerabetween
individuals.Thefilmcamerajoinsthesharedexperiencebyprovidingthe
finalshottothescene:thefiveGermanfriendsposinginfrontofthesea.
Thefriendsmotionlessnessinposingsuggeststheyarestandingfora
photographicstillratherthanafilminmotion:thefilmscameratakeson
thecharacteristicsofthephotocamera.Thefilmsprotagonistsarenotonly
sharingtheexperiencewitheachotherbutmoreoverwiththefilmmaker.It
isofinterestthatneitherHartmutsThailovernorhisThaifemalefriendis

SeeAppendixI,E7.

119

83

seenintheroleofphotographer:theirpartissolelythatoftheobjectofthe
photographicgaze.Itisthetourist,theoutsider,whoisincontrolofthe
waythelandisrepresentedthroughthephotocameralens.This,ofcourse,
appliesalsotofilmmakerHick,equallyanoutsidertoThailandbutwho
controlsthefilmscameralens.Despiteasharedexperience,thelandis
subjecttovisualcolonisationbynoninhabitants.

InHerrWichmannvonderCDUtheprotagonistnevertravelsoutside

hisregion.However,hetalksaboutBerlin,theplacewherehestudieslaw
andwherehehopestobeapoliticalrepresentativeforhisregion.Berlin
embodiesWichmannspotentialvictory.Itishisplaceofpolitical
exploration,liberationandfulfilment.Thefilmends,however,withhis
defeatandtheknowledgethatWichmannwillnotfindpoliticalvictoryin
Berlininthenearfuture.

Thehousesoftheruralcountryside,inparticulartheirinteriors,

conveyasenseofhumancommunityandsecuritywhichthelandassuch
failstodo.Bothfilmmakersarepermittedentryintothehomesandinner
circlesoftheprotagonists.StefanandUwe(IchkennkeinenAlleinunter
Heteros)bothlivewiththeirmotherswithwhomtheyshareclose
relationships.Bothmenareinterviewedinlivingrooms,ofteninthe
presenceoftheirmothers.Bothroomsaretheresultoffemaledecorative

84

collecting:flowersandteddybears(collectedbyUwesmother),floral
prints,plantsandfigurativemementos(assembledbyStefansmother).The
iconographicimageryoffemaledomesticityiscontinuedwiththe
protagonistsRichardandErika,whoarepresentedinthepresenceofatable
elaboratelysetforcoffeeandcake.Richardhasinvitedhishomosexual
friend;Erikaandherhusbandhaveinvitedtheirsonandhispartner.
Erikashomeismarkedbycosiness:ornamentalplatesandpaintingsonthe
wallandaChristmastreeinthecorner,whereasRichardshomeisof
immaculatedesign:anelegantornatecombinationofantiquesandpastel
colours.120Hartmut,wholivesalone,hasahomesimilarinstyleto
Richards,whoalsolivesalone:ahomeoforder,precisionandaesthetic
elegance.ThefilmcapturesHartmutsmokinginasuitonhisexquisitesofa
andadjustingthependulumweightsonhisgrandfatherclock.Although
Hartmutshomeismarkedbytheabsenceofvisitors,photographsinthe
backgroundoffriendsandfamilyarewitnesstosocialstability.Allhomes
inIchkennkeinenAlleinunterHeteroscreateanambienceofprivate
sanctuaryandfamilysocialwellbeing.Whereasthelandassuchismarked
bybleakvastnessandtheprotagonistsneedofmobility,theirinterior

SeeAppendixI,E1.

120

85

homessituatedwithinthelandareinviting,whethercosyorelegant,and
offeraplaceofcomfortandrest.

ItisnoteworthythattheprotagonistRichard(IchkennkeinenAllein

unterHeteros)isonlyrepresentedinspaceswhichbearnosignoftheland:
hisflat,acaf,amuseum,thestreets,ahotelroom.Onesceneshows
Richardadmiringtheornatemalefigurineonthefrontofamajesticwinter
sledgeinamuseum.Themeansoftransportonceintendedforthelandin
snowremainslockedbehindclosedmuseumdoors.Onecannothelp
drawingasymbolicparallelbetweenRichardandthesledge:Richard,the
onlyprotagonistofthefilm,who,afterdecades,hasstillnotcomeoutwith
hissexuality,remainsfigurativelybehindcloseddoors.
InHerrWichmannvonderCDUWichmannisonlyportrayedoncein
hishome:heisseensittingonthesofawithhispregnantgirlfriend
watchingtelevision.121Althoughthetelevisionisoffscreen,voicesidentify
theprogrammeasapoliticaldebate.Wichmannislisteningwithinterest(he
leansforward,turnsthevolumeup,giveshisgirlfriendanirritatedlook
whenshedisturbshisviewing)whilsthisgirlfriendattheendofthescene
islyingexhaustedagainstthearmofthesofa.Thecoupleremainalmost
wordlessthroughoutthesequence.Thesceneisconfinedtooneplaceinthe

SeeAppenidxI,D6.

121

86

livingroom,whichrevealslimitedimageryofthehome.However,the
miseenscenedoesrevealsomethingaboutWichmann.Thelivingroomis
dividedverticallyintotwospaces:firstly,bytheprotagonistsbodiesand
secondly,bythecolouringsofthesurroundings.Wichmannsspaceis
dominatedbyanoffwhitebleakwallandthenearlymatchingoffwhite
standardshirtheiswearing.Hisgirlfriendsspaceismarkedbythecolour
red:aredclothdecoratingthewall,andherredtop.Shetriestoenterhis
spacebycaressinghisheadwhichherejectsimmediately,signallinghis
intenseconcentrationonthetelevisionprogramme.Thehomesequence
illustratesWichmannsroleasapoliticianbeyondthepubliceye.Italso
shows,however,thatWichmannhasanaffectionatecounterpartwho
createsawarmatmosphere.
InIchkennkeinenAlleinunterHeterosandHerrWichmannvonderCDU
therurallandisportrayedasavastgeographicalterritoryinwhich
individualswhosesexual/politicalpreferencesdifferfromtherural
consensusareforcedtotakeonisolatedroleswithintheruralsurroundings.
Carsareanecessarypartofthelifestyleoftheseindividuals.Thefrequent
drivingsequencesinbothfilmsallowasharedexperiencewiththedriver.
Whereastheartisttraditionallycolonisedthelandwithhismagisterial
perspective,filmmakersDresenandHickofferanewvariationonrural

87

colonisation.Itistheruralinhabitanthimselfwhocolonisesthelandwith
hiscar,visuallyaswellasphysically.Urbanplacesoutsidetheregionoffer
(potential)liberationandfulfilmentfortheoutsider,butataprice.Thereal
havenfortheseindividualsisintheirhomeswithintheregionallandand
thesecurityandwarmththeseinteriorspacesconvey.

1.2. TheRuralRepresented:TheLandscape

DieBlutritter(DouglasWolfsperger,2002)

FullMetalVillage(SungHyungCho,2006)

88


AswithIchkennkeinenAlleinunterHeterosandHerrWichmannvonder
CDU,rurallocationsarecentralinthefilmsDieBlutritterandFullMetal
Village.FilmmakersDouglasWolfspergerandSungHyungCho,however,
offeradifferentapproachtotherepresentationofruralenvironments.

AswithIchkennkeinenAlleinunterHeterosandHerrWichmannvon

derCDU,thedocumentariesDieBlutritterandFullMetalVillagearesetat
oppositeendsofGermany.DieBlutritterissetintheregionofSwabiain
SouthernGermanywhereasFullMetalVillageissetintheregionofHolstein
inNorthernGermany.Althoughthelandineachfilmisofadifferent
topographicalnature(flatlandinNorthernGermany,hillsinSouthern
Germany),thecinematictreatmentofthesurroundingsissimilarinboth
documentaries.

Thelandinbothcasesisrepresentedthroughasingleplacerather

thanavastterritory.DieBlutrittercentresonthesmalltownofWeingarten
andFullMetalVillagefocusesonthesmallvillageofWacken.The
protagonistsofthefilmsarefromthelocalityandoftenevenknoweach
other.FilmmakerCho,forexample,portrayssixteenyearoldKathrin,as
wellashergrandmother,Irma.Thenarrativecorrespondstothetight
geographicalfocusbyofferingonefocalpointwhichisattachedtotheplace

89

inquestion.DieBlutrittercentresonWeingartensannualreligious
equestrianprocessionBlutritt,whereasFullMetalVillageconcentrateson
WackensannualheavymetalmusicfestivalWackenOpenAir.Inbothfilms
thefestivalsofferaplaceandmotivefortheprotagoniststocometogether,
emphasisingthestrongsenseoflocalcommunity.

Thelanditselfisestablishedasageographicalidealinbothfilms.Die

BlutritterintroducesWeingartenwithapanoramicpan,followingablack
insertwithwhitelettersproclaiming:Weingartenheute[Weingarten
today].Theblackinsertgraduallyfadesintotheimageofamajestictreeand
asmallwhitechapeltoitsright.122Thetreeisinfullbloomanditsbranches
andgreenleavescurveoverthelittlechapel.Rollinggreenhillsdominate
thebackground,andlonggrasstheforeground.Warmredcolourssaturate
theimage.Thecameraslowlypanstotherightoverthehills,thehorizon,
thesettingsunandrestsonagreenfieldwhereamanincostumeis
drumming.Lightraysreflectedinthecameraslensaddtothewarmglow
oftheimagery.
ThisvisualrepresentationofthelandcorrespondstowhatFowler
andHelfieldrefertoasthemagisterialgaze:thecameraisinanelevated
positionontopofahill.The180degreepanemphasisestheviewers

SeeAppendixI,F2.

122

90

elevatedpositionoverthecountryside.Thelandstretchesasfarastheeye
canseeandassuchissubordinatetothehumangaze.Thepanmovement
imitatesthemovementofthehumangaze,resultinginwhatP.Adams
Sitneydescribesastheineluctablepotentialityofoffscreenspace:thesense
ofthelandscapeextendinginalldirectionsbeyondtheedgesofthe
screen.123AccordingtoFowlerandHelfield,thepananddeepfocus
correspondtoaprecinematicmodeofperceptionsimilartotheveduteof
theeighteenthcenturyItalianpaintings,whichaimstoproduceanideal
panoramicviewofruralspace.124Theidealviewisdeterminedbyframing.
Framingpresupposesacertainwayofseeingtheland,asMartinLefebrve
states:Theformoflandscapeisthusfirstofalltheformofaview,ofa
particulargazethatrequiresaframe.125Scholarlyconsensusonthe
etymologicalrootofthewordlandscapeoffersafirstindicationofthe
importanceofframinglandincreatinglandscapeimagery.Thetermitself
enteredtheEnglishlanguageintheseventeenthcentury.Itsoriginsfrom
theMiddleDutchlandschap,FlemishlantskipandGermanlandschaftall
incorporateasimilarsuffix(schap,skip,schaft)withthemeaningof

LandscapeintheCinema:theRhythmsoftheWorldandthe

123P.AdamsSitney,

Camera,inLandscape,NaturalBeautyandtheArts,ed.bySalimKemalandIvanGaskell
(Cambridge:CambridgeUniversityPress,1996),pp.103126(p.107).
124FowlerandHelfield,Introduction,p.8.
125MartinLefebrve,Introduction,inLandscapeandFilm,ed.byMartinLefebrve(London&
NewYork:Routledge,2006),pp.xixxxi(p.xv).

91

givingshape.126Theframingbytheartist/filmmakershapesthelandinto
anidealview.Theshapingcanbetheeffectofamagisterialgaze,a
panoramicpanoradeepfocus,asintheaboveexample.Essentially,itis
humaninterventionwhichcreateslandscape,asLefebrveobserves:
Culturalgeographersinsistthatlandscapesdonotexistindependentlyof
humaninvestmenttowardsspace.()Itisour(realandimaginary)
interactionwithnatureandtheenvironmentthatproduceslandscape.127

FullMetalVillageoffersthenorthernequivalenttothesouthern

topographydepictedinDieBlutritter.Asequenceofthreediverselandscape
shotsportraysanidealviewofthelandfromthreeperspectives.Thisideal
viewworksprimarilywithcolour,formandcompositiontoconveyideal
harmony,balanceandsymmetry.Thefirstshotisoneofgeographical
symmetry:theimageisverticallydividedbetweenlandandsky,between
thecoloursgreenandblue.128Thegreengrassitselfisagaindivided
verticallyintotwo:arowofshortgreengrassandarowoftalldarkergrass.
Theframingcreatessymmetryinthelengthandcolourofthegrass.Dueto
alowcameraposition,thehorizonremainsoutofsight.Althoughthe
imagelacksthedeepfocusofland,itoffersthespatialdepthofsky.The
secondimagefollowsadifferentimagecompositionbutthereisasimilar
Lefebrve,Introduction,p.xv.
Lefebrve,p.xiii.
128SeeAppendixI,H1.
126
127

92

emphasisonlinesofcolourandform.Theshotdepicts,fromforetoback:a
rowoffields,ahorizonofdensegreentreesandaclearbluesky.Eachfield
hasadifferentshadeofbrown:fromdarkbrownintheforegroundto
goldenbrowninthebackgroundthefieldsgraduallybecominglighter.
Themonochromaticshadesofthetreesononehandandtheskyonthe
otheraddtothesymmetryalreadyestablishedbythesteadypatternof
coloursofthecropsinthefields.Formaddsafurtherlayerofequilibriumto
thelandscape.Thewavelikedivisionsofthefieldsareechoedintheline
dividingthehorizonoftreesfromthesky.Theshadowofawindturbinein
motionisprojectedonthefields.Thesteadinessoftheturbinesmovement
echoestheregularuniformityofcolourandformofthislandscapeimage.
Thethirdshotbearswitnesstoanimatelifewithinthelandscape.Acrowd
ofhorsesgrazeonagreenfieldwhichtheysharewithawoodentelephone
mast.Aslopinghillofgreentreesandgoldenfieldsdominatesthe
backgroundbelowaclearbluesky.Theview,however,doesnotpermit
horsesorturbineanykindofspatialdominance:thegreenfieldoccupies
onethirdoftheimage;thehorsesandthemastonlyaminimalpartofthat.
Thelanditselfremainsthefocusoftheimage.Thehorsesaswellasthe
turbineremainpartofthelandscaperatherthandominatingit.Thelandis

93

representedasapictorialproductofcolour,formandcompositionrather
thanasettingforascene.

Lefebrvedefineslandscapeasexactlythat:atransitionofsettingto

landscape(settingconcernsnarrativerepresentation,andlandscape
aestheticrepresentation).129Heseesthetransitionastheresultofa
terminationoflandscapeassettinginfavourofitsemergenceasa
completelydistinctaestheticobject.Applyingthistothemediumof
cinema,Lefebrvecharacterisesthelandscapebyitsdependenceasavisual
spectacleanditsindependencefromthenarrative:Landscapeinthe
cinema()requiresthatspaceacquiresomeautonomyfromnarrative.130
Bothfilms,FullMetalVillageandDieBlutritter,offermomentsof
autonomouslandscapes.Thelandscapesareaestheticcontemplationsof
spacewhicharenotnarrativelydrivenbutareneverthelessfirmly
integratedinthenarrative.Bothfilmsresorttonarrativeconstructsof
dreaminordertoattachthelandscapespectacletothenarrative.InFull
MetalVillagethefarmerishavinganafternoonnaponhissofawhenthe
filmcutstoanextremecloseupofslowlymovingwhiteclouds.Although
theskyscapeisnotdrivenbynarrative,thefarmerssleepoffersasymbolic
narrativebridgetothevisualspectacleofclouds.InDieBlutritter,
MartinLefebrve,Betweensettingandlandscapeinthecinema,inLandscapeandFilm,
ed.byMartinLefebrve(London&NewYork:Routledge,2006),pp.1959(p.52).
130Lefebrve,p.52.
129

94

interviewsregardingthe(im)possibilityofafemaleceremonialhorserider
attheBlutritteventarefollowedbyascenedepictingananonymousfemale
ridingincostumethroughthelandscape.Thelandscapesceneisattachedto
thenarrativeasan(im)possibility,adreamorfantasyspectacle.
Thereareadditionalsimilaritiesintheabovevisuallandscape
spectaclesinbothfilms.InFullMetalVillagetheskyscapeisfollowedbya
deepfocusviewofafieldofgentlymovinggoldencropsandabluesky.
Thecameraremainsmotionlessfortenseconds.Thisrelativelylong
durationtransfixestheviewersgazeandallowsforanexplorationofvisual
space.Thegentlemovementofthegoldencropsinthewindis
mesmerising:thelandscapebecomesavisualspectacle.Sitneynotesthatit
ispreciselythesesubtlemovementsofthelandthatareuniquetocinematic
landscapes:Itisinthedepictionofgentlermeteorologicalphenomenathat
cinemahasdevelopedauniquecapability:themovementofclouds,
changesintheintensityoflight,theindicationofbreezesinthevibrations
andswayingofflora,andthegradationsofrain.131InDieBlutrittervarious
shotsofthefemaleriderinthelandscapeendwithadeepfocusshotofher
ridingoffintothehorizon.Again,thecameraremainssteadyforalmostten
seconds.Thelengthyshotofthelandencouragestheviewertoexplore

Sitney,p.113.

131

95

beyondtheriderandappreciatethelandasanaestheticobject:lushgreen
fieldsandadramaticskyingradualshadesofviolet.AsLefebrve
acknowledges,durationisakeycharacteristicinfilmiclandscapesas
opposedtopictoriallandscapes.132However,anotherkeycharacteristic
whichLefebrvefailstoacknowledgeistheauralspace.Landscape,a
shapingoftheland,isdeterminedbyaudioframingaswellasvisual
framing.InFullMetalVillageaswellasDieBlutritteranauralspaceofmusic
becomespartofthelandscapespectacle.Inbothscenesexaminedabove,
musicplaysanessentialroleincreatingaspaceofspectacle.
InFullMetalVillagethemusicisintroducedwhilstthefarmeris
sleepingandcontinuesthroughouttheskyscapeandlandscapeimagery;its
diegeticsourceisonlyrevealedwithacuttodancingvillagers.Themusicis
thesongTennesseeWaltz,apopularcountryhitfromtheearly1950s.The
softsoothingrhythmofthewaltzcorrespondstothesleepingfarmerand
thegentlemovementsofthecloudsandthecrops,encouragingtheviewer
toabandonthenarrativeforashortperiodandbecomeimmersedinthe
spectacleoftheskyandtheland.Themellowandpeacefulmelodyputsthe
viewerssensesateaseandallowsthegazetobeguidedintothelandscape,
therebyalsoshapingthelandintermsofaudiospace.Music,similiarto

Lefebrve,p.52.

132

96

landscape,invitestheviewertosuccumbtoaspectacularmode133.While
Lefebrvedefinesthespectacularmodeinvisualtermsastheeffectof
isolatingtheobjectofthegaze,ofmomentarilyfreeingitfromitsnarrative
function134aprerequisitefortheshapingoflandintolandscapeonscreen,
shapingfilmspaceaurallyisintegraltothespectacularmode.Musicisa
keycomponentinshapingthelandintolandscapeinFullMetalVillage.The
filmestablishesstrongassociationsbetweenmusicandtheenvironment.
Thecountrysongisvisuallycoupledwithvirginallandscapeandthe
elderlyvillagecommunity,whereasheavymetalmusicisvisuallylinkedto
theurbaninvasionoftheruralandayounginternationalcommunity.
Hence,countrymusicisliterallydisplayedasmusicofthecountryside,and
heavymetalmusicisliterallyshowcasedasmusicoftheindustrialurban.
InDieBlutritterthemusiciscomposedbyHaindling,aBavarianpop
bandwhoseaimistocreateBavarianworldmusic.Thelandscapesceneis
underlinedbyastrongrhythmandstrainsofmelodiclonging.Whilethe
rhythmmatchesthehorsesgalloping,theharmoniousmelodymoveswith
thedramaticlandscape.Itisthemusicwhichplaysanimportantpartin
creatingaspectaclespace:theviewersapproachtothevisualsisdrivenby
theflowofmusicratherthananarrative.

133
134

Lefebrve, p.29.
Lefebrve, p.29.

97

InbothFullMetalVillageandDieBlutritterthereisanabundanceof
cinematiclandscapes.Theiraestheticsconveyalandofvirginalinnocence,
seeminglyunspoiltbyhumaninterface.AsopposedtoHerrWichmannvon
derCDUandIchkennkeinenAlleinunterHeteros,forexample,theroad
andthecarhardlyfeatureinthevillagershabitatsofWackenand
Weingarten:tractors,mopedsandwheelbarrows(FullMetalVillage)and
horsesandbicycles(DieBlutritter)arethepreferredmeansoftransport.In
DieBlutritterthevillagersparticipateinthereligiouseventbymoving
acrossthelandscapeonhorses.Atfirst,thehorsestakeoverthecathedral
squareandthestreetsofthetown:ruralanimalsliterallytakingoverurban
spaces.Thenthemedievalprocessionintegratesitselfintothelandscape
scenery.135Thecameracapturesmenonthewaytothereligiousevent:a
manincostumeridesonhorsebackthroughvastfieldsofbrightyellow
crops,136anothercostumedmancyclesalongavasthorizonofdramaticlight
andcloudsandsnowtoppedAlps.137Inbothshots,thecostumedmenare
peripheraltotheaestheticsoftheland.ThelandscapeinDieBlutritteris
compatiblewiththereligiouseventitportrays.Thecathedralof
Weingarten,thereligiouscentreoftheprocession,isportrayedasahaven
ofnature.Alowangleshotofthecathedralfromabusystreetinthetown
SeeAppendixI,F3.
SeeAppendixI,F6.
137SeeAppendixI,F8.
135
136

98

cutstoahighangleshotofamonkwalkingthroughastonedwalled
garden:plantshavecoveredthewallsingreenandapondissurroundedby
greenbushesinbloom.138Themonkssoftvoiceandthesoundsofbirdsand
wateraurallyframethespaceasapeacefulgardenscape.Alaterview
fromthecathedralontothetownemphasisesthedominanceconveyedby
thepreviouslowangleshotofthecathedral.Apanoramicpanofthetown
andthelandscapefromthetopofthecathedralistrulyamagisterialgaze.
Thesoundofbellscomingfromthecathedralunderlinesthedominanceof
thebeholderspositionovertheland.Thedayofthereligiousprocession
beginswithadeepfocusshotofthehorizonandthesunrisecolouringthe
skyredandyellow.Thesoundofaroostercrowing,thepealingofbellsand
trumpetmusicsupportthevisualspectacleofanticipatedawakening.After
theevent,thefilmoffersapanoramicviewoffieldsofyellowcropsanda
paleblueskyandeventuallycapturesahorseriderinthemidstofit,onhis
wayhome.Softanimalnoisesandagentlepianomelodyaccompanythe
visuallandscape.Thecamerapanstotheleftoverthefieldstorestonan
imageofaruralfarmhousewithatreeandagreenbushtotherightand
yellowfieldsandablueskytothefarleft.Themandescendsfromhishorse
infrontofthehouseandtheimagefadesgraduallyintoablackinsert.The

SeeAppendixI,F4.

138

99

landscapeimagerybearswitnesstothesameunspoiltinnocencetowards
theendofthefilmasitdidatitsopening:thepanoramicview,theideal
framing,thegradualfading.Theeventhasnotstoodinthewayof
conveyingWeingartenasaspaceoflandscape.
WhereastheeventinWeingartenleavesthelandscapeintact,visitors
atthemusiceventinWackenravagethelandscapeturningitintoa
wasteland.Thefilmsopeningsceneisapanoramicpanofafieldlittered
withwaste.Peoplewithwhiteplasticbagsarescatteredamongstthewaste.
Silenceratherthanmusicframesthelandsdamage.Byopeningwithan
alarmingimageofthelandaswasteland,thefilmoffersastarkcontrastto
thefilmssubsequentaestheticlandscapesceneries.Thelandscapesoffera
viewofthelandsvirginalpuritybeforehumanmaltreatment.Thefilm
closeswithawiderpanoramicpanoverthelitteredfields.139The
transformationfromlandscapetosettingisexplicit.Drawingupon
Lefebrvesdistinctionbetweensettingandlandscape,itcanbearguedthat
withtheeventthelandisasettingandwithouttheeventitisan
autonomouslandscape.140Apanoramicshotofthelandwithrowsoftents
establishesthelandasthebackdroporthesettingforanevent.Tents,
peopleandwasteratherthanthesceneryitselfdirectstheviewersattention

SeeAppendixI,H8.
Lefebrve, p.28.

139

140

100

acrossthecinematicspace,anattentionwhichissubjecttoinvestigative
ratherthanmesmerisedgazing.Lefebrvedefinessettinginsimilarterms
theviewerisofferinganinterpretationorseekinganinterpretationofthe
filmicspace:

Tospeakofasettingisalreadytoofferaninterpretationandtoassert

apropertyofthefilmicspacepresentedintheframe.()Itimplies

referenceofsomewayofusingafilmbeitsimplytryingtomake

senseofnarrative.141

Theshotsofthefieldslitteredwithwasterepresenttheaftermathof

theevent.Sincetheeventisthefocalnarrativedriveofthefilm,theimageis
underpinnedwithasenseofeventhoodornarrativity.Aninterpretationof
thewastelandispropelledbythefilmsstarkcontrastbetweenvirginaland
pollutedlandinthefilmthetransformationoffarminglandintohuman
wastelandinvitesandcallsforinterpretationandenvironmental
contemplation.
Byopeningandclosingwithshotsofthewasteland(thesetting),the
filmasawholeportraysathreefoldtransformation(settinglandscape
setting)thusimplyingacyclicalnessintheannualfestivalandits
transformationoftheenvironment.
141

Lefebrve, p. 22.

101

Thethreattothepurityofthelandscapeisfurtherembodiedbyan
invasionofvisitors:immensetrucksinvadethevillage,portabletoiletsare
placedalongthefields,stagescaffoldingandirongatesaremountedon
grassland,theroadisexpanded,carsoverrunthecountryside.Thethreatto
thelandissymbolicallyenvisionedinnatureitself:scenesofbueskiesand
sunshinemakewayforscenesofdarkclouds,rainandviolentwind;atthe
sametimenaturalsoundsgivewaytoheavymetalmusic.Themetalmusic
underlinesthemetalinvasionofthecountryside.
Theapproachinginvasionofthevirginallandiscapturedwithfast
pacedimagesofthenonrural:theurbanspace.Thecameraisplacedwithin
amovingcarandurbanspacesflashpastthecameralensathighspeed.The
viewerdoesnothavetimetoexplorethespacesduetotightediting.The
viewernolongergazesbutonlyglimpses.Theurbanspaceisacompilation
ofabstractmetalangularconstructions(abridgesframe,traintracks,
fences,factories)andtheroad(abridge,signposts,concrete,cars,the
motorway).Theurbanspaceismirroredinthetransformedlandand
village.Ashotofthebridgesmetalangularframingsisechoedinashotof
ametalstageframeatthefestival.142Bothimagesareofmetalconstructions
extendingintothegreyskies,symbolicallyconveyingthegrowingthreatto

SeeAppendixI,H4.

142

102

theruralland.Ashotofmetalfencesalongsidethemotorwayisparalleled
inashotofmobilemetalfenceserectedalongsidethevillageroad.Therural
spacehasbeenabsorbedbyurbanspace.

Whilstthevillageisbeingoccupied,somevillageinhabitantsdecide

toleaveforaholiday,amongthemtheelderlyIrma,aswellastheparish
pastor.Beforedoingso,however,Irmasvoiceisheardsayingaprayerover
theimageofalandscapeatdusk:cowsgrazingleisurelyinthefieldsand
cloudsmovingslowlyacrossthemoon.Hersoftvoiceandthefaintsounds
ofchirpingaddtothetranquillityofthescenery.UnitingIrmasreligious
prayerwiththecalmnessofthescenerygivesthelandscapeasenseof
spirituality.ThescenecutstoashotofIrmasbedroomwheresheisseen
kneelingandprayingatthesideofherbed.143Theshotisreminiscentof
seventeenthcenturyDutchpainting:thecamerainhabitsaspaceofgreat
intimacyenvelopedinthedimbutdramaticlightingofasinglelampfalling
ontoausterefurniture.Theshotsresemblancetoawellknowngenreof
paintingpointstothefilmmakersconsciousorunconsciousshapingof
space,whichAnneHollanderreferstoasculturalcontinuity:Apictorial
traditionbecominginternalizedandnaturalized.144Shebelievesthatthe
framingoftheworldisonethatisimpartedfromonemediumofvisual

SeeAppendixI,H6.
AnneL.Hollander,MovingPictures(NewYork:Knopf,1989),p.443.

143
144

103

culturetoanotheracyclewhichtheartist/filmmakerisunwittinglypart
of:Acorrespondencebetweenamodernfilmframeandanoldpainting
mightbecalledanindirectquote,anunconsciousallusion.145Hollanders
understandingofvisualshapingcanbeequallyappliedtolandscapes:the
landisscapedjustastheroomisshapedbytheartisticbeholder.The
sequencecontinueswithIrmapackinghersuitcaseinthemorningtoescape
thefestivalsarrival.
Irmasgranddaughter,Kathrin,ontheotherhand,looksforwardto
theupcomingheavymetalfestival.Likehergrandmother,Kathrinisalso
portrayedinherbedroom.Thesequencecommenceswithacloseupofher
computerscreenwhichdepictsananimatedsequenceofsheepmating
wildlyuntiloneofthesheepdissolvesintoacloudofsmoke;theprocedure
isthenrepeatedwithanothersheep.TheestablishingshotshowsKathrin
sittingathercomputerplayingtheanimatedsheepgamebelowwooden
slantedceilingscoveredinWackenfestivalpostersandnewspaper
clippings.Kathrinsvoiceisheardoffscreenexpressingherdesiretoleave
thevillageofWacken:MalweiternachuntenindenSdenvon
Deutschland()EinenUrlaubmacheninBayern.[Offtothesouthof
Germany(...)HaveaholidayinBavaria.].Despitebeingaruralresident,

Hollander,p.443.

145

104

Kathrinisneverportrayedwithinhernaturalenvironmentapartfromat
thefestival.TheanimatedsheepsymbolicallypointtowardsKathrins
artificialrelationshipwithhernaturalhabitat.Sheandherfriendareseen
spendingtheirsparetimeexercisinginashedlikespace.Barewooden
boardsstandaswallsandaresparselydecoratedwithmagazinecuttings
thegirlshavecollected.ThewoodenplanksinKathrinsbedroomandin
herworkoutshedconveyasenseofrestrictionandconfinement.When
talkingaboutthefestivalKathrinrepeatedlyusesthewordgemtlich146to
describetheeventatermverymuchassociatedwithhomeliness.Thefilm
commentsonKathrinsunusualcontextualisationofthetermbycutting
fromthefestivalnewspaperclippingsonKathrinsbedroomwalltoan
exteriorshotofherhome.147Thecutbetweenshotsistimedtocoincidewith
oneofKathrinsremarksaboutthefestival:Esisteinegemtliche
Atmosphre.[Itsacosyatmosphere.].Theimageofthehouseisthe
epitomeofthemeaningofgemtlich:alargegreenlawnsprawlingoutin
frontofthehouse;wellkeptflowerbeds;washinghangingtidilyonthe
line;wellmanicuredbushes.Thepictureperfectimageofhomeliness
correspondstotheaudio,althoughKathrinisdescribingthefestivalandnot

GemtlichisusedinGermantodescribeaplaceofcosiness.Thetermalsoincorporates
sentimentsofbelongingandhome.Duetoitsuntranslatableconnotations,thewordhas
beenadoptedintoEnglish.
147SeeAppendixI,H3.
146

105

herhouse.Kathrinherself,standingatoneofthewindows,remainsbarely
visible.Sheseesthegemtlichelsewhere,inthemostunlikelyplace:the
heavymetalfestival.FellowWackenresidentandfestivalenthusiast,
Norbert,isdepictedinaverysimilarway:heisneverportrayedwithinhis
naturalenvironmentapartfromatthefestival.Insteadheisseenspending
hissparetimewiththemechanicsofhismotorbikeinhisownshed.The
shedisfilledwithtoolsandartificialdimlighting.Norbertsmotorbikeis
hisprizepossessionandconnectshimtotheworldoutsidetherural.Inthe
sameway,Kathrinreliesonherclippingsfrommagazinesforgirlswhich
adviseheronhowtostayslim.Itishergatewaytotheworldoutsidethe
rural:thecameraaccompaniesKathrintoamodelagency.

InDieBlutritterandFullMetalVillagetherurallandhasbecomethe

objectofanidealisinggaze:visualframing(cameramovementandangle),
auralframing(music)aswellasediting(duration)playanimportantpartin
transforminglandintolandscape.Lefebrvearguesforanautonomous
landscapeinwhichthenarrativeissubordinatetothelandasanaesthetic
spectacleforshortperiodsoftimeduringthenarrativedrivenfilm.Both
filmsofferlandscapesofweakorlittlenarrativepresence.Thesesceneries,
however,arenotdetachedfromthemainnarrativebutintegratedvia
narrativebridges.AnneHollandersideaofculturalcontinuitysuggests

106

thattheidealisinggazeisamatteroftheunconscious:overcenturiesvisual
culturehassetanidealpattern.Hence,landscapeistheresultof
unconsciousframing.Theidealisingofthelandresultsinrepresentationsof
virginalunspoiltland.WhereasthelandscapeinDieBlutritterremains
unharmedbythefocalevent,thelandscapeinFullMetalVillageisleft
harshlyscarredbyitscentralevent.Theeventtakesoverwithsignifiersof
urbanspacetodisruptthelandscapesaestheticautonomy:thelandscape
cannolongerbeviewedaslandscapebutasasettingfortheevent.Itisthe
intrusionoftheurbanthattransformslandscapebackintoland.

1.3. TheRuralRepresented:TheLandandtheVillage

OutofEdeka(KonstantinFaigle,2001)

107

SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

Whereasinthepreviousfilmicexamples(IchkennkeinenAlleinunter
Heteros,HerrWichmannvonderCDU,DieBlutritter,FullMetalVillage)the
rurallandplayedamainrole,inOutofEdekaandSchotterwieHeuitisthe
ruralhabitat,thevillage,anditsrelationshipwithitsruralsurroundings
thattakecentrestage.

OutofEdekaandSchotterwieHeuarebothfilmsaboutSouthern

Germany,bothsetinthefederalstateofBadenWrttemberg.Thelocations
ofbothfilmsaresinglevillagecommunities:OutofEdekaportraysthe
villageofEmpfingenintheregionofSwabia;SchotterwieHeudepictsthe
villageofGammesfeldintheregionofFranconia.Thenarrativesofthe
filmsarespunaroundthevillagescentralhubs:thevillagebank(Schotter
wieHeu)andthevillageshop(OutofEdeka).Thisnarrativeconcentrationis
mirroredinthefilmsfocusonlocation:particularlytheinteriorspacesof
thebank/theshopbecometheprimesettingforbothfilms.Although
interiorspacesdominatebothfilms,therurallandisclearlypresent.

SchotterwieHeuopenswithalongshotoffieldsofgoldencrops

swayinggentlyinthewindunderacloudlessblueskyagainstahorizonof

108

greentrees.148Amidstthegreen,achurchsteepleandhousesarevisible.
Againsttheidylliclandscape,thesoundofvoicesisheard:amananda
womangreetingeachother.Thevoicesdirectthespectatorsviewtowards
thesignofhabitation:thevillageonthehorizon.Similiarly,inOutofEdeka
thefirstlandscapeimageisofthevillage.149Ahighangleshotcapturesan
arrayofredroofedhousesundertheredraysoftherisingsun.Thecamera,
accompaniedbyMiddleEasternmusic,zoomsintoahorizonofforestand
hills.WhereasSchotterwieHeuaurallyshiftsthefocusfromlandscapeto
village,OutofEdekavisuallymovesfromthevillagescenerytothe
surroundinglandscape.Thisslightdifferenceinemphasissubtlymarksthe
filmmakersrespectiverelationshipswiththevillage:filmmaker
KonstantinFaigle(OutofEdeka)wasbornandbredinEmpfingenandleft
thevillageasateenagertoescaperuralrestrictions.Liketheimage,Faigles
viewpointisfromwithinthevillage:OutofEdekaisanintimateportrayalof
hisfamilysvillageshop.Theexoticmusicimplieshisestrangementfrom
thevillageasareturningadultfilmmaker.WiltrudBaierandSigrunKhler
(SchotterwieHeu),ontheotherhand,arestrangerstothevillageof
Gammesfeld.Thevillageliesonthehorizon,barelyvisibleinthedistance,
situatedfarfromthebeholder,surroundedbyidylliccountryside.

SeeAppendixI,C1.
SeeAppendixI,B1.

148
149

109

ThevillageofGammesfeldisdepictedasanintegralpartofthe

cinematiclandscape:achurchsteepleissurroundedbyfieldsofgreenanda
settingsun;acloudedskyandrowsofgreenfarminglandstretchout
againstavillagehorizon.Theselandscapesconveythestaticconditionof
thelandandthevillage.Thispictorialstasisisreflectedinapaintingofthe
villagehangingonthewallsofthebank.FritzVogt,thefilmsmain
protagonist,proudlyintroducesthepainting,whichhehopestoreceiveasa
retirementpresent.Thecameraoffersafullcloseupoftheimageof
Gammesfeldinthewinter:talldarktreesandfieldscoveredwithsnow
dominatetheimagewhilstthevillageliesalmosthiddeninthebackground.
Thepaintinghasbeengivenaprimepositioninthebank,lookingdownon
thebanksboardmeetings.Thesubordinationofthevillagetothe
landscape,similartoBaierandKhlerscinematiclandscapes,isevidentin
thepainting.Thisdominanceofruralnatureisestablishedintheprevious
scenewhenalocalresident,anamateurfilmmaker,revealssomeofhis
workonhistelevisionscreen.Theimagesshowlengthycloseupsof
colourfulflowersfilmedinhisgarden.Althoughtheimagesaresetin
motion,stasisoftheimageryisaurallycreatedbythesoundofaticking
clockwithinthediegeticspace.Itisnotonlytheoutsiders,Baierand
Khler,whohavearomanticisedviewofGammesfeld.Villageresidents

110

suchasVogtandtheamateurfilmmakershareanequallyidealised
perspectiveofthevillagesplacewithinthenaturalhabitat.

Thefilmsidealisedperspectiveonthelandandvillageis

accentuatedbythecinematicmethodBaierandKhleremploytoestablish
thevillageasaplace:themap.TomConleynotesontheroleofthemapin
themediumoffilm:

It[themap]hasaffinitieswithamiseenabyme,butwhileitmay

duplicateormirrorthesurroundingfilmwithinitself,themapcan

revealwhyandhowitismadeandhowitsideologyisoperating.150

ThenatureofthemapinSchotterwieHeudictateshowthevieweristoread
thesurroundingfilm.Themapisactuallyastillaerialshotofavillage
modelwhichfunctionsasaGammesfeldmap.151Themapmodelis
childlikeinitsfeatureswithvibrantcolours,largeareasofnatureandalack
ofgeographicaldetail(e.g.streetnames).Insteadofusingamapwhich
wouldprovidereliablegeographicalinformation,BaierandKhleroptto
useamapthatisquestionableinitsnature.Themapcannotbeviewedas
acrediblereferenttotherealgeographyofGammesfeld.Thisinnocentand
simpledepictionofthevillageechoestheromanticisedviewofGammesfeld
TomConley,ed.,Introduction,inCartographicCinema(Minneapolis:Universityof
Minnesota,2007),pp.122(p.20).
151SeeAppendixI,C3.
150

111

discussedabove.ThemapliftsGammesfeldintoadeliberatefantastic
realm,therebyemphasisingreelgeographyratherthanrealgeography
anunusualideologyforthegenreofnonfiction.

Themapislococentricinthatitexistswithinitsownborders,

providingnoinformationaboutwhatthebordersseparateitfrom.Atthe
sametime,itconveysanideaofGammesfeldasavillagecommunity.Itis,
therefore,notonlyamapofknowledgebutalsoconveyswhatLawrence
Buelldescribesasplacesense.152Place,byhisdefinition,isessentially
spacehumanizedratherthanthematerialworldtakenonitsownterms.153
Theideaofcommunityisanessentialpartofaromanticisedruraloutlook,
asKeithHalfacreecomments:Thesenseofcommunitysocentraltothe
ruralidyllistheproductofanacceptedorderwithinthevillage.154

Themapintercutsthenarrativeonnumerousoccasionstoindicate

thewhereaboutsoftheupcomingsequence:aredcircleslowlyfadesinto
encircletherelevantgeographicalareaofthevillagefollowedbyawhite
headingthatappearsbesidethecircleindicatingthenameofthelocationin
question(e.g.bank,Edekashop,Dorfkrugpubetc.).Thesubtlecirclingand

LawrenceBuell,TheEnvironmentalImagination:Thoreau,NatureWriting,andtheFormation
ofAmericanCulture(Cambridge,Mass.&London:BelknapPress,1995),p.298.
153Buell,p.253.
154KeithHalfacree,LandscapesofRurality.RuralOthers/OtherRurals,inStudying
CulturalLandscapes,ed.byIainRobertsonandPennyRichards(London:Arnold,2003),pp.
141169(p.149).
152

112

titlingprovidethemapwithaninteractivefunctionindicating
movementofthenarrative.AlexanderBhnkenotesondynamicmapsin
filmnarrative:

WhrendeineKartezuBeginneinesFilmsdieBewegungder
gesamtenNarrationaufdenPunkthin,wodieHandlungeinsetzt,
bezeichnet,isteinedynamischeKarteinnerhalbdesFilmsfastimmer
andieBewegungvonFigurengebunden.()EinedynamischeKarte
istdieFigurfrdieBewegungderNarration,diezweiOrte
verbindet.

[Whileamapatthebeginningofafilmmarksthemovementofthe
wholenarrativetothepointwheretheactionbegins,adynamicmap
withinthefilmisalmostalwaystiedtothemovementoffigures.()
Adynamicmapisthefigureforthemovementofthenarrative,
whichconnectstwoplaces.]155

TheGammesfeldmapfunctionsasabridgingshottomovethenarrative
swiftlyfromonegeographicalplacetothenext.However,inSchotterwie
Heuthedynamicindicatorsonthemaparenotboundtoanyprotagonist
buttothefilmmakers.Thedocumentariansinthefilmadoptactiveroles
thenarrativemovementiscoupledwiththeirrolesasvisitingfilmmakers.

155AlexanderBhnke,KartenundandereAdressendesFilms,inBlickeaufLandschaften,

ed.byGnterGiesenfeldandThomasKoebner(Marburg:Schren,2005),pp.4667(p.59).

113

Insteadoftheprotagonist,BaierandKhlerbecomethesubjectsofthe
dynamicsofthemap.

FilmmakerFaiglealsoincludespictorialreproductionsoflandscapes

todepicttherelationshipbetweenthevillageanditsruralinhabitantsin
OutofEdeka.Intheopeningofthefilm,thecamerarestsonanextreme
closeupofaclock.Theclocksface,coveredintheblueandwhiteBavarian
flag,isonlyhalfvisible.Thefocusisontheclocksstand:apaintingofa
horseandcarriagedecoratedwiththeBavarianflagandmenintraditional
costume.Theclocksstandsuddenlyopenstorevealathreemanmusical
banddressedinLederhosenandplayinginfrontofAlpinelandscape
scenery.Trumpetmusicandflashinglightsemergefromthestand.The
clocksownerissoonestablishedasthevillageshopkeeper.Alater
depictionofthevillageEmpfingenonapostcardinthevillageshopreflects
thisidealisedruralview.Theshotshowstheshopkeepershandsplacinga
stackofpostcardsontoashelf.Thecamerarestsonthecardsincloseup
thusofferingaclearpictureofthecardillustration.Thecardsaredivided
intofourphotographiccolourimagesofthevillageEmpfingen,two
featuringthevillageinitsruralsurroundingsandtwopresentingvillage
houses.Theimagescoloursareboldblueskiesdominatethepostcardin
colour.Theimagesareconnectedbyalongbrightredsquarewithwhite

114

scriptproclaiming:GrussausEmpfingen[GreetingsfromEmpfingen].The
shopkeepersvoiceisheardsaying:DasistabereineschneStadt.Daist
sogarunserHausmitdrauf.[Thatsareallynicetown.Onthatpictureyou
canevenseeourhouse.].Thescenethencutstoacloseupofthe
shopkeepersheadlookinguptowardstheshelfwherethevillagepostcards
stand.Theshopkeepersadmirationofthevillagepostcardresemblesthe
bankdirectorshighregardforthevillagepaintinginhisbankandthe
amateurfilmmakersapprovalofhishomemadefilmofgardenflowersin
SchotterwieHeu.

Inthenextscene,however,Faigleshowsthevillagefromadifferent

angle.Thescenebeginswithalowangleshotofthecloudedskya
contrasttothebrightcloudlessskiesdepictedonthevillagepostcard.The
cameratiltsdowntorevealtheyellowvillagesignwithtwomenstanding
infrontofit.156Themen,whoarenotfilmprotagonists,arestanding
directly,andseeminglysuperfluously,attheroadsidestaringsilentlyand
intensivelyatthecamerawhileFaiglesvoiceoveroffersahistorical
overviewofthevillage.Thetwomenmakethesignofthecrosswhen
Faiglementionsthevillagesreligiousimportancebutotherwiseremain
motionless.Themenofferanidiosyncratic,almostfreaklikeviewofthe

SeeAppendixI,B4.

156

115

villageanditsinhabitants.Thescenecontinueswithanidyllicimageofthe
villagechurchagainstablueskyandgreenforest.Faigle,however,
deconstructsthisimagewiththevoiceovernarration:1529fieldasDorfin
BesitzdesberchtigtenFnfZentnerFrsten,ChristofvonNellenburg
Thengen,vondemwahrscheinlichauchdashalbeDorfabstammt.[In1529
thevillagefellintothehandsofthenotoriouspettyprinceChristofvon
NellenburgThengen,fromwhomprobablyhalfthevillagedescends.].The
humanpeculiaritywitnessedinthepreviousshotisemphasisedandgiven
credencebythehistoricalnarration.Whereastheshopkeepersimageofthe
villageisreflectedinpictorialobjectssuchashisBavarianalarmclockand
thepostcard,Faiglespositionasnarrator,ontheotherhand,lendshisview
ofthevillagegreatercredibility.
OutofEdekasdepictionofcinematiclandisbyandlargeconnected
toscenesofreenactments.ThelandbecomesthestageforFaigles
imaginaryworld.FilmmakerFaigle,forexample,stepsintoaSpanish
Flamencocostumetodanceandsinginfieldsofgoldencrops,accompanied
byamanplayingaguitar.157ThescenefollowsasequenceaboutaSpanish
womanlookingforaproductinthevillageshopwhenleavingtheshop,
shekissesthecameralens.ThefilmthencutstoacloseupofFaigleinthe

SeeAppendixI,B2.

157

116

fields.Thesceneresemblesthatofadreamscape.Atfirst,thecamera
remainssteadyandswitchesfromfacialcloseupsofthefilmmakerto
landscapeandskyscapeshotswhichincludeabewilderedlookingFaigle,
whoseemsoutofplace.Theskyaswellasthefieldsexpressinfinitespace:
thecropsandtheskygenerallymeetatthehorizon.WhilstFaiglesings,the
filmrapidlyfadesfromaskypantoanupwardtiltofthecropsbacktoa
skypancreatinganinsyncreverienaturescape.Thecamerabecomes
increasinglyintermittentasitfollowsFaigledownthefieldsatafastpace.
ThefinalshotofthesceneisacloseupofFaigleshatrestingonthefields,
beforethecameratiltsupwardsandthemusicslowlyfades.Thecamera
haltsonahorizonofgreentreeswithatraditionalchurchsteepleinits
midst,thusestablishingthefieldsinthegeographicalframeworkofSwabia
andnotSpain.FaigledecontextualisestheSwabiancountrysideand
borrowstheruralenvironmenttosimulateaSpanishdreamscape.158
Inafurtherexample,Faiglesimulatesthecountrysideasahistorical
landscape.159Again,itisFaiglehimselfwhotakestheleadingroleinthere
enactment.Dressedasasoldierwithamoustacheandawalkingstick,he
walksdownapathinthecountrysidetowardsthevillageinthe
background.Thesoldierisintendedtobehisgrandfatherreturningfrom
ThechoiceofaSpanishcontextmaystemfromFaiglespersonalsituation.Hisgirlfriend
atthetimeofproductionwasSpanish.
159SeeAppendixI,B3.
158

117

wartoavillagethathaslefthimlittle.Thesceneisinblackandwhiteand
offersgrainyimagesofFaigleandhissurroundings.Darkcloudsandthe
soundofwindencourageasinisterviewoftheruralarea.Bothre
enactmentstransformtheruralSwabianlandscapeintolandscapes
imaginedorremembered.Thelandbecomesapsychologicalspace.Fowler
andHelfieldpointtothishumanaspectoftheruralland:Landscapeisnot
limitedtopurelyphysicalterrain:anotherkeyelementoftherural
landscapeisitsemotive,nostalgicpowerasanidealizedspaceand
communitythelandimaginedorrememberedasadream.160

InSchotterwieHeuaswellasOutofEdekathecameraalsotravels

outsidethevillage.ImmediatelyoutsideGammesfeldthereisagravelpit
whichthefilmmakersvisittoobserveadetonation.Thedetonationis
filmedwiththevillageinthebackground.161Theimageishorizontally
dividedintotwoparts:thepitwithitsmoundsofgravelandthevillage
withitssurroundinggreenfields.Thestronghorizontaldividebetweenthe
twoisadditionallymarkedinthecolourcontrast:greyversusgreen.The
compositionaltensionbetweenthegravelpitandthevillagecomestoa
socialsurfaceinaninterviewwithVogthebegsthefilmmakersnotto
filmthegravelpitaspartofthevillageportrayal.

FowlerandHelfield,Introduction,p.7.
SeeAppendixI,C6.

160
161

118

InOutofEdeka,similarcommercialconstructionsloomattheedgeof

thevillage:thenewsupermarkets.Thenewdiscountsupermarketsare
portrayedasanimmediatethreattothevillageshop.Ahighangleshotof
thevillageshop,emptyapartfromthewaitingshopkeeper,precedesthe
busyimagesofthenewsupermarkets.Ashotofdarkcloudsaccompanied
bythreateningdidgeridoosoundsforeshadowsthethreatofPennyMarkt
andEdekaAktivMarkt.Thetwosupermarketsareportrayedliterallyinthe
darkestlight:darkcloudshoveroverPennyMarktandpuddlesofwaterare
scatteredontheparkinglotoutsidetheEdekaAktivMarkt.The
supermarketsarepurposebuilt:angularconstructionswithconcrete
parkinglots.Theiroutervillagegeographicallocationisapparentinthe
shotofPennyMarktfieldsofcropscommenceattheedgeoftheconcrete
parkingspace.OnceinsideEdekaAktivMarktthefilmcontinuestoportray
thesupermarketfromathreateningangle.Thecameraisplacedinatrolley,
tiltedslightlyupwards,facingthetrolleysmetalgrille.162Thegrilletakesup
theentireframeconveyinganotionofconfinement.Inaddition,the
unusuallylowpositioningofthecameracreatesasenseofvulnerability.
Thetrolleyiswheeleddownlongaisles,angularlightingtubesglaring
downfromtheceilingsthroughthegrille.Thereisnosignofhuman

SeeAppendixI,B6.

162

119

presenceinthesupermarket.Faigleportraysthesupermarketasa
constructedplaceofthreateningartificiality.Whenthevillageshopfinally
closesdown,theshopkeeperisforcedtoseekouttheoutervillage
commercecentres.Atthenewsupermarket,heisconfusedbythe
progressivedigitalscaleswhenweighinghistomatoes.Suddenly,atrivial
plasteronhischeekseemstobeconcealingmorethanaminorcut,
indicatingamoregeneralvulnerability.

OutofEdekanotonlytakestheviewertotheoutskirtsofthevillage

butalsobeyondthebordersofGermanytoasmalltowninGeorgia.Itis
there,farfromthevillage,thatFaigleturnsawayfromtheruralplayfulre
enactmentstoofferasincereimageofnature.Thecamerahalfcirclesatree,
asocalledWunschbaum[wishtree],fullofribbonshangingfromits
branches.GentlechoralfolkmusicunderlinesFaiglesvoiceoverinwhich
heexplainsthetreessignificanceasawishtreeforparentsfortheir
childrenhehimselfhasattachedaribbonforhisGeorgiandaughter.The
scenepresentsnatureasasourceofhoperatherthanasastageforescapist
reenactments.

Bothfilmsconcludewithimagesofthevillageandtheland.In

SchotterwieHeuthecameraslowlycirclesthesnowcoveredvillagefroman

120

aerialviewpoint.163Thevillageissurroundedbyfieldsandforests;further
ruralhabitatremainsoutofsight.Despitebeingmoreaccurate,theaerial
shotstronglyresemblesthesimplisticmodelmapofthevillage.Both
mapsareevenaccompaniedbysimilarbrassbandfolkmusic.Insteadof
discreditingtheromanticisedviewofGammesfeld,theaerialshotplaces
themapwithinanauthenticgeographicalcontext:theidyllicvillage
becomespartofacrediblegeography.OutofEdekaendswithacraneshotof
thevillageatnight.Movingoutfromtheilluminatedstreetneartheshopto
alongshotofthevillage,thecamerathentiltsupwardsintothedarkblue
sky.TheMiddleEasternmusicfromthefirstvillageshotemerges.Faigles
viewofruralEmpfingenstillremainsmystifiedinthedark.

OutofEdekaandSchotterwieHeuboththematisetheruralasvillage.

Thevillageisanintegralpartoftheruralland,asFowlerandHelfieldpoint
out:Thiscomplexwayofseeingthelandscapeincludesrecognizingthe
landmarks,ifyouwill,ofbothitsterrainandsocialformation.164Film
makersBaierandKhlerintegratethevillageGammesfeldintothe
picturesquesceneryofSchotterwieHeuwhereasFaigleoffersamore
unsettlingviewofthevillageEmpfingeninOutofEdeka.Inbothfilmsthe
filmmakerstakeonparticipantroles:asthesubjectofarecurringdynamic

SeeAppendixI,C7.
FowlerandHelfield,p.7.

163
164

121

villagemap(SchotterwieHeu)andastheprimesubjectofruralre
enactments(OutofEdeka).Thecolourfulsimplisticvillagemap
correspondstotheidylliclandscapeimageryofthefilm;theruralre
enactmentsfunctionasapsychologicalventforFaigleinhisattemptto
processhispersonalrelationshipwiththevillage.Bothfilmsalsotravel
outsidethevillagetoexpandingdevelopmentsportrayedinathreatening
light:thegravelpitandthenewsupermarkets.Itisonlyoutsidethevillage,
abroadinGeorgia,thatFaiglemanagestoapproachnaturefreefromhis
villagepast.Thecinematicportrayalsofthevillagesoverallareareflection
ofeachfilmmakersrelationshipwiththevillage.Theexvillager,Faigle,
paintsapersonalisedandtroubledimageofEmpfingenwhereasthe
visitingfilmmakers,BaierandKhler,captureamoreromanticised
picture.

1.4. TheRuralRepresented:TheLandinBetween

DieBlumederHausfrau(DominikWessely,1999)

122

Durchfahrtsland(AlexandraSell,2005)

WhilsttheportrayaloftherurallanddifferssignificantlyfromHerr
WichmannvonderCDU,IchkennkeinenAlleinunterHeteros(1.1.)toDie
BlutritterandFullMetalVillage(1.2.)andOutofEdekatoSchotterwieHeu
(1.3.),rurallocationsfeaturestronglyinallsixfilms,providingaunifying
commondenominator.InDieBlumederHausfrauandDurchfahrtslandthe
filmlocationsareofadifferentruralnature.DieBlumederHausfrauissetin
unspecifiedoutskirtsofStuttgartinSouthernGermanywhereas
DurchfahrtslandissetinvillagesatthefoothillsnearthecitiesofCologne
andBonninthewestofGermany.Thelocationsofthefilmsareinurban
proximity(Stuttgart/CologneandBonn)but,atthesametime,theyare
politicallyindependentcommunities.
Thelandisahybridofurbanandrural;positioningitselfinbetween.
Thisfusionhasstrongsimilaritieswithconceptsofsuburbia.Theword
suburbiaincorporatesthesimultaneousdetachmentaswellasattachment
totheurbaninitssuffixsubwhichimpliesasubordinatebutappended
locationtothecity.RobertBeukadefinessuburbiaastiedtoboththeurban

123

andruralspheresyetnotfullyidentifiablewitheither.165Thisclash
betweenruralandurbanisexemplifiedinDurchfahrtsland.Deepfocusshots
ofthehorizonfromthehighvantagepointofferedbythefoothillsregularly
interruptthenarrativeflowandofferlandscapeimageryofadifferentkind:
soaringindustrialchimneysinterruptahorizonofgreenhills;anenormous
mastloomsoverfieldsofbloomingyellowsunflowersandahorizonof
greenforestisdisruptedbyindustrialbuildings;166fieldsofagricultureand
rowsofmastsdividetheforegroundofvillagehousesagainstahorizonof
urbanskyline;167anaeroplaneascendsintotheopenskiesfromthe
CologneBonnairportinthevaguedistance.Thesuburbanvieweris
colonisingthelandwithhisgazebutis,atthesametime,beingphysically
colonisedbytheurban:smoghoversovertheground,constructionstower
high,andeventheskyisdrawnintotheurbanspherebyaeroplanes.
WhereasthelandscapeinDurchfahrtslandrepresentsthevisualclash
betweenthespheresofurbanandruralspace,DieBlumederHausfrau
conveysadifferentkindofhybridlandscape.Beukacontinueshisdefinition
ofsuburbia:Theearlysuburbscomposedanewkindoflandscape.168Die
BlumederHausfraurepresentsthisnewkindoflandscape:alandconsisting
RobertA.Beuka,SuburbiaNation:ReadingSuburbanLandscapeinTwentiethCentury
AmericanFictionandFilm(NewYork:PalgraveMacmillan,2004),p.24.
166SeeAppendixI,G5.
167SeeAppendixI,G6.
168Beuka,p.24.
165

124

solelyofresidentialhousing.Thefilmssceneryishomogenousduetothe
similaritiesinhousingarchitecture.Thehousesarenewlybuiltconcrete
multiplestoreyapartmentblocks.Theuniformarchitecturallandscape
typifiessuburbiaasanenvironmentthatemphasizedtheprospectof
perfectibilitythroughitsprecise,meticulousplottingandarchitecture.169
Thisstandardisationoftheenvironmentisconveyedwithshotsofsalesmen
innearlyidenticalsurroundings(infrontofapartmentbuildingsthatshare
identicalglassdoorsanddoorbells)performingidenticaltasks(ringingthe
doorbellortalkingtoapotentialcustomer).Theseshotssuggest
environmentaldominance:thechoiceofalongshottorepresentsalesman
Massimostandingattheendofasemiopencorridorwaitingforadoorto
open,makeshimbarelyvisibleintheimageinsteadtheimageisgoverned
bythestandardisedarchitecture:thelongangularsemiopencorridoranda
viewoverthebuildingsotherexterioridenticalcorridorstructures.170The
nextsequenceshowssalesmanAngelowalkingupacorridorstairwell:the
camerafollowshisfootstepsandfinallyrestsonalowanglelongshotof
himstandinginfrontofadoorwaitingforthedoorbelltobeanswered.The
barewallstotheleftandthestairwellsrailingstotherightdominatethe
spaceandappeartotoweroverhisbody.ThenextsceneportraysMassimo

Beuka,p.5.
SeeAppendixI,A3.

169
170

125

walkingawayfromthecameradownalonginteriorcorridoruntilhe
becomesbarelydetectable.171Smallframedpictureslinepartofthe
corridorswalltheirminiaturesize,however,doesnotimpedethe
dominanceofthewalls,ceilingandfloorintheshot.Allthreescenes
conveyarchitecturessupremacyoverthehumanbeing.Byemployinglong
shots,filmmakerWesselydetractsfromthehumanbeingintheimage.This
isaneffectnotedbySitney:Thelongshotislong,ordistant,inregardto
thecenterofhumanactivity.()Morefrequentlyitservestodiminishthe
humanscale.172Thefilmdoesnotofferanypanoramicshotofthesuburban
landasanentity,thuscreatingafeelingofalienationandconfinement:the
cityisoutofsight,asistheruralcountryside.FilmmakerWesselysimage
oftheGermansuburbscorrespondstoBeukasdescriptionofthedownside
ofAmericansuburbiaasthevisionofahomogenized,soulless,plastic
landscapeoftepidconformity,analienatingnoplace.173Theanonymity
andlackoftraditionalandsocialtiesofsuburbiaalsoconformtoMarc
Augsdefinitionofnonplacesasspaceswhichcannotbedefinedas
relational,historical,orconcernedwithidentity.174

SeeAppendixI,A8.
Sitney,p.108.
173Beuka,p.4.
174MarcAug,Nonplaces:IntroductiontoanAnthropologyofSupermodernity(London&New
York:Verso,1995),pp.7778.
171
172

126

SuburbiainDieBlumederHausfrauisliterallyanoplace.The
homogenousarearemainsanonymousasthefilmneverreferstoor
distinguishesthesuburbanarea(s)byname(s).Thesalesmendividethe
suburbintogeographicalsalesareasbysimplypointingtothestreetsfrom
withinamovingcar.175WhereasthesuburbsinDieBlumederHausfrauare
theproductofpreplannedarchitecturallandscaping,thesuburbsin
Durchfahrtslandaregenerallyvillagesonthebrinkofspreadingurban
development.FilmmakerSellreferstothesuburbanareainDurchfahrtsland
byvillagenames(Vochems,Hemmerich,Walberberg,Rsberg),visually
emphasisingthiswithshotsofvillagesignposts.Rivalrybetweenthe
geographicallyconnectedvillagesbearswitnesstotheindividualitystill
attachedtoruralvillageidentity.Despitevillagerurality,thefilmillustrates
thatthelandscapeofthefoothillshasbecomeanarenaforthesamepre
plannedlandscapingseeninDieBlumederHausfrau.Thefilmnotonly
conveysavisualclashbetweenurbanandruralbutalsoaclashbetween
ruralandsuburban.Sellsimagecompositionsvisuallysuggestthese
tensions:diagonalrowsofhousesofidenticalarchitecture(andsometimes
alsocolour)standbehindaforegroundoffarminglandandfields.176

SeeAppendixI,A7.
SeeAppendixI,G3.

175
176

127

ThesuburbaninDurchfahrtslandisalandnotonlyinbetweenbut
alsointransition.Ashotoftheconstructionofahypermarketvisually
symbolisesavillagesruraldisintegration:agreyconcreteparkingspace
dominatestheforegroundwhilegreenfieldsarevisiblenearthehorizon;
twoyellowdredgersaredigginginbetweenthetwospacesinthemidstof
brownsoil.177Therurallandsgradualurbanlandscapingisindicatedinthe
landstransformationfromforegroundtobackground.Abrightyellowsign
withintheconcretespaceproclaiminganinternationalsupermarketchain
visuallymanifeststheapproachingsuburbanlifestyle.Atthesametime,
Sellsvoiceoverdescribesthevillageslossofidentity:

IndiesemSommerbekamdasVorgebirgeeineneue

AutobahnausfahrtundzweineueSupermrkte,dasDorfSechtem

bekamdieachteSiedlungundverlorseinWahrzeichen.Dasletzte

alteingesesseneGasthausbranntebisaufdieGrundmauernnieder.

Undvielesagten,nunseiesendgltigvorbeimitdemalten

Sechtem.

[Thissummerthefoothillsgotanewmotorwayexitandtwonew

supermarkets,thevillageofSechtemgotitseighthhousingestate

andlostitslandmark.Thelastoldestablishedinnwasburntdownto

SeeAppendixI,G4.

177

128

itsfoundations.Andmanysaid,nowtheoldSechtemhasgonefor

good.]

Thehybridnatureofthesuburbanspaceisillustratedbytwopeoplecycling
throughtheframeontheconcretesurfaceintendedforcartraffic.Whereas
DieBlumederHausfrauconveysalackofidentityofplaceinsuburbiaand
Durchfahrtslandexpressesthelossofruralidentity,bothfilmshighlightthe
unstableandtransitorynatureofidentityofthelandinbetween.
Theideaofcommunityidentityliesatthecoreoftheconceptofthe
newlandscapeofsuburbia,whichBeukareferstoasautopiandreamof
communityfiguredthroughlandscapeandarchitecturaldesign.178This
livingidealgeneratedbyalandscapedidealland,asBeukapointsout,
harbourslevelsofimperfectibilities.ThesuburbancommunityinDieBlume
derHausfrauandDurchfahrtslandislayeredbyalackorlossoftraditional
communityidentity.
TheportrayalofthesuburbancommunityinDieBlumederHausfrau
isconstitutedbyadivideofprivateandpublicspace.Thesuburban
residentslivebehindcloseddoorsandonlyoccasionallyinvitethesalesmen
intotheprivatesphereoftheirlivingrooms.179Steffenembodiessuburban
success:heisshowndemonstratingandsellinginthelivingrooms.Angelo,
Beuka,p.6.
SeeAppendixI,A2.

178
179

129

ontheotherhand,hasnotbeenadmittedintothelivingrooms:heisshown
knockingunsuccessfullyonthefrontdoors.Eachlivingroomscene
introducesanewface,anewsuburbanresident.Thefilmtherebyshowsthe
suburbstobeaplaceofanonymity:theresidentsarelittlemorethan
customersandnamesonthesalesmensworksheets.Thelackofcommunity
outsidethelivingroomwallsisreflectedintheimpoverishedsenseof
communitywithinthelivingroomwalls:solitaryelderlyladiesdominate
thesalesmensclientle.Theinteriorspacesaregenerallysmalland
moderatelyfurnishedbothsalesmenandcameraoccasionallystruggle
withinthesmallspaces.Theheartofmodernsuburbia,theresidential
home,isportrayedasalonelyandconfinedspace.
Thelackofruralandurbanimagesinthefilmconveysthe
protagonistsexistentialdependenceonthesuburbancommunity.Thefilm
doesnotspecifywhetherthesalesmenthemselvesareresidentsofa
suburbanlandthefilmdoesnotportraythemenoutsidetheir
professionalroles.Thispurelyprofessionalportrayalofthemencreatesa
distancebetweenthesalesmenandthesuburbanresidents,whichsets
limitstoanysenseofasharedsuburbancommunityidentity(betweenthe
two).Thisisemphasisedbyafurtherspatialdivide.Whereassuburban
residentsarerarelyrepresentedinpublicspaces,thesalesmenare.The

130

publicspaceofthecaf/pubfunctionsasthegeographicalhubforthefive
salesmen.180Thisiswherethemenmeetfortheirbreakfast,lunchanda
chat.Thecaf/pubisgenerallyquiet,reemphasisingthesuburbs
preferenceforprivatespacessuchasthelivingroom.Thecaf/pub,the
publicspace,issetagainstthelivingroom,theprivatespace,reiteratingthe
dividebetweensalesmenandsuburbancommunity.

ThesuburbancommunityinDurchfahrtslandisdividedbydeep

rootedvillagerivalry.Althoughtherurallandisbeingtransformedintoa
newlandscape,manyresidentsadheretothecustomsofruralcommunities.
AvillagecommunitystraditionalMayfestivitiesfeaturestronglyinthe
film.Theportrayaloftheruralprocession,however,islayeredwiththe
dominanceofthenonruralspace:twowomenintraditionalcostumewalk
throughthegreenfieldswithindustrialconstructionsintheimmediate
background;atractorpullsacartfulloftraditionallycostumedmenand
womenwavingaflagwithalocalcrestintoahorizonoftoweringindustrial
chimneysandmasts.181MarkandGiuseppe,twoofthefilmsprotagonists,
belongtolocaltraditionalclubswhichfeatureinthesefestivities,the
bachelorclubandthebrassbandclub.Afterportrayingthemensattempts
tofitintotheconventionalcommunities,thefilmendswiththeprotagonists

SeeAppendixI,A4.
SeeAppendixI,G1.

180
181

131

resigningfromtheirclubs:Markhasstartedcommutingtothecitytostudy
designandGiuseppehassignedupformilitaryserviceabroad.Both
protagonistshavechosentopursuealifestylefarfromtheruralcommunity,
indicatinganincipientdisintegrationoflongestablishedruralcommunity
structures.InprotagonistsSophiaandpriestDmmersimilarsignsofa
breakdownoftheruralcommunityareevident.Sophiaisasuccessful
villageoutsiderwhosebookssellbestatthebigindustrialhypermarket,
andDmmeristhefirstparishpriesttobesharedbetweenthetworival
villages.Althoughruralcommunitystructuresarestillinplace,thegradual
landscapetransformationnotonlyinvadestheruralspacebutalsoshows
visibleeffectsonthewayoflife.
ThewayoflifeinthesuburbiaofDieBlumederHausfrauishugely
shapedbycarculture.Oneoftheopeningsequencesofthefilmshowstwo
salesmeninacardrivingthrougharesidentialarea.182Theshotisnotfrom
withinthecarasinIchkennkeinenAlleinunterHeterosandHerrWichmann
vonderCDU(see1.1.)butfromoutsidethemovingcar.Thecamera
accompaniesthecarfromthefront:firstwithaframeofthewindscreenand
thebonnet,thenwithawiderframeoftheentirecar,thenbacktothe
tighterframe.Thisfrontalangleallowsaviewofthetwomenastheykeep

SeeAppendixI,A7.

182

132

turningtheirheadsfromrighttolefttolookattheareaastheydrive
throughit.Thearea,however,remainsbarelyvisibletothevieweras
almostthewholeframeisoccupiedbythecar.Thistightframingofthe
mencreatedbythefrontalcarwindowframeconveysasenseof
confinementandvisuallysuggeststhecarsdominance.Theindividuals
dependenceonthecarisbestexemplifiedinthesequenceswhichfollowthe
salesmenspubmeetings.Thecamerafollowsthementoalargeparking
spacefromwheretheyalldepartintheirindividualcars.Thefilmsfinal
shotisofthefivecarsdrivingfromthecarpark.183Thefilmestablishesthe
carnotonlyasawayofsuburbanlivingbutmoreoverasameansof
livelihoodinsuburbia.Thecar,however,alsoemphasisestheindividual
ratherthanthecommunity:eachhashisowncarandmovesinhisown
worldindependentoftheworldhedrivesthrough.
InDurchfahrtslandthefilmstitlealreadyimplicitlyreferstotheland
asaplacewherecarsprevail.Theverbdurchfahren,whichtranslatesas
passing/drivingthrough,isaddedontothenounlandtocreatea
compoundnounforthelandinbetween:alandwhichisonlyworth
passingthrough.Thelandslackofappealisfurtherestablishedinthe
openingcreditsofthefilmwithaquotationfromnineteenthcenturywriter

SeeAppendixI,A5.

183

133

JohannaSchopenhauer:DerWegzuLandevonBonnnachKln
unerachtetderschnenChausseeaufwelchermanihninwenigeralsvier
Stundenzurcklegtistunbeschreiblichdeundlangweilig.[Theland
routefromBonntoColognedespitethefineroadwhichallowsonetodo
thejourneyinlessthanfourhoursisindescribablybleakandboring.].The
quotationsuggeststhatthelandhaslongbeenaplaceofinbetween:aplace
betweentwocitiesthateveninthenineteenthcenturymerelyfunctionedas
alandtopassthrough.
AnalternativetothelandroutebetweenBonnandCologne,andone
usedmoreinSchopenhauerstime,isthewaterrouteprovidedbytheRiver
Rhine.InDurchfahrtslandtheRhinedoesmakeabriefappearancebutnotas
aruralfeature.Ittooisdepictedasathroughway,carryingcruiseshipsand
transportbargestootherdestinations.ThefilmshowsGuiseppeandhis
brassbrandonaRhinerivercruise.Theportrayaloftheriverhaslittle
resemblancetorurality:thegroupwaitsatthejettyagainstabackgroundof
toweringindustrialchimneysandatransportbargewithacargoofcoal
passesby.184Onceonthecruiseship,imagesofcontainerbargesratherthan
picturesquesceneryareseenthroughthewindows.Thefinalboatscene
symbolisestheriverasathroughway:thebrassbandissilhouettedbehind

SeeAppendixI,G2.

184

134

thesoiledboatwindowsandagainstthebackgroundofaredmarkerbuoy.
Theglassdirtiedbytherivertrafficandthechannelmarkerbearwitnessto
theriversindustrialusageasathoroughfare.
WriterSchopenhauerconsidersthelandtooboringforwords,
whereasfilmmakerSellresortstoaninventedwordDurchfahrtslandto
verballydescribethearea.Thefilmstitleispresentedinwhiteletters
withinablackinsertandunderlinedwiththesoundofcarsdrivingpast.
ThefilmthencutstoashotwhichvisuallyconveysSellsinvented
descriptionoftheland.Alandscapeimageofsnowcoveredfieldsanda
villageonthehorizonisdisruptedbyalargeroadrunningclosetothe
cameraacrosstheframetheauralsourceofthecarnoises.Colouredflags
hangingfromstringsattachedtowoodenmastslinetheroadsideand
extenditspresence.Thecameraremainsmotionlesswhilstthecarsrush
throughtheframe.Thelandaslittlemorethanathroughwayfortrafficis
maintainedinthefilmasarecurringvisualmotifinlandscapeimagery.
TheprotagonistSophiaandhercarbecomepartofthisleitmotif.The
filmshowsherdrivinghercaracrossstretchesofland:ratherthanrushing
throughtheframe,thecamerafollowsthemovementsofhercar.Hercaris
smallandshowndrivingalongsmallroads,parkedattheroadsideorin
frontofherhouse.Sophiaandherlittlegreencarareone.Ratherthan

135

passingthrough,Sophiaandhercarareheretostay.Sophiarepresentsthe
newlandscapeofsuburbia:sheisavillageoutsiderbutdoesnotthinkof
leaving;shewouldratherbuildanewhouseonruralfarminglandwitha
viewoftheurbanhorizon.
Thelandasaprojectionspacefordreamsisextensivelydepictedin
Durchfahrtsland.WhereasSophiaisseentakingmeasurementswithherfeet
forheridealimaginaryhouseontheruralfields,protagonistGiuseppe
yearnsforalandfarremovedfromsuburbanspace.Giuseppeisseen
visitingthesmallvillageofNebelschtzineasternGermanywithhisbrass
band.Giuseppecomparesthelandsruralaestheticstohisnativehomeof
Sicilyanddescribeshisvision:WennichhiereineArbeithtteundalles,
undmeineVereine,dann,keineFrage,wrdeichherziehen.[IfIhadwork
hereandeverything,andmyclubs,then,noquestion,Iwouldmovehere.].
InDmmerscasetheideallandisequallyfarremovedfromthe
suburbanfoothills.DmmersideallandistheruralSpanishcoastline
whereheoncelived.PaintingsonDmmerslivingroomwallbearwitness
totheMediterraneanruralland.Thefilmofferstwocloseupsofpaintings
depictingtheSpanishland:asmallpeninsulaamidstblueskiesandwater;a
smallpinkvillagechapel.Thelanddepictedisfreeofurbanintrusionand
humaninterface.Byrepresentingthelandwiththeaidofdecorative

136

paintings,thefilmenhancestheaspirationalqualityDmmerattachesto
Spanishrurality.ItisapilgrimagetotheSpanishruralcoastthatDmmer
organisesforhistwoparishvillageswhichturnsouttobeasuccessin
bridgingvillagerivalry.
YoungprotagonistMarkisequallyemotionallyattachedtoa
paintingdepictingruralspacehisowncreationoncanvas.Thefilmcuts
fromashotofthevillageanditsdominatingchurchsteepleatnightto
Markspainting:asmallvillagewithaprominentchurchsteepleinthe
moonlight.Sellseditingestablishesanimplicitconnectionbetweenthe
paintingandMarksvillage.AlthoughMarkisattachedtohiswork,heis
dissatisfiedwithit.SellsvisualassociationbetweenMarkspaintingand
hisownvillagecanbeextendedtoMarksfeelingstowardsbothhis
paintingandhisvillage:attachedbutdissatisfied.

BothDieBlumederHausfrauandDurchfahrtslandrepresentland

whichisneitherruralnorurban.Durchfahrtslandvisuallyportraysthe
fusionbetweentheadvancingurbananddisintegratingrural.InDieBlume
derHausfrauthislandinbetweenisrepresentedasapreplannedapartment
blocksuburbia.Thedevelopmentofsuburbanarchitectureandlifestyleis
alsoevidentinDurchfahrtsland.Thelackorlossofplaceandcommunity
identitythroughsuburbiafeaturesstronglyinbothfilms:Selloffersa

137

pictureofruralidentitydegeneration;Wesselyanimageofsuburban
identitydeficiency.WhereasprotagonistsinDurchfahrtslandseeknew
communitiesintheurbanorsuburbansphere,themainprotagonistsinDie
BlumederHausfraumaintainaclosecommunityofsalesmenoutsidethe
privatespheresofsuburbiainthepublicsphereofaquietcaf/pub.
Thelandinbetweenisfeaturedasalandofcarculture.InDieBlume
derHausfrauthesalesmendrivethroughsuburbiaintheircars,in
Durchfahrtsland,asthenamealreadyimplies,motorwaysandroadscriss
crossthelandmakingitalandofpassingtraffic.Whereasthesalesmenin
DieBlumederHausfrauaredependentonsuburbiaforaliving,thedesirefor
areturntoruralityisexpressedinDurchfahrtslandthroughprotagonists
holidaysandpaintings.

138

1.5.TheRuralRepresented:ConcludingNote

ChapterOnehasdemonstratedthattheruralismorethanacinematic
backdropthelandisanessentialpartofmycriticalinvestigationof
screenscape.Althoughthematicallythelandisaunitingelementofthe
documentarycinemamovementinquestion,stylisticallythefilmsfollow
differentroutes.Thechapterhasthusbroughtforwardascopeofcinematic
perspectivesontherural,which,however,shouldbeseenasbelongingtoa
largerfilmicefforttoexploretheruralspaceoftwentyfirstcentury
Germany.

IchkennkeinenAlleinunterHeterosandHerrWichmannvonderCDU

representthelandasavastperipheralterritorytheremotelandreflecting
theisolatedoutsiderstatusoftheprotagonistsaswellashintingatalackof
ruralcommunity.Insteadofgazinguponthelandfromaboveorfrom
outside,bothfilmmakerschoosetobewithinaspacewiththeprotagonists.
Thecameraaccompaniestheruralinhabitantwhilsthecolonisesthe
outspreadland,visuallyaswellasphysically.

DieBlutritterandFullMetalVillagebothtransformlandinto

landscape.Thisaesthetictransformationofthelandis,accordingto
Lefebrve,theresultofanautonomyofthelandfromthenarrative:the

139

landscapeasaselfdirectedaestheticspectacleofnature.Hollanderonthe
otherhandseesthetransformationoflandintocinematiclandscapeasa
visualbyproductofculturalcontinuity.

OutofEdekaandSchotterwieHeuexplorethesocialhabitatofthe

land:thevillage,oftenanintegralpartoflandscaperepresentation.In
SchotterwieHeuthevillageofGammesfeldbecomestheobjectofa
romanticisedviewtheuseofachildlikevillagemapandthe
establishmentofpictorialstasisofnatureandlandscapeunderlinethefilms
idealisedperspectiveofthevillage.ThevillageofEmpfingeninOutofEdeka
becomestheobjectofadaydreamtheSwabianlandtakesondifferent
historicalandnationalcharactersdependingonthefilmmakers
psychologicalagenda.

BothDieBlumederHausfrauandDurchfahrtslandofferanewkindof

land,onethatisneitherurbannorrural:suburbia.Representedaseitherthe
edgeofurbanity(DieBlumederHausfrau)ortheedgeofrurality
(Durchfahrtsland),bothfilmsdepictionofsuburbiahighlighttheescalating
dominanceofurbanityanditsconcomitantdrawbackswhiledisregarding
anypositiveaspects:thesuburbancommunityinDieBlumederHausfrau
lackscommunityidentity,thesuburbancommunityinDurchfahrtslandis
facedwithadisintegrationofidentity.

140

Thefilmsillustratearangeofreelgeographieswhichsharemany

similaritieswithrealgeographies.Theyrevealmorethanenvironmental
representation:thesedifferentcinematicperceptionsofferinsightintothe
waysinwhichruralresidentscohabitwiththeirenvironment.The
representationofnatureactsasamirrorofsociety,andlandscapescanbe
seenasproductsofthedominantculture,withitsvalues,meaningsand
symbols.185

Therepresentationoftheruralalsoprovidesinsightintothe

environmentalissuessocietiesarefacedwith.DeborahCarmichaelnoteson
this:Theportrayalofnatureandourculturalrelationshipstothe
environmentinfilmsignal()changesinecologicalthinking.186
Ecocriticismaimstoraiseawarenessoftheseunderlyingecologicalconcerns
andrevealtheethicalandaestheticdilemmasposedbytheenvironmental
crisis.187Althoughtheaimofthischapterwastounveiltheimportanceof
therurallandwithinthedocumentarydevelopmentresearchedinthis
thesisandexplorethecinematicrepresentationsoftherural,theanalysis
hassimultaneouslyshedlightonecocriticalnotionsofawareness:the
IainRobertsonandPennyRichards,Introduction,inStudyingCulturalLandscapes,ed.
byIainRobertsonandPennyRichards(London:Arnold,2003),pp.118(p.2).
186DeborahA.Carmichael,p.12
187CheryllGlotfeldy,WhatisEcocriticism?,ASLETheAssociationoftheStudyofLiterature
andEnvironment
http://www.asle.umn.edu/conf/other_conf/wla/1994/glotfelty.html[accessed6thMarch
2009].
185

141

colonisationoflandbycarculture(IchkennkeinenAlleinunterHeteros
andHerrWichmannvonderCDU),theurbanexpansionandinvasionofthe
village(FullMetalVillage),thedisintegrationofvillagerurality
(Durchfahrtsland)andthestandardisationofenvironment(DieBlumeder
Hausfrau).Althoughthefilmmakersmaydifferintheiraestheticchoices
fromtheidealshapingoflandtotheunshapingoflandthecreative
treatmentofthelandinbothapproachesraisesconcernsaboutthestateof
thelandinGermany.Thefilmmakershighlightthefragilityand
vulnerabilityofcontemporaryrurality.

142

ChapterTwo:TheRegionalDefamiliarised
2.0. TheRegionalDefamiliarised:IntroductoryNote

Althoughanestablishedword,theregionstillstrugglesforaconsensusof
definition.HistorianJoachimKuropkapointstothecomplexityofthe
terminology:

DaessichnichtnurumgeographischeMerkmalehandelnkann,

wennimmodernenSinnevoneinerRegiongesprochenwird.Das

heitnatrlichnicht,damannichtmitgeographisch

wissenschaftlichenMethodenRegionenabgrenzenknnte.

[Itcannotonlybeaquestionofgeographicalcharacteristicswhena

regionisspokenofinthemodernsense.Thisdoesnotmean,of

course,thatregionscannotbedifferentiatedbygeographical

scientificmethods.]188

Itisthistwofoldunderstandingoftheregionasaplaceboundtotangible
featuresontheonehand(e.g.topographies,demographics,linguistics)
and/orintangiblefeaturesontheotherhand(e.g.identities,sentiments,
values)whichmakesitdifficulttoreachaconsensusofdefinition.In

JoachimKuropka,ThesenzurregionalenIdentitt,inRegionundRegionalismus,ed.by
VolkerSchulz(Cloppenburg:Runge,1994),pp.1134(p.13).

188

143

addition,thetermisonethatcrossesmanydisciplineswiththeeffectthata
consensusinmeaninghasbecomealmostimpossible.Tocomplicatethe
matter,themeaningofregionmustalsobeconsideredaninterpretation,as
historianTomScottexplains:They[regions]exist()bothasarealityand
anidea,sustainedbytheaccumulatedweightofhistoryandtradition()
ratherthanneutraltopographicalentities.189Theregionremainsafluid
constructofrealitythatissubjecttoindividualreadings.Governmentsmay
applyboundariestoadministrativeregions,butthesemaydiffer
considerablyfromotherunderstandingsofborderlinesofthesameregions.
Theregion,asScottexplains,mayexpressanidentitywhichtranscends
theboundariesofindividualstatesjustasmuchasitgivesvoicetoloyalties
whichlieatamorelocallevel.190Infilmproductionterms,forexample,
Germanregionalfilmfundingfollowsthegovernmentalboundariesofthe
Bundeslnder,theGermanfederalstates(seeIntroduction).Inherresearch
intolanguageandregion,JoanBealemphasisesthesubjective
understandingoftheregion,whichcanresultindifferentregionsfrom
thosepoliticallydetermined:Thesenseofregionmustbefluid,covering

TomScott,RegionalIdentityandEconomicChange:theUpperRhine,14501600(Oxford:
ClarendonPress,1997),p.2.
190Scott,p.1.
189

144

whatevergeographicalareasareconsidereddistinctfromeachotherbythe
peoplelivinginthem.191

WhereasChapterOneexploredtherepresentationoftopographical

elements,ChapterTwowillconcentrateontheillustrationofthesocial
dimensionswhichconstitutearegion.

DasAufwachsenamgleichenGeburts,SchulundWohnort,die
KommunikationindemselbenDialekt,gemeinsamesHandelnin
weltlichenundkirchlichenVereinen,dasGeborgenseininder
KirchengemeindeoderinderselbenReligionsgemeinschaften,das
VerfolgengemeinsamerInteressenimwirtschaftlichenBereich,all
daskannberdenverwandtschaftlichenUmkreishinaus
GemeinschaftsbewutseinundBildungsgefhle,Solidarittund
Heimatgefhlentstehenlassen,allesKomponenteneinerregionalen
Identitt.192

[Growingupinthesameplacewhereoneisborn,goestoschooland
lives,communicatinginthesamedialect,takingparttogetherin
secularandchurchclubs,beingacceptedinthechurchcongregation
orinthesamereligiouscommunities,pursuingcommoninterestsin
theeconomicfield,allthiscancreatebeyondtheradiusofrelativesa

JoanBeal,LanguageandRegion(London&NewYork:Routledge,2006),p.4.
KarlFilser,DimensionenregionalerIdentitt,inRegionaleIdentittimvereinten
Deutschland.ChanceundGefahr,ed.byBerndMtterandUweUffelmann(Weinheim:
DeutscherStudienVerlag,1996),pp.253256(p.254).

191
192

145

feelingofcommunityandculturalfeeling,solidarityandsenseof
belonging,allcomponentsofaregionalidentity.]

AllcasestudyfilmstakeasimilarapproachtoexploringtheGerman
region.Whereasproductionislinkedtoregionalinstitutions,thecinematic
perceptionsarenotofregionalorigin:withfewexceptionsthefilmmakers
arenotfromtheregiontheychoosetoportray.Thefilmicviewofthe
regionalisthereforenotaviewfromwithinbutaviewfromoutside.

Thisoutsideandinsidedichotomyhasbeenadominantfeaturein

ethnographicfilmmaking,arisingfromtheuseoffilmforanthropological
research/sciencepurposes.Althoughitsusewassolelymeanttoserve
observationandrecordingpurposes,inactualfactthecameraprovided
ethnographicfilmmakerswithamuchmorepowerfultool.Particularlyin
earlycinemawhichsoughttocapturetheinhabitantsandculturesof
uncharteredgeographicalterritories,thispowerresultedinvisualOthering.
It[themovingimage]lentindexicalcredibilitytoanthropology,armingit
withvisualevidencenotonlyoftheexistenceofothersbutalsooftheir
actuallyexistingotherness.193Theethnographicsubjectfellvictimtoa
definitionthatwasbasedonitsrelationandoppositiontothefamiliar

EllaShohatandRobertStam,TheImperialImaginary,TheAnthropologyofMedia:A
Reader,ed.byKellyAskewandRichardR.Wilk(Oxford:Blackwell,2002),pp.117147
(p.106).
193

146

Westernworld.Theotheringofthesubjectthroughtheethnographicgaze
oftenresultedinacinematicspectacle.
Theethnographiccharacteristicsofthefilmsunderdiscussionhave
beenbrieflynotedinafewjournalisticreviews.Filmdiensthasnotedthat
Durchfahrtslandisdominatedbyanethnographicdemeanour:Als
Langzeitstudieangelegt,nhertsichderFilmmiteinereherethnografisch
alssachlichmotivierteBeobachtungshaltungdenRitualendieserdrflichen
Parallelwelt.[Designedasalongtermstudy,thefilmwithitsethnographic
ratherthanobjectivemodeofobservationapproachestheritualsofthis
ruralparallelworld.].194ThenationalnewspaperSddeutscheZeitung
identifiesanethnographicgazeinIchkennkeinenAlleinunterHeteros:
HickrichtetseinenethnografischenBlick,derschonungslosist,aber
immerauchliebevoll,diesmalaufdasAlltagslebenvonSchwulen
unterschiedlichenAltersabseitsdergroenStdte.[ThistimeHickdirects
hisethnographicgaze,whichisrelentlessbutalwayskind,atthedailylife
ofgaysofdifferentagesoutsidethebigcities.].195Thecityinformationguide
magazineSzeneHamburgnotesthatFullMetalVillageisinactualfactan
ethnographicstudy:FullMetalVillageisteineethnografischeStudie.Die

AlexandraWach,Durchfahrtsland,filmdienst,19(2005).
Thisarticlecanbeviewedathttp://www.filmportal.de[accessed6thMarch2009].
195Presseheft:IchkennKeinenAlleinunterHeteros,
www.galeriaalaska.de/content/2_portfolio/alb/presse_alb.doc[accessed14thFebruary2003].
194

147

wiederumistsounterhaltsamwieeinSpielfilm.[FullMetalVillageisan
ethnographicstudy.Butonethatisasentertainingasafeaturefilm.].196

ParticipantObservationisoneofthemostbasicethnographic

researchmethods,197andinvolvestheethnographerobservingaswellas
participatingwithhissubjectmatters.Thedichotomyisalsorelevanttothe
documentaryfilmmakersunderdiscussion,whohaveengagedinvarying
degreesofobservingandparticipating.Someofthefilmmakersoptto
observesolelyfrombehindthecamera,reducingtheirpresencetoa
minimum(DieBlumederHausfrau,HerrWichmannvonderCDU),others
havedefinedrolesofinterviewerandinterviewee(FullMetalVillage,Ich
kennkeinenAlleinunterHeteros)ornarratorandnarrated(Durchfahrtsland),
andothersagainprefertoparticipatetotheextentthattheythemselves
becomethefocusofsomeonscreenattention(OutofEdeka,Schotterwie
Heu).
Althoughthesefilmsarecontemporaryinnatureandofferanovel
understandingoftheGermanregion,theirrepresentationsoftheregional
subjectshowsimilaritieswithearlierethnographicfilmmakingconventions.
EarlyGermanethnographywasverymuchapartofcolonialfilmmaking.

Presseheft:FullMetalVillage,
http://www.flyingmoon.com/de/filme_details.php?film_id=13[accessed6thMarch2009].
197WayneFife,DoingFieldwork:EthnographicMethodsforResearchinDevelopingCountriesand
Beyond(NewYork&Hampshire:PalgraveMacmillan,2005),p.71.
196

148

Theethnographicdiscoursewasoneofracialandethnicunderstandings
andwasanchoredinphysicalanthropology.Thefilmswerestrongly
attachedtosystemsofknowledgeofthetimesuchasanthropometry,
craniologyandracetheoryallareasthathavelongseentheirscientific
demise.Hybridgenres,suchasthedocumentaireromance,mergedthe
ethnographicgazewiththefantasticnarrative,butneverthelessthesefilms
cannotbeseenoutsideofacolonialdiscourse.
Aswiththecontemporarydocumentariesunderdiscussion,the
ethnographicdialogueoveracenturyagowasengagedinfilmicOthering.
WhereasthedividebetweenselfandOtherwasoncedeterminedby
nationalborders,thischapterwillshedlightonanewcinematic
interpretationoftheregionthatreinventsthistraditionalconceptwithin
nationalboundaries.Despitetherebeingashiftinsubject,fromnon
Westerntononregional,thecinematicdevicesemployedshowstartling
similarities.AssenkaOksiloffsresearchintoearlyGermancinemasfirst
encounterwithnonWesternbodies,PicturingthePrimitive:VisualCulture,
Ethnography,andEarlyGermanCinema198offersausefulunderstandingof
thisearlycinematicmovementwhichwillprovideabasisforthischapter.
Theanalysesofthecasestudyfilmswilldrawuponearlyfilmic

AssenkaOksiloff,PicturingthePrimitive:VisualCulture,Ethnography,andEarlyGerman
Cinema(NewYork:PalgraveMacmillan,2001).

198

149

conventionsofethnographytoexaminethewaysinwhichtheregional
inhabitantisexploredasanembodimentofethnographicOtherness.As
notedintheIntroduction,thisframeworkmustbeusedwithrestrictionsin
mind.OksiloffsanalysisofearlyGermancinemaisbasedonan
ethnographicframework,whichthisthesisutilizes.Iamfullyaware,
however,ofthecolonialcontextofearlyGermanfilms,andthereforedonot
applyOksiloffstheoreticalapproachunreservedlytomycasestudies.

150

2.1.

TheRegionalDefamiliarised:ThePrimitiveOther

IchkennkeinenAlleinunterHeteros(JochenHick,2003)

SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

BothIchkennkeinenAlleinunterHeterosandSchotterwieHeuarefilms
aboutregionalhinterlands.Thesubjectmatterofthefilmsalreadyexploits
theclichdperceptionofthebackcountry:bothfilmsrepresentindividuals
whoare(un)intentionallyunaware.IchkennkeinenAlleinunterHeteros
revealsignoranceabouthomosexualityinsociety;SchotterwieHeuportrays
atechnologicallyuninformedbank.Itisonlythroughtheawarenessofthe
filmmakersandtheviewersthatthisunawarenessbecomesapparent.
AssenkaOksiloffpointstoasimilarperceptionsurroundingthesubjectof
theethnographicgaze:Theprimitivebodyisplacedinoppositiontothe
civilizedone,apointofreferenceinthedualityofselfandOther.199
AlthoughOksiloffsprimitivebodyreferstothenonWesternbody,this
frameworkcanbeborrowedfortheregionalbodyoftheGerman
hinterland.Likefilmmakersofearlyfilmsaboutthecolonies,filmmakers
BaierandKhler(SchotterwieHeu)andHick(IchkennkeinenAlleinunter
Heteros)travelintotheregionsasoutsiderstocapturetheirsubjectson

Oksiloff,p.2.

199

151

camera.HicktravelstheadjoiningregionsofBadenandSwabia,whereas
BaierandKhlertakeuptemporaryresidenceinavillageinFranconia.
Regionalsubjectmattersbecometheprimitivebodywhichthefilm
makers/viewerscolonisewiththeirgaze.Thecameraworkofthefilm
makersfunctionsasthecivilizedonetowhichtheprimitivebodyis
opposed.However,asCeliaApplegatepointsoutinherfindingsabout
Germanregionalidentity:It[thepersistenceofPflzeridentity,orforthat
matter,Bavarian,Saxon,Berliner,orPomeranianidentity]bespeaks
quaintnessratherthanconflict,nostalgicbackwardnessratherthan
modernity.200

Languagebecomesthefirstdividebetweenfilmmaker/viewerand

regionalsubjects.Strongdialectsformtheprimarydivisionbetweenthe
filmmakerandhisaudienceontheonehand,andtheregionontheother.
Inaddition,thelanguagespokeninthefilmprovidesanimmediate
indicationofplace;associallinguistWernerKallmeyerstates:Spracheist
[erst]einHerkunftindikator.[Speechisfirstlyanindicatoroforigin.].201
Theforemostindicatorofanyregionalidentityisacommondialect.
Language,asgeographerLyndhurstCollinsexplains,isgenerallyviewed

CeliaApplegate,ANationofProvincials:TheGermanIdeaofHeimat(Berkeley:University
ofCaliforniaPress1990),p.3.
201WernerKallmayerquotedinHeikoHausendorf,ZugehrigkeitdurchSprache(Tbingen:
MaxNiemeyerVerlag,2000),p.36.
200

152

asthesupremeexpressivecomponentofidentity.202SchotterwieHeuresorts
toGermansubtitlestoovercomethelanguagebarriercreatedbetweenon
screenGermansandanoffscreenGermanaudience.Theinterestin
GermandialectonscreenispartofawiderdevelopmentinGerman
cinema.203Intherunuptothe2007Berlinale,thepresidentoftheGerman
FilmAcademy,GnterRohrbach,encouragedfilmmakersnottoshyaway
fromGermandialectsonscreen:Eswreschade,wennwirdieVielfaltder
Dialekteverlierenwrden.[Itwouldbeapityifweweretolosethevariety
ofdialects.].204

InIchkennkeinenAlleinunterHeterosfilmmakerHicksroleis

limitedtotheoffscreen.HisstandardGermanasinterviewerandnarrator
contrastswiththeonscreenregionaldialects,extendingOksiloffsdivide
betweenprimitivebodyandcivilizedbody,toanaudiolevel.Hicks
standardGermanfunctionsasthecivilizedvoiceincontrasttotheregional
dialectwhichadoptstheroleofaprimitivevoice.InSchotterwieHeuthe

LyndhurstCollins,TheDynamicsofRegionalIdentityinaFrontierRegion:TheCaseof
Alsace,JournalofBorderlandsStudies13(1998),2955(p.34).
203AprimeexampleisthefilmWerfrherstirbt,istlngertot(MarcusH.Rosenmller.2006.
[GraveDecisions]),afictionfilmshotinBavariandialect,whichreceivedanumberof
awardsattheGermanFilmPrize2007,includingoneforBestDirectionandforBest
FeatureFilmRunnerUp.
204GnterRohrbachquotedinDeutschePresseAgentur(dpa),Filmakademie:Mehr
Schsischbitte,FocusOnline(31March,2007)
http://www.focus.de/kultur/kino_tv/filmakademie_aid_52261.html.[accessed6March
2009].
202

153

roleoffilmmakersBaierandKhlerislikewiselimitedtobehindthe
camera.ThevoicesofBaierandKhlerremainlargelyinaudible.Thefilm
avoidsdirectinterviewingbutallowsthesubjectstimeandspacetonarrate.
Bysupplyingsubtitlesinsteadofvoiceovernarration,thefilmprovidesthe
subjectswithanimplicitindependentvoiceandgivestheregionaldialect
itsownmeanstobecomeacivilizedvoice.

BothinSchotterwieHeuandinIchkennkeinenAlleinunterHeteros

protagonistsdisplayaprimitivenessintheircommunicationand
interactionwiththecamera.Hickintroduceshisprotagonistsinasequence
ofsuccessiveseparateshots.Hisvoiceoveraccompaniestheimageswitha
shortintroductionforeachprotagonist.Thesubjectsremaincompletely
silentandextremelystill.Theprotagonistssubmittheirbodiestothe
camerasgaze,thusplacingthemselvesondisplaylikeobjectsof
attraction.205Theonebyoneintroductionoftheprotagonistsbytheeverso
seriousvoiceoverresemblesthatofatelevisionshow.Theintroduction
(SchwarzwlderUweist38,magMilitrklamottenundhatnochnieeinMdchen
mitnachHausegebracht.[BllckForestUweis38,likesmilitaryclothesandhas
neverbroughtagirlhome.])iscuttotheformatofablinddateprogramme.

Thelightheartedmusicandthecharactersstrongartificialposesinfrontof
thecameraaddtotheeffect.Hicksvoiceofauthorityusesthe
SeeAppendixI,E6.

205

154

documentaryschemaofseriousnesstomakefunofitandfollowsthe
dictumdescribedbyPeterZimmermann:DasKomischsteam
DokumentarfilmistderBierernst.206PaulWarddefinescinematicparodyas
preciselythat:Filmsthatmaketheirmainaimtosatirisethetexturesand
conventionsofcertaintypesofdocumentariesanddocumentary
practices.207InthissequenceHicksatirisesthevoiceofGodnarrator
commonlyusedinexpositoryfilms.ArthurKoestlerstheoryofcontext
deviationcanalsobeappliedtothisscene.Theviewerjumpsfroma
soundtrackandavoiceoverthatsignalsblinddatetelevisionintoafilm
formatthatcallsoutforseriousness.

Thisstaticsubmissivebehaviouroftheprotagonistsbodiesis

comparabletothepositioningofobjectsoftheethnographicgaze.The
ethnographicgazeoftheanthropometrictraditionofearlyethnographic
researchfilmscausedthefilmssubjectstosubmittothecameras
investigativemanner.208Thedominanceofthecameraandtheauthorityof
Hicksvoiceoverhissubjectsarebothpatent.

206

PeterZimmermannSpttischerBlickcontraLeidensmiene.DieSchwierigkeitdes

DokumentarfilmsmitIronieundSatire,inStrategiederBlickeZurModellierungvon
WirklichkeitinDokumentarfilmundReportage,ed.byDieterErtelandPeterZimmermann
(Konstanz:UniversittsverlagKonstanz,1996),pp.5163(p.60).
207Ward,p.67.
208Oksiloff,p.78.

155

InSchotterwieHeuthecameraexposestheprotagonistsnave

unawarenessofthepowerofthecamera.AfterVogtsappearanceon
nationaltelevision,hisvillagebankbecomesthevictimofarobbery.His
willingnesstoparticipateinthedocumentaryisconsequentlysurprising.
Duringfilming,Vogtwelcomesafurthercamera,thatfromtheregional
televisionstation.ThetelevisionteamareengrossedwithVogt.Inthebank
Vogtturnshisattentiontoasmallmanualletterweightwhilethetelevision
crewspreadouttheirequipment.209Heholdsuptheweight(Dieist
mindestens60Jahrealt!Oderlter.[Thisisatleast60yearsold!Maybe
more.])andadmiresit.BehindVogtthetelevisionlightsshinebrightlyon
himwhilethecrewmembersgettogripswiththeirequipment.Theshot
embodiesVogtsdialecticrelationshipwiththecamera:Vogthasbecomea
mediaattractionbyrejectingmodernity.Thetelevisioncameraisoutto
captureVogt,theprimitive,inallhistechnologicalinnocence.Likethe
subjectsobservedbyethnographicfilmmakersinearlycinema,Vogtisnot
mediaconscious.Theencounterbetweenprimitivemanandadvanced
technologyformedthebasisformuchofearlyGermanethnographicfilm
making.210Thisfascinationthattransformstheinnocentintoanobjectof
attractionwassharedbymanyearlyethnographicfilmmakers.LikeVogt

SeeAppendixI,C8.
Oksiloff,p.45.

209
210

156

inthebank,thenativeofthecoloniesprovidedawayoflifewhich
modernityhadnotyetreached.AsOksiloffexplains:Thescreenedbodyof
thenativefiguredasalostunityandprovidedavanishingpointfora
fantasyofcoherenceandwholeness.211

Itisduringthesetelevisionrecordingswithbothcamerasdirected

athimthatVogtsnaivettowardsthemediaisconfirmed.Outofearshot
fromthetelevisioncrew,Vogtturnstowardsthedocumentarycameratolet
thefilmmakersknowexactlywhathethinksabouttheothercameraman.
VogtsconfidenceinBaierandKhlerseemstoallowhimtoignorethe
presenceofthedocumentarycamera.InanothersceneVogtcyclesdown
thepathtohiscowsasdirectedbythetelevisioncrew.Aftercyclingdown
thepath,Vogtturnstothetelevisioncameratoask:Kannesweitergehen?
[ShallIgoon?].Thecameracrewstartlaughingathisinexperienceofthe
camera.Theuseofhumourandslapstickwasnotuncommoninearly
ethnographicfilmOksiloffmentionstheeffectofslapstickinher
investigationintoearlyGermanethnographyfilm.Earlyfilmsachieved
comiceffectsbyexposingbehindthescenesfootageor,asOksiloffputsit,
intheeagernesstobareall.212ThefirstbanksceneinSchotterwieHeu
bearswitnesstothefilmmakerscandidapproachwhichatthesametime

Oksiloff,p.6.
Oksiloff,p.83.

211
212

157

callsforaroundoflaughteronscreenaswellasoffscreen.213Theshot
showsVogtandanelderlycustomerchattingoverthebankcounter:the
mediumshotcapturesVogtfromthefrontandtheelderlyladyfrom
behind.Theconversationevolvesaroundthefilmcrew:Emma,theelderly
customer,expressesherwishtohidefromthedocumentarycamera:Ichbin
dochgesternwiederheim!()Dahabensiedochfotografiert.[Iwent
homeagainyesterday!(...)Theywerephotographingagain.].Emmas
unawarenessofthecamerabehindherallowsVogttoglanceintothe
cameraandsay:Undheutefotografierensieauchwieder.[Andtoday
theyrephotographingagain.].Emmaquicklyrespondsbyannouncingher
immediatedeparture:Danngehichvorher.[ThenIllgobefore.].Atthe
sametime,anotherfemalevoiceisheard,thatofoneofthefilmmakers
frombehindthecamera:Wirsindschonda![Werealreadyhere!].The
elderlywomanspinsaroundtoidentifythesourceofthevoice,thereby
lookingunwittinglystraightintothecamera.EmmaandVogtburstout
laughing.Onceagain,itistheprotagonistslackofknowledgewhich
providesthesourceofthecomical.DespiteVogtprovinginthisscenethat
heismediaconscious,hesimultaneouslypointstohistechnological

SeeAppendixI,C5.

213

158

innocenceonceagainbyreferringtothecamerasfilmingasfotografieren
[photographing].

Theprotagonistsnaveunawarenessofthemediaisnotonlytobe

foundintheoldergenerationofVogtandEmma.Thefilmshowsfootageof
ayoungGammesfeldfiremanasaguestonatelevisionshow.Theshot
showsMarkus,thefireman,sittinginprofileinhislivingroomtotheright
oftheframewhereasthetelevisionscreenisseentotheleft.Thescreencuts
fromthetelevisionpresenter,wellknownJrgenvonderLippe,toa
mediumshotofMarkussittinginthetelevisionstudio.Theprogrammeis
settoaninterviewformat.

VonderLippe:WasistjetztmitdenFrauen?[Whataboutwomen?]
Markus:Ja,unddiehtteichgerne![Yes,Iwouldlikethem!]
Roarsofaudiencelaughter.
VonderLippe:AlsFeuerwehr?[Asfirebrigade?]
Markus:AlsFeuerwehrfrauen.Erstensbraucheichwiesagtman?
Nachwuchs.DahabeichauchSchwierigkeiten.[Asfirewomen.First
Ineed..whatdoyousay?Newblood.214Ivegotproblemstheretoo.]
Furtherroundsofaudiencelaughter.

LaughterisgeneratedbythedoubleentendreofNachwuchs,whichmeansbothnew
bloodandoffspring.

214

159

MarkusanswerscanbeunderstoodontwolevelsalthoughMarkusis
clearlyreferringtothevillagefirebrigade,theaudiencepickuponthe
ambiguityoftheanswerswhichsuggestshecouldalsobetalkingabouthis
personallovelife.Markusremainsseriousonthetelevisionscreenmaking
theviewerwonderifhehasrealisedtheambiguityofhisanswers.The
televisionprogrammeimplicitlyridiculeshisprimitivestatementsby
cuttingtoashotoftheaudienceclappingandlaughingatMarkus.Like
Vogt,Markusisoblivioustothepowerofthecamera.

ThefilmsportrayFranconia(SchotterwieHeu)aswellasBadenand

Swabia(IchkennkeinenAlleinunterHeteros)asplacesoftraditionand
customs.Likeethnographicfilmmakingwhichtookupthefocusupon
livingculture,whichincludestherecordingofeverydaylife,practices,
andrites,215bothfilmsportraylivingcultureofreligiousimportance.
SchotterwieHeuoffersaninsightintoatraditionalweddingfromwedding
evepartytoweddingday.IchkennkeinenAlleinunterHeteros
accompaniesprotagoniststochurchmeetingsandmass.Theweddingand
itsprecelebrationsaredepictedbyscenesofritual:atruckemptyingthe
traditionaldebrisattheweddingeveparty;thegroomsmotherexplaining
theidealmoonphaseformarriage;childrencollectingmoneyfromthe

Oksiloff,p.61.

215

160

weddingguestsatthechurchdoor.WhereasSchotterwieHeufocusesonthe
regionalandesotericritualsofthereligiousevent,IchkennkeinenAllein
unterHeterosconcentratesontheroleofreligionandchurch:progay
Catholicmeetings,antigayreligiousdemonstrations,churchmassand
churchchoir.Personalreligiousbelongingsbearwitnesstotheprotagonists
religiousroots:Hartmuthasacrucifixpicturebesidehisbed,Ericahasa
crucifixhanginginherlivingroom,Stefanisseenwearinganaltarboyrobe
inachildhoodpicture.HickemphasizestheCatholicismoftheregionby
includingshotsofpublicreligiousiconography:aroadsidechapel,a
roadsidecrucifix.Bothfilmsillustrateareligiousdimensiontotheregion.

Regionalfestivitiesarecentraltobothfilms.InSchotterwieHeuitis

thetraditionalregionalfestivalofMuswieseintheFranconiantownof
Musdorf(DasistdasFestbeiunsinderGegend.[Thatsthelocalfestival
inourarea.]).Thecentralstatusofthefairtotheregionisaccentuatedby
thefilmmakersediting.ThefilmcutstodifferentGammesfeldvillagers
discussingtheupcomingMuswiese.Thetopicisnotpromptedbythefilm
makersbutisanintegralpartofconversations.Thepoolingofthese
conversationsinsubsequentscenesconveystheregionalimportanceofthe
fair.Similarly,attheMuswiesethefilmmovesfromonevillagertoanother,
thusagainillustratingthesignificantstatusthefestivalcarriesasaregional

161

hub.Inlinewiththefilmssubjectmatter,regionalprogayparadesbecome
theregionalhubfortheprotagonistsofIchkennkeinenAlleinunter
Heteros.ThefilmfollowsStefantotheChristopherStreetDayParadein
RavensburgandEricaandRichardtotheChristopherStreetDayParadein
Stuttgart.Allthreebecomepartofthefestivities:Stefandrivesoneofthe
paradetrucks;EricacarriesabannerandRichardispulledintotheparade
byparadeparticipants.WhereastheregionalfestivalinSchotterwieHeuis
steepedintradition,theregionalcelebrationsinIchkennkeinenAllein
unterHetersarenoveleventsthathaverecentlycometotheregionaspartof
aglobalphenomenon.Bothfilms,however,portraytheeventsas
extraordinary.TheCSDparadesoffereccentriccostumesandmakeup:
Japanesegeishas,NativeAmericans,sailors,cleaners,Braziliandancers,
nunsetc.ThecolourfulcostumesoftheCSDparades,however,seemless
peculiartotheviewerthantheindividualsthedocumentarycamera
captures.TheobjectofattractionofHickscameraisadifferentgroupof
CSDparticipants:theparadeopposition.Apasserbystartsshouting
angrilyatthecamera:Diesindnichthomosexuell,diesindwahnsinnig!
()Dasistjetztblodreckig![Theyrenothomosexual,theyrecrazy!()
Itsnothingbutfilth!].Anotherpasserbystartscryinginfrontofthe
camerawhentalkingaboutthereligiousrepentanceofhomosexuals.A

162

religiousantidemonstrationgroupofwomenwithbannersgetscaughtup
inincoherentarguments.Thebannersedgeskeepdroppingintotheclose
upsofthewomensfaces,literallyaswellasmetaphoricallynarrowingtheir
view.TheemotionalinstabilityandspeciousargumentsoftheseCSD
objectorsremoveanycredibilitybutarepartofaportrayalofprimitive
voices.

Thefilmmakersunderlinethenarrowoutlookfoundintheregions

theyportray.DuringfilminginGammesfeldin2001,BaierandKhler
recordthevillagersreactionto9/11.Theshopassistantandthecustomer
expressuncertaintyaboutthedayoftheevents.

Shopassistant:DaswaramDienstag,gell?
[ItwasTuesday,wasntit?]
Customer:Wannwares?Vorgestern,nachmittags?
[Whenwasit?Thedaybeforeyesterday,intheafternoon?]

Thecustomerthenswiftlymovesontoaconversationaboutbread.The
eventhasclearlynotmadeanyimpactonthevillagers.Theshopowner
evenstatesthisdirectlyintothecamera:DasganzeGeschehenistjasoweit
weg,dabetriffteseinennichtsodirekt.[Thewholethingisjustsofar
away,itdoesntaffectussodirectly.].Thefollowingsceneunderlinesthis
limitedpointofview.Alowangleshotcapturesatableinthevillagepub

163

wherefivevillagerssitinsilencewiththeirbeers.Thesilenceallowsthe
diegeticpubmusictobeheard:UdoJrgensIchwarnochniemalsinNew
York[IveneverbeentoNewYork].Thesongswellknownlyrics
seeminglyreflecttheshopownersprecedinginsularcomment.Theway
thevillagersarepositionedtowardsthecameraechoesthis.Theyareall
sittingliterallyinwards,theirbackstothecamera,facingonlyeachother.A
bowlerhat,typicaloftheregionofBavaria,hangsfromoneofthechairs,
offeringametaphoricalindicatoroftheregionsdominanceinthiscircleof
individuals.

InIchkennkeinenAlleinunterHeterostheprotagonistsaremore

willingtotraveloutsidetheregion:HartmuttoThailand,UwetoBerlinand
RichardtoZurich.Thesejourneysaresolelymotivatedbysexualdesires
whiletheregionremainstheplaceoffriendsandfamily(Uwe:Istman
auchwiederfrohnachHausezukommen()manhatjaauchhier
BekannteundFreundeskreis.[Onesalwayshappytocomehomeagain
()onesfamilyandfriendsarehere.]).AscenewithHartmutatthelocal
puboffersindicatorsofadominantsenseofregionalbelonging.Thescene
openswithahighangleovertheshouldershotofHartmutsbowloffood.
ThebowlcontainsMaultaschenadishtypicaloftheregionofSwabia.
WhilstHartmutisinconversationwiththepubownerabouthistripsto

164

Thailand,thefilmmomentarilycutstoacloseupofacalendarhangingon
thepubswall.Apartfromrevealingthedate,thepageoffersaphrase:Das
verborgeneallenReisensistes,Heimwehzuhaben.[Hiddeninalljourneys
ishomesickness.].ThefilmconnectsHartmutsvoiceoverwiththecloseup
ofthephrase,thusindirectlycommentingonHartmutsattachmenttothe
region.Hartmuthimselfexpresseshisregionalbelongingearlieroninthe
film:IchwollteinderGesellschaftimLiederkranz,imAlbvereinals
normalerBrgerangesehenwerden.[Iwantedtobeseeninsocietyinthe
localchoir,inthemountaineerclubasanormalcitizen.].Hartmuts
definitionofsocietyasbasedonregionalsocialstructuresbearswitnessto
hisstronglyregionaloutlook.

Itisthehomophobicandhomoignorantindividualsoftheregion

thatshareamoreinsularview.Hickinterviewsawiderangeofindividuals
abouttheirunderstandingofhomosexuals,withasimilarresponse:Ich
kennkeinen.[Idontknowany.].Inasceneatachurchmeetingabout
homosexuals,Hickasksthepriestwhetherhehaseverencounteredanygay
individuals.Thequestionisrepeatedinsimilarwordsthreetimes,and
threetimestheanswerremainsthesame.Hickslongquestionstothepriest
seemsophisticatedincontrasttothepriestsrepetitivebriefanswers.Hick
editsthequestionsandanswerstocreateaseeminglyconsecutiveinterview

165

toenhancethepotencyofthepriestsanswer.Hickemploysthesame
cinematictoolinafurtherscenetothesameeffect.AtthebeachinThailand
Hartmutstwofriendsarequestionedabouttheirpreviousexperiencesof
homosexuality.Hickstrategicallyeditsthesimilarresponsesintoone
seeminglyconsecutiveanswer.Theanswersofthetworespondentscollate
intoonerepetitivereply:

DahabeichauchkeineSchwulenoderLesbenkennengelernt.
[Ididntgettoknowanygaysorlesbiansthereeither.]
IchkennindemOrtkeinenSchwulen.
[Idontknowanygaysintheplace.]
IchkennberhauptkeinenSchwulen.
[Idontknowanygaysatall.]
Kennichkeinen.
[Dontknowany.]
Nochnieeinenkennengelernt.
[Nevermetone.]

Therhythmicmonotonousdialoguenotonlyemphasiseshomoignorance
butadditionallyexposesasimplicityoflanguageandspeech.Onceagain,
asaresultofeditingthesubjectisdepictedastheprimitive.

Althoughbothfilmsillustratetheinsularityofaregioninsomeform,
theyalsoportrayacoexistencebetweenthenarrowmindedandthosethey

166

areprejudicedagainst.InIchkennkeinenAlleinunterHeteroshomo
ignorantsareseencoexistingwithhomosexuals:Hartmutshomoignorant
friendsaccompanyhimonholidaytoThailand;Stefanremainstheforester
inhishomophobicvillage.InSchotterwieHeuvillagerswelcomenon
villagers:thefilmmakers.Thecameraisapproachedonnumerous
occasionsbyvillagerswantingtomakepersonalcontactwiththefilm
makers.Thepresenceofthetwoyoungfemalefilmmakersinthevillage,
eveniftheyarethereforprofessionalreasons,attractsmaleattention
especially.Theyareinvitedforcoffee,totheregionalfestivalandevenona
datewhilstthecameraisrunning.Althoughthetwofilmmakers
participateinthesedialogues,theyneverphysicallyentertheframeofthe
shot.Thecommentofavillagerpassingbythecameraonhisbicycle
highlightsthepersonalclosenessthevillagerssensetowardsthetwofemale
nonvillagers:Ichglaube,ihrgehrtlangsamzuGammesfeld,ihrzwei.[I
thinkyoutwoarebeginningtobelongtoGammesfeld.].
IchkennkeinenAlleinunterHeterosaswellasSchotterwieHeu
portraytheregionasaplaceoftheprimitiveandtheinsular.Thefilmsat
timesresemblethecinematicrelationshipbetweenearlyethnographicfilm
makersandtheircolonialsubjectmatters.Theultimateimageof
primitivenessisdisplayedinIchkennkeinenAlleinunterHeteros.Thefilm

167

offersextremecloseupsoftwohomoignorantfemalespeelingbananasto
cuttoextremecloseupsoftheirmouthseatingthebananas.Thefilm
continueswithacloseupofthewomenchewing.Apartfromthesexual
connotation,thevisualdeconstructionoftheirbodyandtheemphasison
theprimalactofconsumptionresultsinanimageofzoomorphism.Thede
anthropomorphisationofthehumanbodyisalsofoundinearlyGerman
colonialcinema.Portrayingthenativeintermsthatsuggesthewaslittle
morethanabeingoftheanimalworld,waswidespreadintheWeimar
adventurefilms.216

However,Hickalsoinvertstheimageoftheprimitiveinsular

regioninthefinalsceneofthefilm.ProtagonistUwedisplaysamagazine
articleabouthomosexualanimalstothecamera.Heseemsexcitedaboutthe
revelationsthearticlepresents:DasliegteinfachinderNatur.Dasistein
Bericht,denwrdeichjedemmalempfehlenzulesenunddanachhat
bestimmtmancherdarbereineandereEinstellung.[Itsjustpartofnature.
ThatsareportIwouldrecommendeveryonetoreadandafterwardssome
wouldhaveadifferentattitude.].HickgivesUwesrecommendationspecial
importancebymakingitthefinalstatementofthefilm.Byplacingthe
humanconditionintoawiderevolutionarycontext,Uweexposeshis

Oksiloff,p.80.

216

168

sophisticatedknowledgeratherthanhisprimitiveness.Hickendsby
overturningthefilmsinitialandattimesmockingportrayaloftheregional
primitive.Butatthesametimeitistherealprimitive,theuncivilised
animalworld,thatholdstherealconclusiontoHicksfilm,particularly
whenoneconsidersthefilmsopeningscene.Thefilmopenswitha
mediumshotofanelderlymansittinginapubexplaininghisviewson
homosexuality:DerHerrGott()schufeinenMannundschufeineFrau.
Undsostelleichmirdasvor.UnddieseanderenDinge()sindnicht
natrlich.[TheLordGod(...)createdmanandwoman.AndthatshowI
seeit.Theseotherthings(...)arenotnatural.].Theelderlymansopinionis
overruledbythefilmsconcludingstatementmadebyUweabout
homosexuality:DasliegteinfachinderNatur.[Itsjustpartofnature.].
Uwespromotionofthescientificarticleandhisconfidencethatits
influencewillchangeattitudesallowsthefilmtoendonahopefulnote.

FilmmakersBaierandGudrunconcludeSchotterwieHeuby

similarlysuggestingthattheregionalprimitiveisperhapsmoreoutward
lookingthanexpected.ThefilmendswiththefirstEurosbeingdeliveredto
thebank.ThecameraobservesVogtcarryingtwocasesofEurosintothe
smallbank.Vogtexclaimswhenwalkingoverthethreshold:Ein
historischerMoment![Ahistoricalmoment!].Theinsularbankisprepared

169

toembracepartofalargerEuropeandevelopment.Atthesametime,
however,thishistoricalmomentmeansapotentiallossofaprimitive
region.Tosurvive,thelocalbankmustadheretoglobaldevelopments,
whichwillintimedominateaspectsoflocallife.

170

2.2. TheRegionalDefamiliarised:TheDividedOther

Durchfahrtsland(AlexandraSell,2005)

HerrWichmannvonderCDU(AndreasDresen,2003)

LikeIchkennkeinenAlleinunterHeterosandSchotterwieHeu,thefilms
DurchfahrtslandandHerrWichmannvonderCDUunderlinethetraditional
ethnographicdualityofselfandOther.217Aninitialdividebetweenself
andOtherisalreadyapparentfromthetitles.Durchfahrtslanddisplaysthe
subtitle:DasUnbekanntevordereigenenHaustr[Theunknownonour
owndoorstep].Adividebetweenself(eigenenHaustr[owndoorstep])
andOther(dasUnbekannte[theunknown])isalreadyestablished.Herr
WichmannvonderCDUwasproducedaspartoftheBR(Bayerische
Rundfunk)andWDR(WestdeutscheRundfunk)televisionseriesentitled
DenkichanDeutschland[IfIthinkofGermany].Thisistheopeningline
ofawellknownpoembytheGermanpoetHeinrichHeine:

DenkichanDeutschlandinderNacht,
dannbinichumdenSchlafgebracht,
ichkannnichtmehrdieAugenschlieen,
undmeineheienTrnenflieen.

Oksiloff,p.80.

217

171


[IfIthinkofGermanyinthenight,
thenIwakefromsleep
andcannotclosemyeyesagain
asmyhottearsflow.]218

Heinessorrowstemsfrombeinginexilefromhome.Dresen,whenasked
tomakeafilmfortheseries,similarlyassociatesthewellknownlineswith
faroffforgottenplaces.219
AndreasDresen(HerrWichmannvonderCDU)aswellasAlexandra
Sell(Durchfahrtsland)stresstheself/Otherdivideinthecinematicmodes
theyemploytoillustratetheregion.InDurchfahrtslandthevoiceovertakes
onauniquerole:Sellsvoiceoverisinindirectspeechwithfrequentuseof
thesubjunctive,thusconveyingasenseofstorytelling.Thistechniqueis
enhancedbyanoccasionalmalevoiceovernarratorwhoreadsoutpassages
fromoneoftheprotagonistsprovincialcrimenovels.Thevoiceover
aurallyframesthefoothillsinafantasticrealmbyemployingtemporal
(damals[then])andspatial(dortoben[upthere])codesfamiliarfrom
mythicalstorytelling(e.g.onceuponatimeinafarawayland).Thefilm
endswithphotographicstillswhichevokeasimilarsenseofanothertime

BarkerFairley,ed.,HeinrichHeine.SelectedPoems(Oxford:ClarendonPress,1965),p.209.
Thefilmswebsite:http://www.herrwichmann.de/wichmann2.html[accessed6March
2009].

218
219

172

andanotherplace.Likeastoryteller,Sellisanomniscientnarrator,
revealingprotagonistsfeelingsandthoughts.Thecinematicdivide
betweenfilmmakerandsubjectemphasisesthedichotomyofselfand
Other.Dresenusesadifferentcinematicmodetoachieveasimilardivide.
HerrWichmannvonderCDUturnstothetraditionofdirectcinema.Dresen
reduceshispresenceandthatofthefilmingtotheminimum.Thecamera
remainsatasteadydistanceusingalongfocallensandwideangleshots
whilstsoundistransmittedandrecordedthroughasmallmicrophone
attachedtotheprotagonistsclothes.DresenandSellarenotcaughtupin
theworldtheyportraybutcreateaseparationwhichformsadiscourseof
selfandOther.BothDresensandSellscinematicapproachtotheOtheris
reminiscentofearlyethnographicmethodswhichestablishedan
unattachedauthorityfrombehindthecamera.220
TheOtherinDurchfahrtslandareresidentsofthevillagesofthe
foothillsoftheRhinelandregion;inHerrWichmannvonderCDUthe
inhabitantsofthevillagesoftheregionoftheUckermark.Theprotagonists
ofbothfilmsarepresentedwithstrongregionalindicators.Herr
Wichmann,thesoleprotagonistofHerrWichmannvonderCDU,isaman
whoseaimistorepresenthisregionpolitically,orashesays:Ichwillmich

Oksiloff,p.64.

220

173

frdieRegioneinsetzen.[Iwanttodosomethingfortheregion.].Hevisits
regionalinstitutionssuchasschools,clubsandoldpeopleshomesinorder
topromotehisambitionfortheregion.Durchfahrtslandsetsitsfocusonfour
individuals:HansWilhelmDmmer,SophiaRey,MarkBasinskiand
GuiseppeScolaro,whoseverynamessignifyOtherness.Thesurnames
Rey221,Basinski222andScolaro223areallofnonGermanoriginwhilethe
seeminglyGermansurnameDmmer[moredumb]indicatesacertain
strangeness.LikeDresen,Sellhaschosenindividualswhosupportthe
region.SophiaReywritesregionalcrimenovelsindialect;MarkBasinski
paintsregionallandscapes;Dmmerleadstheregionalreligious
communityandGuiseppeplaysintheregionalbrassband.
InDurchfahrtslandandHerrWichmannvonderCDUthedichotomy
betweenselfandOtherisextendedtoillustratetheregionasaplaceof
internalsocialanimosities.InDurchfahrtslandallfourprotagonistsare
depictedasbeingcaughtupinregionalantagonisms.ItissolelySells
voiceoverthatinformsusaboutthevillageandclubanimosities:the
fallingoutbetweenGuiseppeandhisbrassband;thedivideinDmmers
congregation;thesocialhostilitytowardsSophia;themisunderstandings
betweenMarkandhisbachelorclub.TheinitialdisputebetweenGuiseppe
ThenameReyisofSpanishorigin.
ThenameBasinsikiisofSlavonicorigin.
223ThenameScolaroisofItalianorigin.
221
222

174

andhisbrassbandisnarratedbySell:Vielleichtwarerauchnichtbeider
Sache,alsereinemderkleinenMdchenmitmilitrischerHrtebefahl,
ihrenTellerleerzuessen.UndsiemitvollenBackeninTrnenausbrach.
[Maybehewasntshowingtherightspiritwhenheharshlyorderedalittle
girltoeatupwhatwasonherplate.Andshestartedcryingwithhermouth
full.].Thesceneoftheincidentremainsabsentfromthefilm.Instead,the
narrationislaidovershotsofthelocationwheretheincidenttookplace:the
brassbandholidayvillageofNebelschtzashotofthestreetsignanda
shotofthefarmresidence.Theweatherechoesthebreakdowninthe
relationshipinbothshots:sunshinegiveswaytogreyovercastskies
heightenedinthenextshotwithtorrentialrainanapparentmetaphorfor
thegirlstears.ThenextsceneshowsGuiseppepackinganddrivingoff.All
signsofdisputebetweenGuiseppeandhisfellowbandmembersare
omittedfromthefilmtheviewermustrelyonSellswords,whichgovern
thewayinwhichtheviewerinterpretstheregion.Sellsvoiceover,for
example,reportsadeeprootedhostilitybetweentwovillagesandtheir
priestDmmerscommitmenttobothcommunities:WeilsichbeideDrfer
stndigbenachteiligtfhlten,entsannensieeinRotationssystem,dassso
kompliziertwar,dasmaneigentlicheinenEinfhrungskursgebraucht
htte.DiebeidenGemeindenbeobachtetenihrenPfarrerganzgenau.[Both

175

villagesfeltshortchanged.Theydevisedaschedulefortheirpriest.Itwas
socomplicatedhewouldhaveneededatrainingcourse.Thecongregation
watchedtheirpriestclosely.].Thevoiceoverisaccompaniedbyashotof
priestDmmerinchurchhandingoutcolouredEastereggstothe
congregation.Individualchurchmembersentertheframefromtheleftto
approachthepriestthenexittotheleftagain.Thesimpleactofdistributing
eggsacquiresafurtherlevelofmeaning:thecongregationsorderlymove
towardsthepriestechoesthevillagersscheduleforDmmer;Dmmers
uncertaintyastowhomtoofferaneggtoreflectsthecomplexityofthe
schedule;thecongregationmembersconcentratedmovetowardsthepriest
remindsusoftheirwatchfuleyeonhim.Dmmerremainsstanding
patientlywithadisplayofeggstotherightoftheframe.Sellsvoiceover
offersanewsetofparametersforviewingthisshot:thevisualsare
governedbytheimpliedauthorityofthevoiceovernarration,which
informstheviewerofthesocialanimositiesintheregion.Likearumour,
thesocialanimositiesintheregionareneverseenbutonlyheard.Jennifer
Barkernotesonethnographicfilmmaking:Theethnographertakesonthe
responsibilityforthecredibilityoftheethnographictext.224

JenniferM.Barker,BodilyIrruptions:TheCorporealAssaultonEthnographic
Narration,CinemaJournal34,3(1995),5776(p.60).

224

176

Dresen,ontheotherhand,revealssocialoppositionswithinthe
regionthroughtheabsenceofnondiegeticaswellasdiegeticvoices.The
politicalcompetitionintheregionisarticulatedearlyoninthefilmthrough
singleshotsofpostersscatteredalongtheruralroadsandlanes.This
posterscapesymbolicallyreflectstheregionalpoliticalrivalry.Dresen
usesittocontextualisetheSPDssuperiorityintheregion.Inthe
foregroundofalongshotofabusystreetanSPDandaCDUposter
decoratealamppost.225TheSPDposterhangsaboveWichmanssmaller
CDUposterandaviewofthelengthofthestreetrevealsfurtherlampposts
withcountlessSPDposters.AnothershotindicatesaCDUdefeattheshot
immediatelyprecedesthesceneofthefinalregionalelectionresults.226The
camerapansontotwolargepostersoftheopponentsCDUandSPD.The
CDUposterisweatherbeatenandbadlytorn.Politicalanimositiesare
indicatedinasimilarway.Dresenincludesashotofavandalisedposter
andashotofamanholdingupaTshirtproclaiming:Asozialeandie
Macht[Powertoantisocials].Dresensimagesofregionalpolitical
campaignsdevelopintoametaphoricalcommentaryonthepoliticalrivalry
andhostilityintheregion.

SeeAppendixI,D3.
SeeAppenidxI,D8.

225
226

177

HerrWichmannvonderCDUexposesopenantagonismsoncamera.

Asthecameraspresenceisoftenhiddentoeveryoneintheframeexceptfor
themainprotagonist,thefilmcatchesoncamerasomeuninhibited
commentsexpressingextremeenmitytowardsnonregionals.The
immigrationofnonnationalstotheregionconstitutesonesideofthis
hostility.Afatherclaims:Michrgert,dasssovieleAuslnderhiersind.[It
upsetsmethattherearesomanyforeignershere.].Anelderlywomanleans
towardsWichmanntoconfideherintolerance:VorallenDingendie
Auslnderraus.[Themainthingistogetridoftheforeigners.].227Herbody
languagestronglysuggeststhatsheisunawareofthepresenceofthe
camera:shemovesherbodytowardsWichmanntosafeguardheropinion;
hergazewandersintothedistanceinsteadoflookingatthecamera.
Meanwhile,afurtherconversationtakesplaceinthespacebetweenthe
cameraandWichmann:apartialprofileofawomanenterstheframefrom
theright,thenapartialprofileofamanenterstheframefromtheleft.These
twopeopleareclearlyinconversationwitheachother,butalthoughthey
arephysicallyclosertothecamera,theirvoicesremainaudiblebut
incomprehensible.Thespacebetweenthescarcelyaudibleconversationand
thecameraisinterruptedbyphysicalmovement:passersbywalking

SeeAppendixI,D2.

227

178

throughtheframe.Thecameraresemblestheearlyethnographer,who
remainedatasafedistance.228Thissafedistanceallowsthecameratokeep
itspresencetoaminimum.Thecamerasguardedpositioningallows
individualstospeakmorefreely,therebycapturingintimateopinionssuch
asunscrupulousantipathytowardsregionalnonnatives.Thefilm,
however,omitsanyrepresentationsofregionalnonnatives(unlike
Durchfahrtsland),thusdenyingthecommentsanyformofsupportor
contradiction.Thenonnativesremainaninvisiblepresence.

Dresenportraystheregionasaplacenotonlyofpoliticalextremism

butalsoofpoliticalignorance.TheCDUspoliticaleventsareattendedby
veryfewvisitorsandWichmannspoliticalstandoftenmergesinto
entertainmentandshoppingvenues.AlongshotofWichmannatthelocal
fairrepresentshowhispoliticalenthusiasmislostamongotherformsof
entertainment.Thepoliticalstandisbarelyvisibleamongsttheregional
amusementactivities.Wichmannapproachesawomantotherightofthe
frame;threewomendancinganaerobicsroutinegoverntheleftofthe
frame.Themiddleoftheframeisdominatedbyonlookers,turnedtothe
leftoftheframe,withtheirbackstoWichmann.Twowomenintraditional
costumeenterfromtherightandjointheonlookers.Wichmannsvoicetries

Oksiloff,p.63.

228

179

tocompeteagainsttheaerobicsmusicalthoughheclearlyfailstoattractthe
attentionthedancersreceive.Theearlyethnographicfilmgazeutilisedthe
noveltyofrecordingmovementtocaptureperformancessuchasdance.The
semiexposedbodiesoftheaerobicsdancersandtheirsteproutinesecho
imagesoftribaldance.Theimageservesasimilarpurposetodanceimages
producedbyearlyethnographicfilmmakers.AccordingtoOksiloff:

Dancewasoneofthemostpopularsubjectsforallofthefilmmaker

ethnographersofthisera.()Dancewasunderstoodaslanguage
throughgesture,butitalsowasusedtoexposethephysical,
irrationalnatureofthatlanguage.Imagesofpulsating,nearnaked
bodiesservedtoconfirmthenotionthatphysicalneedsanddesires
tookprecedenceoverthoughtinthisprimitiveworldofinverse
values.229

Thisimage,inwhichtheregionalaudiencegrantssuperioritytothe
physical(dance)overthought(politics),extendsthenotionofselfand
Other.TheregionalOthersdonotrespondtoWichmannspolitical
enthusiasm.WichmannhasbecometheOtheramongsttheregionalOthers.
Afurthersceneatthefairunderlinesthis.Aclownonstiltswavingtowards
thecameraisaccompaniedbyWichmannsvoice:Darfichihnendas
mitgeben?IchbinderBundestagskandidathierimWahlkreis.[CanIgive
Oksiloff,p.63.

229

180

youthis?Imthelocalparliamentarycandidate.].Thecameratiltsdown
andpanstotheleftintoacrowdofpeople,inthemiddleofwhich
Wichmannisseentalkingtoawoman.Theplaybetweenaudioandvisual
inthisshotcommentsontheroleWichmannplaysinhisregion.
Wichmann,liketheclown,isforcedtotakeontheroleoftheOther.

InDurchfahrtslandtheanimositiesexperiencedbytheprotagonists

similarlyextendthedichotomyofselfandOther.Thefourprotagoniststake
onrolesasoutsiderswithintheirregionalcommunities.Dmmermustact
asmediatorbetweentwovillages;Sophiamustfacerejectionforher
regionalliterarywork;Markdoesnotsucceedinthelocalbachelorclub;
Guiseppefailstobereconciledwiththeregionalbrassband.Thefilm
explorestherupturesbetweentheprotagonistsandtheregion.The
protagonists,whoareOtheredbytheregionalcommunities,allhave
longingsfortheexoticOtherintheirlives.Dmmer,aGerman,longsfor
Spain,whichwasoncepartofhislife;Guiseppe,anItalian,longsfora
Germanlifestyle.MarkdreamsofstudyinginMilanandadmires
contemporaryPolishart;Sophiaromanticisestheforeignerastheheroin
herworksoffiction.

InsteadofinterviewingtheprotagonistsinDurchfahrtsland,the

camerapatientlyobservesthemintheirsurroundings.Duringtheauction

181

oftheMayQueenatthebachelorclub,thecameracapturesMarkinclose
upobservingtheauctioncustoms.InafurthersceneattheMaytree
awards,thecameraagainconcentratesonMarksfaceobservingthetree
awardtraditions.FramedobservingtheOthersinregionalactsoffestivities,
MarkrevealshisownnotionsofselfandOther.Unacquaintedwiththe
bachelorclubsproceedings,hechoosesnottoparticipatebuttoobservethe
regionalOtherwithanxietyandcuriosity.Thisdoubleexperienceofthe
gazetheviewerobservingtheobserverisalsofoundinrepresentations
ofDmmer.AttheMayFairthecamerafocusesinfromacrowdofdancing
couplestoDmmerinterlockedwithacostumedmusicianattheedgeof
thestageswayingtothemusic.Hetoucheshisforehead,reluctantlymoving
hislipstothesongslyricswhilstobservingthecrowd,unawarethatheis
beingobservedbythecamera.Hisemotionaldetachmentfromtheregional
isemphasisedinthefollowingshotsbyaphysicaldetachment:scenesofthe
regionalftecuttoashotofDmmerwalkingdownthestreetawayfrom
thecamera.Thesubsequentshotofajoyouscrowdattheftecutsto
Dmmeropeninghisfrontdoor.

ThistwofoldgazeadoptsadifferentconstellationinHerrWichmann

vonderCDU.ItisnottheprotagonistwhoobservestheregionalOthersbut
theregionalOtherswhoobservetheprotagonist.Whilstsingingthe

182

nationalanthem,Wichmannbecomesnotonlytheobjectoftheviewers
gazebutalsothatofaregionalgaze.Thecamerapansacrossthreemenwho
arestrugglingwiththewordsofthenationalanthem:thefirstmanwaves
hishandinrhythm,thesecondmanlookssheepishlyaround,thethirdman
holdshishandtohisneckinembarrassment.Thecamerarestsonashotof
Wichmannsingingandtwoofthemenstandingtotheleftbehindhim.
BothmendirecttheirgazeontoWichmannwhosingstheanthemwith
passion.Whilsttheonemanobservesandsmirks,theotherlooksat
Wichmannwithscepticism.Afurthershotincludesanothermanto
Wichmannsleft,whoisalsohavingproblemswiththeanthemlyricsand
looksnervouslyeverysooftenintothecamera,thusmakingthefilmmaker
alsoanobjectofagaze.TheregionaldividebetweenselfandOtheris
extendedtoincludethecamera/filmmaker.UnlikeDurchfahrtsland,in
whichtheviewerobservestheobserver,inHerrWichmannvonderCDUthe
viewerobservesbeingobserved.
Durchfahrtslandendswithanaffirmativelookatthedividedregional
Other.Dmmersorganisedpilgrimagebetweenthetwohostilevillages
turnsouttobeajourneyoftruce;Guiseppefinallyleavesthebrassband
clubandsoonfindsanotherclubtojoin,theshootingclub;Markembarks
onhiscareerasadesigner/florist;Sophiafindsareadership.Thefilms

183

solutionstothedividesareoftentheresultoftheinterventionofthenon
regional.DmmertakeshiscongregationonapilgrimagetoSpain;
Guiseppeturnshishopestomilitaryserviceabroad(buteventuallyfailsto
beaccepted);Markbeginsaneducationinthecity(whichheabsconds
from);Sophiadecidestowriteaboutaherowhoisanewcomerratherthan
alocal.InHerrWichmannvonderCDUDresenconcludesbyunderliningthe
struggleratherthantheharmonywithinthedividedOther.After
Wichmannsreactiontothepoliticalresults(Na,dasistnichtsotoll.[Well,
thatsnotsogreat.]),thefilmcutstoablackinsertwithwhitewriting:

RotGrnkonntemitknapperMehrheitweiterregieren.Im
WahlkreisUckermarkOberbarnimgewannMarkusMeckelmit49%
vorHenrykWichmann,derdasErgebnisderCDUvon20%auf21%
verbessernkonnte.

[RedGreenwonwithasmallmajority.InUckermarkOberbarnim,
Meckelwonwithmorethan49%overWichmann,whoimprovedthe
CDUsresultsfrom20%to21%.]

Thestatisticalfactsstatethebleaktruth:Wichmannhasnotbeenableto
makeanyimpactonthedividedOther.Dresenconveysthecontinuous
struggleinthelastsceneofthefilm,whichfollowstheblackinsert.Aman
isseentakingdownpostersofWichmannscampaign.Thepostersslogan

184

(ZeitfreinenNeuen[Timeforanewman]),oncehungtoencourage
politicalchange,nowtakesonanothermeaning:thecycleofpolitical
strugglewithandagainsttheOthersagainstregionalcandidatesandwith
regionalelectorates.

TheregioninDurchfahrtslandaswellasHerrWichmannvonderCDU

canbeseenthroughtheethnographicdichotomyofselfandOther.Selland
DresenconstructworldsofOtherness.OneofGermanysleadingfilm
criticismjournals,epdfilm,notes:EsistfasteinethnographischerBlick,den
SellaufdieSpeziesdesVorgebirgeswirft.230[Itisalmostwithan
ethnographiceyethatSellviewsthespeciesofthefoothills.].These
portrayalsofregionsrevealfurtherlayersofdivision,whicharecreatedby
theportrayalofsocialanimositiesoftheregion.Theantagonismsdivide
regionalsubjectsbutmostimportantlytheydividetheregionalfromthe
protagonists,whostruggleononeleveloranothertomergewiththeir
regionalsurroundings.

RudolfWorschech,InderNhesofern,DeutscheFilmeaufderBerlinale,epdfilm4
(2005).
Thearticlecanbeviewedathttp://www.realfictionfilme.de[accessed6thMarch2009].
230

185

2.3.

TheRegionalDefamiliarised:TheExoticOther

DieBlutritter(DouglasWolfsperger,2004)

OutofEdeka(KonstantinFaigle,2001)

FilmmakersDouglasWolfsperger(DieBlutritter)andAndreasFaigle(Out
ofEdeka)shareapersonalconnectionwiththeregionstheychosetoportray:
Swabia.WolfspergerattendedboardingschoolinthetownofWeingarten;
FaiglegrewupinthevillageofEmpfingen.Althoughformerlyresidentsof
theregion,longlastingabsencesfromtheplacesoftheiryouthmarkthe
relationshipbetweenfilmmakersandregionandofferapersonalbasisfor
theexplorationofaregionalOther.

WolfspergersfilmfocusesontheeventsofthereligiousBlutritt

procession;FaiglesfilmisapersonalexplorationofhisparentsEdekashop.
InbothfilmstheOtheristiedtoexplorationsofthepast:thereligious
Blutrittisamedievaltradition;theshophasbeenfamilyrunfor
generations.Whereastheprocessionisthrivingandhasbecomethelargest
equestrianprocessionintheworld,theshopisonthebrinkofclosure.The
films,however,areequallyfilmsaboutculturesofOtherness,culturesthat
stillexistoutsideofthepresent.

186

TheregionalOtherinDieBlutritteraswellasinOutofEdekais
developedbeyondthedualityofselfandOther.Othernessisconstructedas
exotic.TheregionalOtheradoptsmarkersofthefaroffandtheforeign.As
Longleyexplains:Theexoticisalwaysanattributegiventosomeoneelseor
somewhereelse()exoticism()isawayofseeing.231
OutofEdekacapturesthenotionofexoticismalreadywithinitstitle,
whichisundoubtedlyareferencetothefilmOutofAfrica(SydneyPollack,
1985)andassuchechoesavisionofageographicallydistantplace.Faigle
continuestoemphasisethenotionofthegeographicalforeignbyquoting
theactualdistancebetweenhisvillageofEmpfingenandtheMongolian
cityofUlambatur.Accompaniedbythevoiceover,(MeinHeimatdorf
Empfingen,3500Seelen.[MyhomevillageEmpfingen,3500souls.])the
cameratiltsfromalowangleshotofthecloudsintheskydownontothe
villagesyellowsignandalongshotoftwomenstandingbesideitfacing
thecamera.Thevoiceovercontinues:8235KilometervonUlambatur,der
HauptstatdtderMongolei.[8235kilometresfromUlambatur,thecapitalof
Mongolia.].ThedistancefromSwabiatoMongoliaisirrelevanttothefilms
content,butbylinkingthevillagetosuchafarawayplace,Faigleiscreating
associationswiththefaroff.Inconjunctionwiththewideangleshotofthe
KaterynaOlijnykLongley,FabricatingOtherness:DemidenkoandExoticism,inNew
Exoticisms.ChangingPatternsintheConstructionofOtherness,ed.byIsabelSantaolalla
(Amsterdam&Atlanta:Rodopi,2000),pp.2140(p.23).
231

187

menseeminglywaitingatthevillageentranceforarrivals(see1.3.forscene
description),italsoevokesanimageofasparseandisolatedpopulation.

DieBlutrittersimilarlyplacestheregionwithinageographically

exoticcontext.Thecamerapansslowlyoveranidylliclandscapetocometo
restonalongshotofamancrownedwithaNativeAmericanfeather
headdress.Themanisstandingbehindadrum,whichhebeatsin
monotonousrhythm,whilegazingoutoftheframeontothehorizon.The
filmcutstoalowangleshotfrombelowthedrumtoexposethecostumed
maninamediumshotraisinghishandsandspeakinginanunidentifiable
language.Onlyafterthisscenedoesthefilmcuttointroducethefilmstitle,
thusestablishingtheexoticparameterswithwhichtheregionshouldbe
viewedfromtheoutset.

TheNativeAmericanhasarecurringroleinthefilm.Heisinactual

factacostumedregionalinhabitant,AloisWeber.AloispassionforNative
AmerciancultureinspiredhiscreationofaprivateNativeAmerican
museum.Infullcostume,hereappears,sittinginadecoratedwooden
canoe,holdingarifleandwearingafurheaddresswithhorns.232Densefog
andacactusmovepastthecameracreatinganartificialimpressionofthe
canoesmovement.Themangentlyrocksintheboattosupporttheseeming

SeeAppendixI,F7.

232

188

movement.ThefilmpansovertherifleandtheNativeAmerican,who
looksintothedistancewhilstthemusictakesadramaticturn.Thenextshot
isalongshotwhichdeconstructstheartificialityofthescene:planksonthe
grasssupportthecanoe,aflowerpotholdsthecactusandawomanwith
secateurspeersoverthetallhedgeintothegardenspace.Thefollowingshot
providesthelinkbetweentheNativeAmericanandtheregionofSwabia.
Themanisseenwalkingtowardsthecamerainaroomsurroundedby
NativeAmericanartefacts:abuffaloheadhangingonthewalltotheleft;a
costumedmalemannequinstandingtotheright.Thecamerafollowsthe
mansfootsteps,panningtothelefttorevealfouradditionalcostumed
mannequins,ononeofwhichheplaceshisheaddress.Inthesubsequent
interviewAloisWeber,thecostumedman,explainstherootsofhisinterest:
thefilmicadaptationsofLederstrumpf(TheLeatherstockingTales)and
Winnetou.BothtalesaretheliteraryworksofauthorswhowerenotNative
AmericansbutwhousedNativeAmericansastheirsubjectmatterand
playedaroleinconstructingnotionsoftheWesternviewoftheexotic
Other.Oksiloffpointsouttheconnectingrelationshipbetweenscientific
ethnographyandthepopularnarrativeformsofrepresentationofthe
traditionofKarlMay[authorofWinnetou]andthesustainedfascination
withvastplainsonwhichcowboys,Indians,andalltypesofexotic

189

peoplesroamoveracenturyago.233Shenotesthatoften,thesetypesof
narrativeaccountswouldaccompanythescientificones()forlay
audiences.234Fictionalnarrativesmergedwithearlyethnographicresearch,
therebycontributingtotheconstructionofanexoticnonWesternOther.
ShohatandStamnotethecloserelationshipbetweenspectacleandscience:
Operatingonacontinuumwithzoology,anthropology,botany,
entomology,biologyandmedicine,thecamera,likethemicroscope,
anatomizedtheother.235

Aftertheinterview,thefilmpansoverfigurinesofNativeAmericans

carvedandclothedbyWeber.ThisphysicalconstructionoftheOther
metaphoricallyalsopointstoamentalconstructionoftheexotic.Webers
museumisadedicationtoageographicallyremovedandvanishingculture.
Hisobsessivecollectingechoesthatofearlyanthropologistswhoharboured
materialculturesofOthernessinthenineteenthcenturyageofthemuseum.
Theearlyanthropologicalneedtoclassifyandcollectwasdrivenbythe
desiretoconquertheexoticbystaticallymaterialisingit.KaterynaOlijnyk
Longleydefinestheexoticaspreciselythat:Thedesiretoenterforbidden

Oksiloff,p.39.
Oksiloff,p.40.
235ShohatandStam,p.106.
233
234

190

territory,whetherintheimaginationorphysically,topartakeofotherness
andtostakeaclaim.236

Webershomemademuseumresemblesthatofanotherprotagonist:

FranziskaSchle.SchlesprivatecollectionresemblesWebersinsofaras
botharecommitmentstopreservetheOther.Theelderlywomanis
interviewedinherlivingroom,whichisfullofstuffedanimals.While
SchleexplainstheNorthSeaoriginsofsomeoftheanimals,thefilmcuts
tocloseupsofthedeadcreatures.Thechoiceoflowanglecloseupsto
representthedeadanimalsconveysasenseofstrangeness.Inaddition,the
abnormalexpressiononthefacesofsomeoftheexhibitslendsthesequence
afreakshowquality.Schlescollectionisreminiscentofthebeginningsof
anthropologicalcollecting:theprivatecuriocabinet.Inthecollectionof
curiosities,theviewerisconfrontedwithaneclecticmixofexoticorterror
inducingobjects.237Withunconventionalpointsofview,Wolfspergerturns
theartefactsintocuriositiesofexoticism.
Inasimilarway,Wolfspergercapturesanexhibitofafurther
collection,thatoftheprotagonistJrgenHohl,whorestoresoldchurch
textiles.Thecameramovesupwardsalongamannequindressedinanuns
uniform.Acloseupofthemannequinshandsholdingapairofscissors

Longley,p.23.
Oksiloff,p.102.

236
237

191

follows,thenacloseupofherface.Thefacerestsdiagonaltotheframe
withanoddexpression:theeyesandthemoutharebothwideopen.These
unusualfeaturesareemphasisedinthenextextremecloseupshotofthe
eyes.Thecloseupsoftheinanimateobjectsofdeadanimalsandalifelike
mannequinseemtoaspiretocaptureattributesofthelivingalthoughthese
objectsareclearlylifeless.Thecamerasattentiontofacialdetailcreates
exhibitsofartificiallifeexhibitsofcuriosities.WeberandSchlecollect
exoticOthernesstoexhibitintheirownprivatespacesinSwabia.Their
behaviourrecallsIsabelSantaolallasdefinitionoftheexoticasonein
whichanagencyappropriatesacolonised,domesticatedversionofan
Othertomeetitsownneeds.238
DieBlutritteralsobearswitnesstotheproblematicnotionsofthis
exoticrelationship.InaninterviewwithaSwabianmanandhisblackwife,
Wolfspergercapturesthecolonisationanddomesticationofaliving
Other.239TheSwabianmanexplainshisreasonsformarryinghiswifeas
follows:

IsabelSantaolalla,Introduction:WhatisNewinNewExoticisms?,inNew
Exoticisms.ChangingPatternsintheConstructionofOtherness,ed.byIsabelSantaolalla
(Amsterdam&Atlanta:Rodopi,2000),pp.920(p.10).
239SeeAppendixI,F5.
238

192

DeutscheFrauenhabeichauchschongutkennengelernt,unddie
AnsprchevondeutschenFrauensind()einbisschenzuhoch.()
unddeswegenwardieWahl,eineschwarzeFrauzuheiraten.

[TherehavebeenGermanwomenthatIvegottoknowquitewell,
butGermanwomensexpectationsaretoohigh.()andthats
whyIchosetomarryablackwoman.]

Hegestureswithhishandtowardshiswife,therebyobjectifyingheraslittle
morethanaconsumerchoice.Hisperceptionisbasedonmaleandracial
superiority.Longleypointstothispowerimbalancebetweentheviewer
andtheviewed:Exoticism()isawayofseeingwhichsustainsthemyth
ofculturalcentrality,andthereforethesuperiority,oftheviewer.240The
whitemanssuperiorityinthissceneisunmistakable.Inadditiontohis
verbalpresencethewomanremainssilentandacquiescentthe
dominanceofthewhitemanisphysicallyconveyed:thewomanisseated
onabenchbetweenherhusbandandafurtherwhiteman.Thecameratilts
downherbodytorestatkneelevel:bothmensbodiesarephysically
pushedupagainsthers.Theslowtiltdownherbodyemphasiseshersexual
role.Thisisconfirmedinthefinalshotatkneelevel:thewomanhasone
handplacedoneachmansthigh.Thecameramovementencouragesthe

Longley,p.23.

240

193

perceptionofaregionalcolonisationoftheOtherassexualexoticism.The
cinematicobjectificationoftheblackwomanbecomessoapparentthatthis
initselfpointstotheproblematicissuessurroundingthebeholderofthe
exotic.

DieBlutritternotonlyoffersrepresentationsoftheexoticinthe

regionbutalsooftheregionasexotic.Thefilmportraysoneformof
regionalexoticism:thereligiousregion.Thelegendsurroundingthe
religiousrelicofWeingartenisnarratedthroughaseriesofinterview
statementsfromlocals.Theuseofmultiplenarratorstoconveythelegend
underlinestheuncertainnatureoftheoralmyth.Theinterviewsdiscussthe
relicsorigins:aRomanwassaidtohavetakenthedriedbloodofChristto
hishomeinItaly.Therelicsvoyageoffersanewunderstandingofregional
exoticism:theregionthatonceembracedtheexoticbyadoptingareligious
mythfromfarawayhasnowinturnbecometheexoticforthebeholderof
thefilm.

Wolfspergerdrawssubtleconnectionsbetweentheexoticexhibitsof

theNativeAmericanmuseumandthedominatingregionalfaith,
predominantlythrougheditingtechniques.Forexample,thefilmcutsfrom
ashotofWebertalkingabouttheabsentroleofwomeninthereligious
processiontoadifferentshotofWebertalkingaboutthelimitedroleof

194

womenintheNativeAmericanculture.Byplacingthetwoshots
consecutively,Wolfspergerallowstheviewertomakeassociationsbetween
thetwostatements:theoneaboutNativeAmericancultureandtheother
aboutregionalreligioustraditions.Anothersceneusessimilarindicatorsto
buildabridgebetweenthetwoshots:thefilmcutsfromaNativeAmerican
figurinewithaplaqueentitledpriestkillertotheWeingartenmonastery
andthevoiceoverofamonk.Thistechniquealsoworksasasoundbridge:
thefilmcutsfromamediumshotofthecostumedWebersinginginLakota
languageandplayingthedrumstoalowangleshotofthemonasteryand
itsbellspealing.Thesoundofthedrumsandthebellsaurallymergeinto
one.

WolfspergerencouragesanexoticperceptionofSwabianreligious

cultures.Regionalbeliefisrepresentedasalien.Neartheendofthefilm,the
priestcommentsonthealienationhehasobservedbetweenchurchand
society:DieMenschenknnenmitderKirchenichtmehrvielanfangen.
()EswirdzunehmendetwasFremdes,undFremdesgibtmandannauch
sehrleichtauf.[Peoplecantrelatetothechurchanymore.()They
increasinglyperceivethechurchassomethingalien,andallthingsalienare
easilyabandoned.]Wolfspergersfilmrecreatesthisalienationby
portrayingreligionasexotic.

195

InOutofEdekaFaiglealsousesexoticismtodefamiliarisetheGerman

region,asasceneinthelocalvillageshopdemonstrates.Thecameraslowly
pansovertheshopsinteriorfromanelevatedposition.Theshopis
shroudedindarknessandonlythegradualturningonoftheneonceiling
lightsoffersindividualspotsoflightontothedisarrayofshelvesanditems.
TheshotisaccompaniedbyMiddleEasternmusic.Theauralcontextualises
thevisualwiththefarawaytheclutteredshopbecomesreminiscentofa
MiddleEasternbazaar.Thefilmcutstoexteriorshotsoftheshopthe
exoticmusicnowmergingwiththesoundofchurchbells.TheMiddle
Easternmusiceventuallydominatestheauralandendswithacraneshot
overthevillagezoomingintothehorizonatsunriseavisualsignifierto
theMiddleEast,asMorgenland[literally:morningland]translatesasthe
Orient.Thegeographicallyfaroffbecomesamotifintherepresentationof
theshop.Inafurtherscene,akneeleveltrackingshotofthedepthofthe
shopsaislesisaccompaniedbyaMiddleEasternflutemelody.Thefilm
cutstoanupwardcameramovementalongadisplayofpublications,the
firstmagazineentitled:Heimatklnge[literally:soundsofhome].Thetitle
addsanironicundertonetotheexoticsoundtrack.Thesceneendswith
anotherironicjuxtapositionbetweentheexoticandthehomegrown:plastic
canistersstackedontheshopfloorandentitledGurkenaufgu[gherkin

196

picklingvinegar].Thecontainersofingredientsforhomemadecookingare
outsized.Althoughculinarymilesapart,theunusualproportionsrelateto
theunusualmusic.

Faigleexoticisestheupperflooroftheshop,thetextileroom,inthe

samewayashedefamiliarisesthelowerfloor.Theroomisencasedin
darknessuntiltheneonceilinglightsareturnedononebyoneandalong
rowofdisorderlypilesoftextilesbecomesvisible.Inunisonwiththelights,
FarEasternmusicemerges.Thecameratracksalongthepilesoftextilesto
fadeintoanothertrackingshotofheapedclothes.Thecamerasuneven
movementsandmultiplemergingtrackingshotsconveyasenseof
disorientation.Thesceneendswithahighangleshotoftheupperfloor
whichrevolvesarounditsownaxisreinforcingthelossofspatial
orientation.241Therevolvingshotissuperimposedwithshotsofunusual
clothingitems;themusicmergeswithsoundsoflaughter.Faigletransforms
theupperflooroftheshopintoanexoticsouk.

Faiglesfamily,theessenceoffamiliarity,isequallydefamiliarised.

Thefamilymother,fatherandsistertakepartinareenactmentof
guerrillawarfare.ThefilmcutsfromFaigleclosinghiseyeswhilst
undergoinganacupuncturetreatmentinitselfaformofexoticismtoa

SeeAppendixI,B5.

241

197

sceneofguerrillawarfarereenactmentintheshop.Dressedinmilitary
camouflage,hissisterforcesaman,hisheadcoveredbyapaperbag,at
gunpointintotheshopthecamerapointedatherback.Themanhasbeen
takenhostageforshoppingatthenewdiscountsupermarket.Thecamera
movesintotheshoptorevealthefatherdressedinmatchingattireand
sunglasses,sittingbehindthecashdeskwithroundsofammunition
hangingaroundhisbody.242Themotherinidenticalattiresitsinfrontofthe
deskpointingaguntowardsthehostage.Thesoundofpanpipesand
guitarstringsidentifytheexoticreenactmentasSouthAmerican.The
familysstrongregionaldialectswhichrequireGermansubtitlesinthis
scenearethesoleindicatorsoflocalregionalidentity.InthissceneArthur
Koestlerstheoryofcontextdeviationasresponsibleforhumouriscreated
bythebisociationofSouthAmericanguerrillawarfareandalocalSwabian
supermarket.ThemergeofSouthAmericangenericmusicandthemiseen
scneofunconventionalwarfaremarkthesceneasexotic.TheSwabian
speechisplacedwithintheexoticallyconstructedcontexttherebydrawing
connectionsbetweentheunfamiliaroftheforeignandtheunfamiliarofthe
native.

SeeAppendixI,B7.

242

198

Faigledoesnotexcludehimselffromtheconstructionofaregional

exotic.HereinventshimselfasSpanish:dressedasaSpanishflamenco
dancersinginginthefieldsorbeingbathedanddepilatedbyaSpanish
womaninthebarn.Again,itisonceagainthemusicthatprovidesthe
primeindicatorofaSpanishrecontextualisation.InonesceneFaigleeven
lipsynchronisestheSpanishlyricsofthesong.
Faiglesearlyfascinationfortheexoticismadeevidentina
photographicstilldepictinghimselfandhisbrotheraschildrenincowboy
andIndianoutfits.TheWesternallureofchildhooddaysisreenactedina
sepiascenedepictingFaigleandhisbrotherdressedincowboyattiresitting
aroundaburnedoutfire.StillsofFaigleincostumefollow:dressedupfor
hisFirstCommunion;costumedasachickenheadedsuperhero;crowned
withanEasterwreathandwearingrabbitsteeth.Faigleshowshimselfand
theregionalmasqueradingasexotic.WhereasWolfspergerneverentersthe
frameinhisfilm,Faiglestepsintotheframetoenterintoaconstructionof
theregionalexotic,therebyswayingbetweenthebordersofselfandOther.
Hisvoiceover,whichidentifieshimasthefilmmaker,presents
identificationofself;ontheotherhand,theexoticreenactmentsofhimself
withthenativespresenthispersonaasOther.Regionalexoticismisno

199

longeronlyamatterofinfrontofthecamera(selfversusOther)butalsoa
matterofbehindthecamera(selfandOther).

WhereastheregionalinOutofEdekaistransformedintotheexotic,

thefilmavoidsdepictingthenonregionalasexotic.Itisthescenes
surroundingmembersofforeigndescentwhichevokegenuineemotionsin
theregionalprotagonists:Faiglesbrother,whosuffersfromshyness,opens
upforthefirsttimewhentalkingabouthisPolishwife;tearscometo
FaiglesfatherseyeswhenthinkingabouthisgrandchildinGeorgia.The
filmreversestheroleoftheknownandunknown:theunfamiliar,thenon
regional,becomesthefamiliarwhilethefamiliar,theregional,becomesthe
unfamiliar.

BothOutofEdekaandDieBlutritterconstructtheGermanregionalas

exotic.WhereastheexoticsignatureofWolfspergersfilmliesinthefilm
makerscraftineditingandcamerawork,theexoticmarkerofFaiglesfilm
liesintheelaboratereinventionofregionalpeopleandsurroundingsin
frontofthecamera.Thegeographicallyclosebecomesthegeographically
distant:thefilmscreatedomesticexoticism.243

FranoisdelaBretque,ImagesofProvence:EthnotypesandStereotypesoftheSouth
inFrenchCinema,inPopularEuropeanCinema,ed.byRichardDyerandGinette
Vincendeau(London:Routledge,1992),pp.5871(p.58).
243

200

2.4.

TheRegionalDefamiliarised:The(Non)IndigenousOther

DieBlumederHausfrau(DominikWessely,1999)

FullMetalVillage(SungHyungCho,2007)

InDieBlumederHausfrauaswellasFullMetalVillagethebinaryofselfand
Otheristobefoundinthedichotomyofregionalandnonregional
communities,betweenindigenousandnonindigenouspeoples.Theterm
indigenousiscommonlyusedinananthropologicalcontexttodescribe
peopleswhoarenativetoaplace,andparticularlytodescribepeoples
whenthereareotherpopulationsinthesameregionthatcanreasonablybe
describedassettlersoraliens.244Inthelattercasethetermidentifiesand
givesavoicetoanOtherwhichhasundergonecolonisation.Hence,the
termisabyproductofWesternthoughtandwhitesettlement.Inthis
sectionthetermwillbeappliedtoageographicalareathathasnotbeen
subjectedtotraditionalcolonisationandwillbeusedtoshedlightona
contemporarycontextofmigrantsandlocals.Itmustbenotedthatthisis
notadiscussionaboutareevaluationoranextensionofthedefinitionbut

AndreBeteille,TheIdeaofIndigenousPeople,CurrentAnthroplogy39,2(1998),187192
(p.188).

244

201

ratheraborrowingoftheterminordertoengageinacontemporary
discourseofnativesandsettlers.245

Bothfilmsdocumentandexplorethecontactbetweenthenon

indigenousandtheindigenousofaregion:DieBlumederHausfraufollowsa
groupofnonindigenoussalesmenontheirsalesroundstothelivingrooms
ofSwabia;FullMetalVillagerecordstheinvasionofsmallvillage
communitybynonindigenousmusicfestivalfansinNorthernGermany.

Moreover,bothfilmmakersarenonindigenous.Wesselyisnativeto

MunichandChoisnativetoSouthKorea.WhereasWesselyremains
completelyindiscerniblevisuallyaswellasaurally,Choisseeninteracting
withsubjectsonscreen.Choisinstantlyaurallyandvisiblyidentifiableas
nonindigenousduetoherAsianethnicityandaccentedGerman.Inan
interviewChodescribeshernonindigenousbackgroundasanadvantage
forfilmmaking:

DurchmeineaugenscheinlicheFremdheitsinddieLeuteganz
anders,vieloffenermitmirumgegangenundhabenmirzum
BeispielauchDingeerzhltunderklrt,diesiebeiDeutschen
vorausgesetzthtten.

ForadetaileddiscussionofthetermindigenousseeAndreBeteille.

245

202

[Becauseofmyobviousforeignnessthepeoplewerecompletely
different,moreopenwithmeandtheytoldmethingstheywould
haveassumedthataGermanknew.]246

ThisisbestobservedinascenewiththelocalfarmerPlhnwhostrikesupa
conversationwiththefilmmakerwhichresultsinhimbecominga
protagonistofthefilm.Plhnisdepictedinalongshotbesidehisfencedin
cows.Hetakesnonoticeofthecameraandwalksoutoftheframetowards
Chowhoisoffscreen.Eagertohelptheoutsiders,heinstigatesa
converation:

Plhn:Wolltihrnochirgendetwaswissen?
[Isthereanythingelseyouwanttoknow?]
Cho(offscreen):WirmchtenihreKheaufnehmen.
[Wewanttogetashotofyourcows.]
Plhn:SagtihrKhe?[Didyousaycows?]
Cho:Ja,Khe.[Yes,cows.]
Plhn:Klber.[Calves.]
Cho:Klber.[Calves.]
Plhn:Klber.[Calves.]

ThenextshotportraysPlhnandChoinmediumshotPlhnexplaining
thedifferencesbetweentypesofcattletoCho.Sheacknowledgesandnods
PeterBadenhop,InterviewSungHyungCho:KaffeeundKuchenzuscheulicher
Musik,FrankfurterAllgemeineZeitung,19.April2007,p.38.

246

203

andheinvitesmorequestions:Fragen?[Questions?].Thesceneis
undoubtedlynotstaged,asChosamusedexpressionbetrays.Plhns
lessonincattleattimesseemstoborderonalanguagelesson.Chosnon
indigenousbackgroundprovidesherwiththeopportunitytoaskorbe
offeredinformationasPlhnpresumesthatwhatisknowntothe
indigenousisnotknowntothosefromoutside.

Earlyethnographicfootageoftenincludedashotoftheethnographer

posingwiththenatives.Theethnicorracialcontrastformedavisualon
screendividebetweenresearcherandbodilyartefact,betweensubjectand
objectandultimatelybetweenselfandOther.InFullMetalVillagethese
rolesaretoanextentreversed.Liketheethnographer,Choisnon
indigenoustotheareaethnicityisthekeyonscreenindicator.However,
thisethnicdivideisinverted:thewhitemanhasbecomethebodilyartefact
underfilmicinvestigation.Cho,notonlynonindigenoustotheregionbut
alsotoGermany,formsanotherdivide:betweenherselfandthedomestic
viewers.Chochallengestheethnicrolesoftraditionalethnography,thereby
questioningfundamentalethnographicconstructionsofselfandOther.

BeforeChoevenenterstheframe,thefilmoffersapparentmarkersto

thenonindigenousbackgroundofitsfilmmaker.Thetopleftcornerofthe
filmspromotionalposterisinscribedwithKoreanwritingonlybelowin

204

smallerletteringinbracketsistheGermantranslationgiven.Theorderand
appearanceofthefilmsopeningcreditsextendthisdiscourse.Thefilms
subtitle(EinHeimatfilm)isseparatedfromthefilmstitle(FullMetalVillage)
byseveralminutes.Insteadofcombiningthetitlewiththedirectorsname,
Chodecidestoplacethedirectorsname(SungHyungCho)underthe
subtitle(EinHeimatfilm).Thetwoheadingsshareidenticalletteringand
spacebutthetemporalpausebetweenthetwoindicatesadivide:Heimat
film,theGermanfilmgenreandCho,anonGermanfilmmaker.The
oppositionalelementsatplaymaketheviewerawareoftheparametersof
selfandOtherfromtheoutsetwhichshapethefilmthroughout.

InFullMetalVillagetheindigenousisrepresentedthrough

protagonistswhereasthenonindigenousisexperiencedasananonymous
crowd,asChoherselfexplainsinaninterview:DieDorfbewohnersind
diejenigen,diewahrnehmen.SubjektederWahrnemung.DieMetalFans
sindObjektederWahrnehmung.[Itsthevillagerswhoperceive.Subjects
ofperception.Themetalfansaretheobjectsofperception.].247

Representingthemetalfansthroughrapidglimpsesratherthan

lengthyportrayals,asarbitraryindividualsratherthanprotagonists
underlinestheirpositionasalienOthers.Othernessisconveyedthrough

InterviewwithSungHyungCho,FullMetalVillageDVDbonusmaterial.

247

205

filmicsnapshotsofhumaneccentricity:amanwhosefaceisfulloflarge
piercings;amansingingfromwithinarubbishbin;amantravellingwitha
shoppingtrolley.Inanimatepeculiaritiesaddtotheimagesofstrangeness:a
sequencebeginswithashotofamudcoveredtrolltoyandteddybear
hangingaslostitemsfromaline;itthencutstoacameratiltupwardsalong
areplicaofagravewithaskeletonhandonthegraveandatoyguerrillaon
thecross;andendswithashotofchairs,umbrellasandvariousroadsigns
onacaravanroof.
InDieBlumederHausfrauthecinematicrolesofindigenousandnon
indigenousarereversed.Thenonindigenousarerepresentedbythefilms
fiveprotagonists.FromtheoutsetWesselypinpointstheprotagonistsas
nonindigenous.Thefirstsceneestablishestheiruniformityasagroup.248In
alongshotthefilmintroducesthefivemenlinedupindarkcoatsstanding
withtheirbackstowardsthecameraandfacingarowofurinals.Thesecond
partofthesceneestablishestheirnonindigenousstatus.Theprotagonists
namesappeartheirItalianoriginsstandout,emphasisedbythegeneric
musicoftheSpaghettiWestern.249Theborrowingofanelementfromthe
ItaloWesterngenreattachesawholespectrumofWesterngenreclichsto
theimage.TheSwabianslongcoatsbecomereminiscentofcowboycoats
SeeAppendixI,A1.
Thesceneisreminiscentoftheiconicshotofcowboysstandingwiththeirbackstothe
camerainOnceUponaTimeintheWest(SergioLeone,1968).

248
249

206

andtheSwabianssalesjobsreminiscentofheroicacts.Here,Arthur
Koestlerstheoryofcontextdeviationisfuelledbysoundandimage:the
audienceissuddenlyrequiredtojumpfromonecodeofthoughttoanother
codeofthought.Thisbisociationresultsinahumorousunderstandingof
theItaloSwabiansalesmen.

Oneofthemen,Steffen,isnotofItalianorigin.Thefilmlaterreveals,

however,thatheisalsononindigenoustotheregionhelefttheGDRafter
thefallofthewall.Themenareunitedbytheirrolesassalesmenaswellas
bytheirrolesasnonregionals.Theindigenous,ontheotherhand,is
representedbyarbitraryindividuals.Likethemetalfans,theyareseenas
somewhatstrange:asalesmenpitchesnexttoawomansterrariumthat
containsagiantiguana;anotherwomanintroduceshertortoisethatonly
eatstheregionaldishofSptzle;anelderlywomanabruptlyletsdownher
rollingshutterstoblockoutthesalesmanwhoisstandingoutside.InDie
BlumederHausfrautheindigenousbecomestheOther.Thenativesrather
thanthesettlersareportrayedaseccentric.Again,therolesoftraditional
ethnographyaretested:thewhitenativesbecomealienartefacts.Eccentric
strangeness,inbothfilms,becomesthekeymarkerofOtherness.Bill

207

Nicholsremarksonethnographicfilmmaking:Ratherthanseekingto
makestrangenessknown,weseektoknowstrangeness.250

ThesettlersinDieBlumederHausfrauareseenmarkingouttheir

territory.Thescenedepictstwoofthesalesmendrivingslowlyalongaroad
pointingleftandright:Nein,dasistvomSalva.HieristderSalva,daist
derWidule.Davornebinich.[No,thatsSalvas.Salvaworksthissideand
Widuleworksthatside.Iworkthere.].Althoughthediscussionislinkedto
areasalesdivisions,theinitialquestion(Wemseinsistdas?[Whoseturfis
that?])thatsparksoffthediscussionmetaphoricallyimpliesnotionsof
possessionoverindigenousterritory.
UnlikethesettlersinDieBlumederHausfrau,thesettlersinFull
MetalVillagehavenotyetarrived.Thefilmdocumentstheprocessof
temporarysettlement.Themetalfestivalsettlementisportrayedasan
enormousonrushofthemasses.Beforethecrowdsarrive,thefilmcaptures
thestructuringofnaturalhabitattoaccommodatethem:shotsofportable
toilets,buildersandmetalconstructionsongreenfields.Otherimages
witnesstherestructuringoftheindigenouscommunity:shotsofmetal
fencesandprovisionalroadsignsalongthequietvillageroadsandvillage
houses.Ontheotherhand,theimminenceoftheinvasionisindicatedby

BillNichols,TheEthnographersTale,inVisualizingTheory:SelectedEssaysfromVAR
19901994,ed.byLucienTaylor(NewYork:Routledge,1994)pp.6083(p.68).
250

208

thedepartureofselectedindigenousinhabitants:GrandmotherSchaakis
seenpackinghersuitcase,followedbyascenedepictingthelocalpastor
packinghis.Theactualarrivalofthesettlersisdepictedasanonrushof
transportation:cars,trains,localbusesandtaxis.Thecameravisualisesthe
suddenonrushbyallowingthecountrysidetoflypastthelenswhilstthe
cameraremainsonafastmovingvehicle.Heavymetalmusicunderlinesthe
imagesleavingnodoubtastowhothesettlersare.

Theonrushisofaninternationalnature:amanwithaSpanish

themedtshirtexitsabusshoutinginSpanish;amanintheshopsends
greetingsinEnglishtohismotherinMexico;agroupofblackAfricans
wandersthevillageroadspeakingSwahili.Theseimagesredefinethe
traditionalunderstandingofthecreationofindigenouspeoplesastheby
productofwhitesettlements.InWackenthetableshaveturned:the
ethnicallydiversenonindigenousaresettlingintoawhiteregion.Visually
thenonindigenoussettlersaredistinguishablefromthewhiteindigenous:
blackclothingprovidesvisualcohesion.Theirunitedblackattireunderlines
theiranonymousfilmicrepresentationasacollectiveOther.
AsinFullMetalVillage,thenonindigenousinDieBlumederHausfrau
aredistinguishablebyvisualmarkers:darkhairanddarkskinareobvious
indicationsofMediterraneanorigins.Darkcoatsofferaunifyingcollective

209

attire.Thesalesmen,however,lackanyauralfeaturesthatwouldidentify
themasbeingnonindigenoustoSwabia.Onthecontrary,theirlanguage
functionsasanindicatorofSwabianbelonging:themenspeakinSwabian
dialect.Themensadoptionofindigenouscultureindicatesaprocessof
integration.Oneofthemenscustomershighlightsasimilarverbal
assimilation.Theman,whosesurnameChazilikizctisidisidentifieshimas
beingofGreekorigin,talksinasomewhatbrokenSwabiandialectandeven
insiststhesalesmancallhimintheshortened,moreGermansounding
versionofhisname:SchatziSchatzibeingaGermantermofendearment.
AlthoughaGreek,hehasnotonlygermanifiedhisnamebutalsoadopted
theextremeSwabiancleanliness:herelateshowhehadpreviouslyused
twelvelitresofwatertowashhiscarpetandkneelsdownonthecarpetto
inspectitwithamagnifyingglass.

Despitetheimagesofintegration,dividesareequallyapparent.

AlthoughSteffenandtheItaliansareunitedbyprofessionandfriendship,a
dividebetweentheGermanandtheItaliansisperceptible.Inthepub,the
filmcutstoamediumshotofSteffenwhoisbusytellingajokeabouta
blindhareandablindfrog.Thejokespunchline,however,turnsouttobe
aplayonnationalItalianclichsandsomewhatoffensivetohiscolleagues.
ThecamerapanstothelefttocapturethereactionofhisItaliancolleagues.

210

WhereasSteffenandhisGermanfriendburstoutlaughing,theItalians
glancedownandsmileawkwardly.Afurtherpubscenedepictsasimilar
situation.Theyoungestsalesmanclaimsaboutthecustomersthatdie
BestensinddieAuslnder[thebestaretheforeigners],astatementwhich
isreceivedwithcriticismbySteffen.OneoftheotherItaliansinterceptsby
puttingonasarcasticvoice:Dastehter,derDeutsche,derechteArier.
[Therehestands,theGerman,therealAryan.].Theconversationcontinues
bymockinglyimitatingGermansandforeigners.Themenalllaughbutthe
commentsandjokessuggestacollectiveawarenessofadividebetween
Germansandforeigners,particularlybetweenItaliansandGermansinthe
nonindigenousregionalgroup.

InFullMetalVillageadifferentkindofsettlerintegrationis

portrayed.Thecameracatchesmomentsofhomegrownregionalculture
beingofferedtothealiensettlers:anelderlycouplesitpatientlyatthe
busyroadsidesellingtheirhomemadejams;amanduplicatesthefamous
yellowvillagesigntosellassouvenirs.Theexposureofregionalcultureto
thesettlersisbestwitnessedduringaperformanceofthelocalfirebrigade
band.251Thefilmcutsfromonstagetotheaudiencewhichconsistsofheavy
metalfansandelderlyvillagers.Thesettlersareseenmovingfranticallyto

SeeAppendixI,H7.

251

211

themusicasifitwereametalconcert:crowdsurfingandheadbanging.At
thesametimeothersettlersadoptmoretraditionalfolkloricmovements:
partnerdancingandlinedancing.Someelderlyindigenousareseen
holdingontometalbarriers,swayingtheirheadsgentlytothemusic.When
themetalcrowdcalloutformore(Wacken,Wacken,Feuerwehr![Wacken,
Wacken,firebrigade!]),acloseupoffarmerTrederevealshislipsmoving
alongtothecrowdsrequest.Thefilmcutstoamediumshotofthree
elderlyinhabitants,includingfarmerTrede,attheedgeofthecrowd
smilingatthealiencrowdaroundthemtheirtraditionallocalbandhas
foundapprovalwiththeunconventionalsettlersandtheyhavebecome
partofthefestivalcrowd.Thesceneindicatesthattheindigenousandthe
nonindigenoushavemoreincommonthananticipated,asChoscomments
onthefilmsuggest:WennmandieFremdenkennenlernt,unddiese
Andersheitalssolcheakzeptiert,dannmerktmanimmermehrParallelen
undGemeinsamkeiten.[Whenyoumeetstrangersandsimplyaccepttheir
beingdifferentforwhatitis,thenyounoticemoreandmoreparallelsand
similarities.]252

Otherindigenouscommunitymembersembracethecultureofthe

settlerswithenthusiasm.TeenagerKarinSchaakhasherbedroomwall

InterviewwithSungHyungCho,FullMetalVillageDVDbonusmaterial.

252

212

plasteredwithfestivalsouvenirsandyoungfatherNorberthashisgarage
plasteredwithfestivalphotos.Theintegrationofnativesandsettlersis
notlimitedtotheyoungergeneration.Thefilmcapturestheelderly
similarlywelcomingtheincomingalienculture:amanhangsaWacken
festivalflagfromhismastbelowhiswindow,anotherelderlymanhas
descendedfromhisbicycletoengagewiththefestivalpassersbyby
imitatingtheirbehaviourofoutstretchedarms.

Althoughthetwoculturesareseeninteracting,Choalsocastsher

ethnographicgazeondisparities.Thenativesaswellasthesettlersare
observedperformingdanceactswithintheirgroups.Aspreviouslynotedin
thischapter(see2.2.),theexhibitionofdancewasafundamentalpartofthe
initialfilmicethnographicdiscourse.Thecameracapturesacircleofelderly
villagewomendancingtothesongofTennesseeWaltz,apopularAmerican
countrysongfromthe1950s.Thewomenholdhandstoformencirclethe
cameraintheirmidst.Thecamerapansslowlytotheleftthentotheright
whilstthewomengentlycircleroundthecamera.Atthemetalfestivalthe
cameraequallypansslowlyacrossagroupofpeoplemovingtomusic.The
cameramovesalongthefrontrowofaconcertcrowdofyoungmalemetal
fansheadbangingandthrowingtheirarmsupintotheairtothesoundofa
heavymetalband.Thescenesarewitnessnotonlytodifferentmusic

213

preferencesanddanceritualsbutalsoindicateagenerationalgapbetween
thetwo.Whereastraditionalethnographicfilmscontrastedacouplingof
thefirstandlastlinksoftheevolutionarychain,thusprovidingavisual
expressionofoneofthefoundingnarrativesofmodernethnography
itself,253FullMetalVillagecontraststhefirstandlastlinksofahumanlife
span:theyoungandtheold.

BothDieBlumederHausfrauandFullMetalVillagechallengethe

conventionalethnographicrolesofindigenousandnonindigenous,natives
andsettlers,migrantsandlocals.BothChoandWesseleyplaywithnotions
ofethnicityandeccentricitytoestablishnewfoundOthernessinthenon
indigenous(FullMetalVillage)andtheindigenous(DieBlumederHausfrau).
Therelationshipbetweenregionalandnonregionalindividualsisoutlined
byassimilationandintegrationaswellasdisparitiesanddivides.

Oksiloff,p.57.

253

214

2.5 .TheRegionalDefamiliarised:ConcludingNote

ChapterTwohasexaminedthesocialdimensionsoftheregiononscreen.
Sincetheregionincludesbothtangibleandintangiblefeatures,
understandingsofwhatconstitutesaregionvaryconsiderably.The
cinematicviewoftheregionalinthedocumentariesunderdiscussion
exploresthedynamicsofinside/outside,givingtheregionaltheroleofthe
Other.
Thisdichotomyofself(filmmaker)andOther(regional)echoesnotions
oftraditionalethnographicfilmmaking.Bearinginmindtheparameters
imposedbythecolonialcontext,thischapterhascomparedthehistorical
depictionofthenonWesternOtherwiththecontemporarydepictionofthe
regionalOther.Theanalysisoftheregionaloncontemporarydocumentary
screenslooksbacktoearlyGermanethnographiccinemawhichshows
strikingstylisticsimilarities.

InIchkennkeinenAlleinunterHeterosaswellasSchotterwieHeu

Othernessisconveyedthroughthedichotomyofprimitiveandcivilised
anapproachalreadywitnessedinearlyGermanethnographiccinema.An
initialdividebetweentheprimitiveandthecivilisedisestablishedinthe
filmschoiceoflanguage:GermandialectversusStandardGermanthe

215

filmmakersGermanversusthesubjectmattersGerman.Thecontrast
betweenprimitiveandcivilisedisalsoamatterofawarenessversus
unawareness:inSchotterwieHeuthedivideisepitomisedinthe
representationoftechnologicalinnocencesurroundingtheroleofthe
camera;inIchkennkeinenAlleinunterHeterosthedivideisembodiedin
theportrayalofhomoignorance.

DurchfahrtslandandHerrWichmannvonderCDUextendthe

dichotomyofselfandOther.ThefilmsdepictanimositieswithintheOther
therebycreatingnewunderstandingsofselfandOther:theOtheritself
suffersfromdivides.AnewconstellationofselfandOthermanifestsitself
withintheboundariesoftheregion.Imagecompositioninparticularreveals
thepartitionbetweenprotagonistsandotherregionalinhabitants.

OutofEdekaandDieBlutritterexplorethenotionsofselfandOther

withintheparametersofexoticismexoticismbeinganintegralpartofthe
attractionofearlyGermanethnographiccinema.AlthoughtheGerman
regionisfarmorelikelytobeasiteoffamiliarity,bothfilmmakers
approachtheregionasforeignandoutlandish.InOutofEdekaeventhe
essenceoffamiliaritythefamilyturnsexotic;inDieBlutrittersuperiority
overtheOtherformsthebasisformuchofthefilmsscenesofexoticism.
Muchoftheexplorationinbothfilmsisachievedthroughscenesofre

216

enactmentsofforeignculturesinregionallocations:notablyNative
American(IchkennkeinenAlleinunterHeteros)andSpanish(OutofEdeka).

DieBlumederHausfrauandFullMetalVillageopenupthethemeof

selfandOtherbyexploringtheinterplaybetweenindigenousandnon
indigenouspeoples.Bothfilmschallengethetraditionalethnographic
understandingsbyquestioningtheroleofethnicity.InFullMetalVillage
KoreanChotakesontheroleofthetraditionallywhiteethnographer,her
Germansubjectstheroleofthetraditionallyethnicminorityindigenous.In
DieBlumederHausfrauasimilarreversalcanbeobserved:thenon
indigenoussalesmenformanoutsidecommunitytypicalofindigenous
peoplewhiletheregionalindigenousremainseparateeccentricindividuals.

InsteadofrevealingtheOtherintherural,thesefilmsportraythe

ruralasOther.PortrayingtheGermanruralregionasOtherreverses
systemsoffamiliarity:Germanregionbecomestheobjectofan
ethnographicgaze.Thefilmmakerschallengeaudiencesexpectationsand
presumptionsbydefamiliarizingaseeminglyfamiliarGermanterritory
thedomesticregiontherebyintroducingnewperspectivesinto
contemporaryconceptsoftheregionalandruralinGermany.

217

ChapterThree:HeimatRevived
3.0. HeimatRevived:IntroductoryNote

HeimatisaconceptparticulartotheGermanlanguagewhichexpressesa
strongsenseofhomeandbelonging.Heimathasbecomesointrinsically
partofGermanculturethatthereisnoconsensusonitstranslation,which
rangesfromhome,homeland,nation,region,roots,birthplace,to
country.Anytranslationattemptsremainunsatisfactoryasthewordis
boundtoawidespectrumofimplicationsandmeaningswhichhavebeen
shapedbythewordsdevelopmentswithinGermanspeakingcountries,as
JohannesvonMoltkeexplains:

Oneofthedefiningcharacteristicsofthewordmaybeits

adaptabilitytodifferentcontexts.Ontheotherhand,suchflexibility

posesseriousproblemsforanyattempttopindownitsmeaning.254

Thetermdatesbacktothefifteenthcentury.255However,itwasnotuntilthe
nineteenthcenturythatitevolvedinmeaningtobecomemorethana
geographicaldenotation:DerBegriffwirdentmaterialisiert,erwird
JohannesvonMoltke,NoPlaceLikeHome.LocationsofHeimatinGermanCinema(Berkeley:
UniversityofCaliforniaPress,2005),p.8.
255ForanetymologicalanalysisseeAndreaBastian,DerHeimatBegriff:Eine
begriffsgeschichtlicheUntersuchunginverschiedenenFunktionsbereichenderdeutschenSprache
(Tbingen:Niemeyer,1995),pp.2123.
254

218

verschwommenerundimmermehrzumGefhlswert.[Thetermwas
dematerialised,itbecamemoreandmoreindefinitetakingonanemotional
value.].256Ittookonnewmeaningsinculturalandpoliticallife,aspartofa
politicaldiscourseforthenationalaswellaspartofaliteraryand
conservationalambitionforthelocal.TheconceptofHeimatbecamea
mediatorformanyacauseaffectedbynineteenthcenturymodernisation.
Thewordhassinceevolvedintoacomplexconceptembracingdifferent
aspectsofbelongingandidentityinGermansociety.

Thetermisthussubjecttomanyinterpretations.Scholarlywritings

onHeimatarevariedandfocuspredominantlyonspecificfieldsof
expertise,whichresultsinacomplexwebofreadingsforasingleword.
Thisinconsistencyinmeaninghasallowedthewordtofallpreyparticularly
topoliticalabuse,mostnotablyduringtheThirdReich.Heimatevolved
intoaworddangerouslyunstableinmeaning.257Onephenomenonthat
recursinthediversityofconceptionsofHeimatistheuseofthewordto
attempttoprovideandconveyaperceptionoftheindividualandcollective
self.Whethernational,regionalorlocal,historicalorutopian,itisthe
constructionofaselfimagewhichliesatthecentreoftheHeimatidea.Itis

DerdeutscheHeimatfilm.BildweltenundWeltbilder.Bilder,Texte,Analysenzu70Jahren
deutscherFilmgeschichte,ed.byWolfgangKaschuba(Tbingen:TbingerVereinigungfr
Volkskundee.V.,1990),p.15.
257Blickle,p.xi.
256

219

aselfimageoftendistortedbywishfulfilmentandmythicalunderstanding.
AttheheartofHeimatliesanorderlystructurewhichreflectsthehuman
psychesneedfortheaffirmationofselfthroughboundaries.DavidMorley
comments:

Thereisalonghistoryoftheproductionofimaginarygeographies,

inwhichthemembersofasocietylocatethemselvesatthecenterof

theuniverse().Thequestionofboundarymaintenance,between

outsideandinside,betweentheworldofthefamiliar(Heimat)andof

thestrange(Fremde)iscrucial.258

Itisnottheaimofthischaptertodealwiththeextensivescopeoftheterm
butrathertofocusononeparticularaspectofHeimatwhichhasbecome
manifestinthetwentiethcentury:Heimatonscreen.TheHeimatfilmis
integraltoGermancinemahistoryPflaumandPrinzlerconsiderittobe
dasdeutschesteGenreberhaupt[themostGermanofallgenres].259Itisa
genreuniquetoGermanspeakingcinemas,rarelytravellingbeyondthe
bordersofGermany,AustriaandSwitzerland.TheHeimatfilmisvery
muchaproductofGermancultureasitisfoundedonpreexistingimages,

Morley,David,BoundedRealms:Household,Family,CommunityandNation,in
Home,ExileHomeland:Film,MediaandthePoliticsofPlace,ed.HamidNaficy(NewYork&
London:Routledge,1999),pp,151168(p.161).
259HansGntherPflaumandHansHelmutPrinzler,FilminderBundesrepublikDeutschland.
DerneuedeutscheFilm.Herkunft/GegenwrtigeSituation.EinHandbuch(Munich:Carl
HanserVerlag,1979),p.24.
258

220

motivesandnarrativeswithinGermanculture.Genresdonotconsistonly
offilms,theyconsistalso,andequally,ofspecificsystemsofexpectation
andhypothesiswhichspectatorsbringwiththemtothecinema.260These
expectationswereshapedbyculturalsystemsalreadyinplacebeforethe
birthofcinema.AlthoughHeimatliteratureactedasanarrativetemplate
formanyHeimatfilms,itwouldbeasimplificationtoarguethatHeimat
filmisanextensionoftheHeimatliteraturegenre.TheHeimatfilmgenre
alsodrawsuponanabundanceofotherprecedingculturalstrandssuchas
Volksmusik[folkmusic],Romanticpainting,folktheatre[Volksstck],and
comedicBauerntheater[peasanttheatre].Thecinematicgenrificationof
HeimatwasaprocessthatevolvedfromfilmsinitiallylabelledasDorffilm
[villagefilm],Volksfilm[folkfilm]andBergfilm[mountainfilm]fromthe
1910suntilthe1930s.261ThegenredevelopedduringtheNaziregimebut
sawitspeakinpostwarGermany.ThegenericHeimatfilmwasa
predominantlyWestGermanproduct,althoughrecentscholarlymaterial
hasshownthatitwasnotconfinedtoWestGermany.262Atthesametime
theGDRproducedfilmsoflocalplaceandruralspace263withinasocialist
framework,whichneverthelessshowedthesameideologicalpotentialof

SteveNeale,GenreandHollywood(London:Routledge,2000),p.31.
ForahistoricalaccountoftheterminologyofHeimatfilmseevonMoltke,pp.2635.
262ForadiscussionofHeimatfilmintheGDRseevonMoltke,pp.170200.
263vonMoltke,p.174.
260
261

221

Heimat264asWestGermanHeimatfilms,albeitwithadifferentideology.
Genreisaprocess,asRickAltmanargues.265TheHeimatfilmofthe1950s
mayhavedominatedWestGermandomesticproductionsbutitwasnota
stableconstruct.The1960sand1970switnessedarenaissanceoftheHeimat
filmwithanewcriticalform,laterknownastheNewHeimatfilmorAnti
Heimatfilm,andlesscriticalformsknownastheeroticLederhosenfilm[leather
trousersfilm]andthescenerydrivenTouristenfilm[touristfilm].The1980s
weremarkedbyafurtherrevivaloftheHeimatfilmwiththefirstpartof
EdgarReitzsHeimattrilogy.Scholarshavealsoexaminedtherevivalofthe
Heimatfilminthearenaoftelevision:incountlessrerunsoftheclassic
1950sHeimatfilm(PayTVPremierehasitsownHeimatchannel)andits
reincarnationin1980sand1990stelevisionseriessuchasthewidely
popularSchwarzwaldklinik.

ThischapterwilltakethediscourseofHeimatandfilmonestep

further.ItwillarguethatHeimatinfilmisexperiencinganewleaseoflife
oncontemporarycinemascreens.InthepasttheHeimatfilmhasmerged
withotherfilmcategoriessuchastheeroticfilm(Lederhosenfilm),thedrama
(AntiHeimatfilm),thesaga(EdgarReitzsHeimat).Genremixing,as
Altmanpointsout,constitutesafundamentalstageinthestandard

vonMoltke,p.174.
RickAltman,Film/Genre(London:BFI,1999),pp.4962.

264
265

222

genreficationprocess.266Thecinemaunderinvestigationinthisresearch
mergesdocumentaryandHeimatamergewhichcombinestwofilm
categories:onethataspirestocapturerealitywithonethataspirestocreate
fiction.Thischapter,however,willnotbeadiscussionaboutgenreor
genrificationpersebutaninvestigationofcinematicHeimatmotifsthat
havereappearedinnewformsoncontemporarycinemascreensbetween
1999and2007.

RickAltman,p.142.

266

223

3.1. HeimatRevived:TheRuralandtheUrban

IchkennkeinenAlleinunterHeteros(JochenHick,2003)

FullMetalVillage(SungHyungCho,2007)

InheranalysisofthetermHeimatAndreaBastiandistinguishestwomajor
interpretativefactors:thespatial(Territorium)andthesocial
(Gemeinschaft).267Thisdivideresemblesdistinctionsmadeinanalysesofthe
regional:

Inonedimension,theregionmaybedeterminedbynaturalfeatures

(geographicalfeature,uniformityofgeology,topography,or

ecology);inanother,itmayreflectthepatternofhumansettlement

(markedbycommonlanguage,ethnicity,orculture).268

WhereHeimatisperceivedtobeisdeterminedbyboththespatial
(Territorium)andthesocial(Gemeinschaft).AsurveypublishedinSpiegel
revealedthatstatisticallyfor31percentofGermansHeimatwastheplaceof
residence,for27percenttheplaceofbirth,for25percentthefamily,forsix
percentfriendsandforelevenpercentthecountryside.269Amorerecent
SpiegelsurveyofyoungGermansbetween20and35revealedthatHeimat
Bastian,p.25.
Scott,p.1.
269EmnidSurvey,DistanzzumLand,SpiegelSpezial:SehnsuchtnachHeimat5(1999),p.11.
267
268

224

for44percentistheplacewheretheygrewup,for20percenttheplace
wheretheylive,for18percenttheplacewheretheirloveis,andfor17
percenttheplacewheretheirbestfriendsare.270Theresultsofthesesurveys
underlinethemultilayeredunderstandingoftheterm.271
AninitialqualificationofaHeimatimageisitslocation,asKaschuba
explains:HeimatimtraditionellenSinneltsichgeographischalso
lokalisieren:HeimatistdasDorf,dieRegion,ausdereinMenschstammt.
[Heimatinthetraditionalsensecanbelocalisedgeographically:Heimatis
thevillage,theregionwhereapersoncomesfrom].272Thesettingofthe
Heimatfilmisanintegralpartofitsgenre.OnscreenHeimatcangenerally
belocatedinthecountryside,asHfigsstatisticsconclude:Das
beherrschendeheimischeMilieuistdasLandschaftsundDorfmilieu.[The
dominanthomemilieuisthecountrysideandvillagemilieu].273Inthe
Heimatfilmofthe1950sspatialfeaturesplayaleadingrole:Nearlyallof
theHeimatfilmeoftheperioddisplayamarkedpriorityofsceneryand
locationinrelationtonarrativeprogression.274Thespatialenvironment
functionsasmorethanabackdroporsetting,asManuelaFiedlerpointsout:

TNSSurvey,Sielernenjemandenkennen,googelnSieihn?,DerSpiegel,25(2009),p.62.
ItofinteresthowfewrespondentsperceivedHeimatasnation.
272Kaschuba,p.29
273WilliHfig,DerdeutscheHeimatfilm,19471960(Stuttgart:Enke,1973),p.266.
274TimBergfelder,InternationalAdventures.GermanPopularCinemaandEuropeanCo
Productionsinthe1960s(NewYork:BerghahnBooks,2005),p.40.
270
271

225

EsentstehenIdealllandschaften.[Ideallandscapesevolve.].275Although
identifiablebyregionalmarkers(mountains,heath,sea),filmlandscape
functionsasaplaceholderforatypeofgeographicalarearatherthanasa
representationofspecificlocations.Thegeographicallocationintheclassic
Heimatfilmwastransformedintoanideallandscapebyapteditingand
framing.

EswirdinderMehrzahlderHeimatfilmederfnfzigerJahrefastnie

einekonkreteexistierendeStadtodereinegenausoexistierende

lndlicheRegionzumSchauplatzderHeimatfilmegemacht,das

SettingdesHeimatfilmsistfastausnahmslosausdergeographischen

RealittherausgehobenundinsIdealtypische,Idyllisch

Harmonischeberzeichnetworden.

[InthemajorityoftheHeimatfilmsofthe1950stherewasalmost

neveraconcreteexistingcityoranequallyexistingruralregionused

aslocation.Thesettingofthefilmisalmostwithoutexception

removedfromgeographicalrealityandrecastintheidealtypical,

idyllicharmonious.]276

AlthoughthelocationinIchkennkeinenAlleinunterHeterosisportrayedas
farfromidyllic(see1.1.),oneoftheprotagonists,Stefantheforester,isseen
ManuelaFiedler,HeimatimdeutschenFilm:EinMythoszwischenRegressionundUtopie
(Coppengrave:CoppiVerlag,1995),p.12.
276ManuelaFiedler,p.12
275

226

livingandworkinginandwithnature.Theforesterisaprofessiontypical
fortheHeimatfilm:

DerFrsteristimHeimatfilm()Vetretereinesbestimmten,
heimatfilmischenOrdnungsprinzips.()DerBerufdes
DorfbewohnersistausnahmslosdemWohlederNaturunddem
WohledeslndlichenLebensbereichesundderDorfgemeinschaft
verpflichtet.

[IntheHeimatfilmtheforester()istherepresentativeofacertain
Heimatfilmprincipleofclassification.(...)Thecallingofthevillage
inhabitantiswithoutexceptiontobecommittedtothegoodofnature
andthegoodoftheruralsphereoflifeandthevillagecommunity].277

Stefanprovestobeintunewithhisnaturalsurroundings,ashehimself
states:DasWetter()hreichmeistensschon.[Iusuallyheartheweather
beforeitcomes.].

ThefilmaccompaniesStefanonhiswaytoworkintheforest.278The

sceneopenswithagravelroadlurchingthroughmistandtalltreesfilmed
fromwithinamovingvehicle.Ashotoftheroadjumpcutstoanearly
identicalshotofthesameroad,thusdistortingtheviewersgeographical
orientation.ThenextshotrevealsStefanwalkingintotheforestsmorning
JrgenTrimborn,DerdeutscheHeimatfilmderfnfzigerJahre:Motive,Symboleund
Handlungsmuster(Cologne:TeiresiasVerlag,1998),p.120.
278SeeAppendixI,E2.
277

227

mistandtheredraysoftherisingsunthecamerafollowinghimclosely
whileheisheardoffscreenmarvellingabouttheatmosphereofthewoods:
DieBume,hinundwiederkommtmaleinRehvorbeigehpft,undzum
TeilknnteichmichaucheinfachinsGebuschlegenundeineRunde
schlafen.[Thetrees,adeerjumpsbyfromtimetotime,andsometimesI
justfeellikelyingdowninthebushesandhavinganap.].Thesceneis
enfoldedinmistbathedinsunlightandexudesaserenitysimilartothatof
dreamsequences.Stefanhimselfemphasisesthisnotionbyreferringtohis
napsinthewood.Theforestisexperiencedasaplaceofnaturalbeauty,
innocenceandtranquillity.Thisidealisationofplacethroughnatureallows
anelementoffantasytoenterthegenreofdocumentary:Heimatistim
Heimatfilm()stetsnureineidyllisierte,harmonisierte,vonder
WirklichkeitbewutabgehobenePhantasievorstellung.[InHeimatfilms,
Heimatis()alwaysonlyanidyllised,harmonisedfantasyimage
deliberatelyfarremovedfromreality.]279

Thenextscenebringsthelocationbacktoreality.Stillinthewoods,

thecamerapanswithStefansmovements:Stefanclosingthecarbootdoor,
thenadjustingtheequipmentstrapoverhisshoulder,allwithacigarette
hangingfromhislips.Whereastheprevioussceneomittedallsignsof

Trimborn,p.61.

279

228

civilisation,thisshotreinforcesthem:thecar,theforestryequipment,the
cigarette.Thedisparitybetweenthetwoscenesisaurallymarkedbythe
abrupthaltofgentlemusicwhenthecarbootdoorisclosedwithathud.

ThescenecutsbetweencloseupsofStefanbeinginterviewedto

shotsofStefanatworkmarkinglogs.Theimages,however,aredominated
byStefansvoiceover.ClassicalstringmusicaccompaniesStefanwhilehe
talksaboutthedifficultiesofhiscomingouttohisforestrycolleagues.His
accountsrevealadarkersideoftheforestasaplaceofhomosexual
discrimination.Theviewerisalsoaurallyremindedthatthisisfarfroman
idealplacewhenthemusicendsabruptlywiththebangingnoisescreated
bythehammerwithwhichStefanmarksthetreelogsthemarkactingasa
symbolofciviccontrolovernature.

ThesequenceendswithStefansdescentfromthewoods.Thecamera

isnolongerinStefanscarbutfacingit,therebycapturingalongshotofthe
caranditssurroundings.280Thetalltreesloomdarklyoverthemoving
vehicle.Thecarsfrontlightsareswitchedon,althoughonlyoneofthe
lightsisworking.Thescenestandsinstarkcontrasttothesequenceopening
shot.Brightmorninglightandwhitemistgivewaytodarknessanddried
leavesontheground.Thecamerasinteriorpositioninghasbeenexchanged

SeeAppendixI,E3.

280

229

foranexteriorone.Thesequencefirstconstructsthendeconstructsanideal
landscapetherebypointingtotheessenceofHeimat,asdefinedbyHfig:
OhneGegenberstellungmitderFremdeistdieWeltderHeimatnichtzu
erkennen.[Unlessthereisacontrastwiththeunfamiliar,theworldof
Heimatcannotberecognised.].281
Heimatasaplaceofdoublecharacteralsobecomesevidentinthe
portrayalofStefanshomevillage.Stefanisseenwalkingwithhisdog
throughthesmallvillageofMichelwinnaden.Thevillageisrepresentedas
oneofanimalsratherthanhumans:thecameracapturesaduck,dogs,a
groupofgoats.Althoughthecamerarepresentsthevillageasidyllic,Stefan
tellsadifferentstory:WirhattenimLandesdurchschnittdiehchstenRep
Whlerberhaupt,indemkleinenKuhdorf,woichwohne.()Ichwohne
zwarinMichelwinaddenaberlebentueichdawomeineFreundesind.[In
thenationalaveragewehadthehighestnumberofextremerightvoters,in
thesmallonehorsetownwhereIlive.()technicallyImresidentin
MichelwinaddenbutwheremyfriendsareiswhereIactuallylive.].Image
andsound(i.e.voiceover)offerdifferentaccountsofthesameplace:
Heimatbecomesavisualspectacleofnaturewithanauralaftertasteof
socialintolerance.

Hfig,p.388.

281

230

Thefilmmaker,JochenHick,doesnotshyawayfromrevealingthis

doublecharacter.Again,Stefanisseenatworkinthewoods.Imagesof
picturesquegreenmountainsaccompaniedbysoothingclassicalmusic
precedethescene.282ThemusiccontinueswhilethecameraobservesStefan
enthusiasticallyexplainingthecopulationofinsectsinsideatree.Hick
interruptstoexpresshisinterestintheRammelkammer[copulation
chamber]:WasistgenausoeineRammelkammer?Undallehabeneine
Rammelkammerimmer?[Whatexactlyisacopulationchamber?Anddo
theyallalwayshaveone?].Itsoonbecomescleartotheaudience(notto
Stefan)thatHickistakingadvantageofhisroleasdocumentarianand
abusinghissubjectstrust:hisquestionsareactuallymockinghis
protagonist.ThescenecutstoStefansmotheradmittingherignorance
aboutgaysexthecontinuationofthegentleclassicalmusicprovidinga
soundbridge.Hickdecontextualisesthewordrammeln,whichisgenerally
reservedforanimals,toapplyittoahumancontextwhichcarriesmore
vulgarconnotations.ThiseffectivelystripsStefansenthusiasmforthe
reproductionofinsectsbareofallinnocence.

InFullMetalVillageitisthevillagethatisrepresentedasthesetting

forIdeallandschaften.Thevillageisvisuallyintroducedinaseriesoftracking

SeeAppendixI,E5.

282

231

shots:afieldofhorses,alargefarm,thechurch,rowsofredbrickhouses,
theshops,thepub,adesertedfactorybuilding,andgreenfieldsofgrazing
cows.Thetrackingshotsfollowtheslowpacedictatedbythemelancholic
music.Theshotsareemptyofhumanbeings:machinesarelaidtorest,
shopsareclosedandstreetsareempty.Wackenbecomesaplacewheretime
standsstill.

Theintroductorytrackingsequenceissandwichedbetweenscenesof

animalfeeding:farmerPlhnfeedinghiscows;grandmotherSchaak
feedingherdogsandchickens.Therelationshipbetweenmanandbeastisa
symbioticoneinWacken,particularlybetweenfarmerPlhnandhis
animals.Plhnenjoysacigarettebreakinthecowbarn.Theshotcaptures
thefarmersittingonasmallstoolleaningagainstthewoodenbarndoors
smokinghiscigarette.283Ablackcatentersleftoftheframeandperchesup
onthemilkcanisternexttoPlhn.Whilethecatgreedilysipsthefreshmilk,
Plhnleisurelylooksonasthecathelpsitselftothefruitsofhishardwork:
DavorneaufderDielehabeichdenKatzenwasgegeben,aberdiewissen
auch,dasseshierwasgibt.[Ivegiventhecatssomethinginthehallatthe
fronttherebuttheyalsoknowtheressomethingheretoo.].Plhnchuckles
andpointstothecat,obviouslyateasewithitsmischievousbehaviour.

SeeAppendixI,H2.

283

232

OthersequencescapturePlhninthepresenceofanimals:ridinghismoped
withatrailerwithtwocanistersofmilkandhisdog;inthebarnwithhis
dogandanewborncalf,guidinghiscowswithatractorontheroad.

InWackennatureisasourceofnutrition:farmerUweTredeshows

offtheheightofhiscorncrops;awagonbearsasignsellingpotatoes;an
elderlycouplesitatthevillageroadsidesellinghomemadejams;
grandmotherSchaakdigsoutpotatoesinhergarden.Thecameraprovides
acloseupofSchaakshandsdiggingintheblacksoilforthepotatoes.This
starkimageryofwhitehandsandblacksoilrecallsnotionsoftheBlutund
BodenIdeologie[bloodandsoilideology],aconceptofhumanconnectionto
thelandstronglypopularisedbyRichardDarr284inaracistframeworkin
NaziGermany.Theideologywasbasedontheperceivedconnection
betweenGermandescentandthebirthrighttoGermanland.Theterm
HeimatwasshapedbytheThirdReichtocorrespondtothisideology:
HeimatandnationbecamelargelysynonymousinNaziusage.Bothwere
definedraciallyandspatially,or,touseNaziterminology,throughblood
andsoil.285ThebondcreatedbetweentheconceptofHeimatandtheblood
andsoilideologydidnotceaseafterthewar.JrgenTrimbornpointsto
parallelsbetweenthebloodandsoilideologyandthe1950sHeimatfilm.
284

Richard Walther Darr was Hitlers Minister of Food and Agriculture from 1933 to 1942.
vonMoltke,p.54.

285

233

Oneoftheseanalogieslieswithintheroleofthefarmerandtherural
communities:

EinegewissebereinstimmungundParallelezwischenden
Weltbildern()lsstsichauchindernahezuunreflektierten
GlorifizierungundHeroisierungdesdeutschenBauerntumsundder
traditionelllebendenLandundDorfbewohnernfeststellen.

[Acertainagreementandparallelsbetweentheworldviews()can
bedetectedinthealmostuncriticalglorificationandheroisationof
Germanfarmersandthetraditionallylivingcountryandvillage
dwellers.]286

AworryingreferencetotheThirdReichisestablishedintheSchaakfamily
whenthegranddaughtertalksaboutherpassionforNaziculture:Ichwill
mirwnscheneineStundeimZweitenWeltkriegzusein.()Sorichtig
dabeizusein,soirgendwieinderHitlerjugend.()Daswreschontoll
irgendwie.[IdliketobeintheSecondWorldWarforonehour(...)Really
there,likeintheHitlerYouth.(...)Thatdbegreat.].VillagerNorbert
Venohroffershisviewonemploymentandimmigrationwhichevidences
problematicideasofGermansuperiority:Ichfindedasscheie,dasssie
auchsovieleGastarbeiterhaben,diePolenunddieWeissrussenundwei

Trimborn,p.141.

286

234

derGeierwashierallesrumkreist.()Dasollensiemalanfangen
aufzurumen.[Ithinkitsreallycrapthattherearesomanyimmigrant
workers,PolesandWhiteRussiansandheavenknowswhoelseisaround.
()Theyshouldstartgettingridofthemall.].Norbertdeliversthis
xenophobicstatementtofilmmakerCho,whoseAsianethnicitymustbe
evidenttohim.Eitherhisintoleranceisselectiveoritisingrainedtothe
pointofinsensitivity.

Theconceptofvillagesoil,however,isturnedonitsheadtowards

theendofthefilm.Thecameraobservestwofestivalparticipantsplayfully
mudwrestlingintheraindrenchedsoil.Mudcoversthemfromheadtotoe
onlywhiteteethglimmerthroughsmilingfaces.Theconceptofsoiland
descenthasbeenturnedupsidedown:thesoilhascoveredtheirbodies
therebymaskinganysignsofethnicity.Moreover,thevillagesoilhasbeen
givenanewrole:thesoilnolongerprovidesasourceoffarmingbuta
playgroundforentertainment.

Theapproachofthefestivalfansismarkedbyaturninnatureand

theweathertheHeimatofIdeallandschaftenhasbeendisturbed:alow
angleshotofdarkcloudsblowingovertheskytoconcealthesun;along
shotofexpansesofgreenfieldswithgreycloudshoveringaboveandcows
abruptlyrunningrapidlyfromonesideoftheframetotheotherisfollowed

235

byalowangleshotofflowersandtreesbeingbeatenbythewindandrain
andfinallyacuttothemusicfestivalstagesintherain.287Heavymetal
musicaccompaniestheshotsofnaturalturmoildirectlypointingtothe
symbolicperpetratorsofthechangeinnature.

Theheavymetalfansarevisitorsfromelsewhere.Themotifofthe

citydwellervisitingthecountrysideistypicaloftheHeimatfilmgenre.The
postwarHeimatfilmwavecameatatimeofincreaseintourism,andwas
anessentialmeansofpromotingthecountrysidetourbanviewers.Heimat
onscreencapturedaplacewherethevisitingurbanmettheresidential
rural:

EinigederhufigstenbildlichsymbolischenChiffrensinddie
GegensatzpaareAutoversusPferdewagen,stdtischmoderne
RevuemusikversuslndlichtraditionelleBlasmusikundstdtische
KleidungversuslndlicheTrachtenkleidung.

[Someofthemostfrequentvisualsymboliccodesaretheopposite
pairsofcarversushorsedrawncarriage,urbanshowmusicversus
traditionalruralbrassbandmusicandcityclothesversusrural
traditionalcostumes.]288

SeeAppendixI,H5.
Trimborn,p.53.

287
288

236

ThesevisualcontrastsaretobefoundinFullMetalVillage:heavymetalfans
invadethecountrysideincarswithloudmetalmusicandinextraordinary
dress;thevillagersareseendrivingtractors,mopedsandbicycles,enjoying
brassbandmusicinordinarydress.Trimbornseesthecontrastofthetwoas
antagonistic:MitdiesenantithetischenMotivensolldieUnvereinbarkeit
derbeidenLebensbereicheStadtundLanddargestelltundverdeutlicht
werden.289[Theseantitheticalmotivesservetounderlinethe
incompatibilityofbothcityandrurallife.].VonMoltkehasrecently
suggestedthatcertainfilmswentbeyondthemereantagonismperceivedin
thesethematicdualisms:Thesefilmsachieveclosurebyaccomplishinga
harmonizationbetweensuchostensiblyopposedtermsasruraland
urban.290
FullMetalVillageoffersimagesandsoundsofculturaloppositionbut
atthesametimeprovidesscenesofharmonisedreconcilability.The
reconcilabilityismostpoignantinsceneswherenotonlyruralandurban
cometogether,butalsoyoungandold:anelderlyvillagevolunteer
directingthecarsoftheyoungvisitorsintothefields;anelderlyvillager
greetingtheyoungmetalfansonthevillagestreetwiththetypicalheavy
metalhornofthedevilhandgesture.Theheightofreconcilabilitybetween

Trimborn,p.53.
vonMoltke,p.128.

289
290

237

urbanandruraltakesplaceatthefestivalduringtheperformanceofthe
localfirebrigadeband.Thesequencecommenceswithalocalintraditional
costumeopeningabarrelofbeerwithawoodenhammermetalfans
gatherroundtowatch.Heraisesthefirstfullglassintheairtoshoutatoast
andthemetalfansstartclappingandcheering.Thesequencecontinuesto
depictthemetalfanswelcomingthelocalsperformance:joyfullythey
movetothetraditionalmusicofthefirebrigadeband(foratextualanalysis
ofthescenesee2.4.).Thefeastisamandatoryelementofthe1950sHeimat
film.ErstimobligatorischenFestamEndederFilmhandlungerreichtder
HeimatfilmseineeigentlicheBestimmung,seinenIdealszustand.[The
Heimatfilmonlyreachesitsrealpurpose,itsidealstate,withtheobligatory
festivalattheendofthefilmsstory.].291ThisIdealzustandisgenerally
producedbytheresolutionofconflict:Einerseitseineeuphorische,
familireStimmungzubeschwren,inderdieimZugedesFilmgeschehens
aufgehuftenKonflikteuntergehen,andererseitsdieheimatlicheWeltin
festlichemGlanzunddamitoptimaldarzubieten.[Ontheonehand,
creatingaeuphoricfamilylikeatmosphere,whichdrownsoutallconflicts
gatheredinthecourseofthefilm,ontheother,presentingtheworldof

Trimborn,p.130.

291

238

homeatitsbestinfestivecolours.].292InFullMetalVillagecitydwellersand
villagersresolvetheircultureclashandfindthemselvesasone:asan
audience.Reconcilabilityisbasedoncompromise,asTimBergfelder
explains:

Theidyllofthe1950sHeimatfilmprincipallocationsisnearly

alwaysdeconstructedthroughhumaninterventioninthecourseof

thefilmsplot,onlytobereconstitutedattheend,notinitspureand

untouchedformbutasanothercompromiseconstruction.293

Heavymetalfansheadbangtovillagemusicareconciliationofthetwo
cultures.

Despitethismomentofharmony,thefilmdoesnotendonanideal

note.Thelastsequencedepictstheaftermathofthefestival:villagers
comingtogethertogatherthewasteleftbehindbytheurbanvisitors,now
scatteredovertheirfields.TheIdealzustand,theunionbetweenruraland
urban,isonlyoftemporaryduration.Inaccordancewiththegeneric
narrativeofaHeimatfilm,theurbanvisitorshavebyandlargeleftthe

Hfig,p.298.
Bergfelder,p.43.

292
293

239

HeimatmilieuattheendofthefilmleavingtheorderoftheHeimat
unchanged.294

InIchkennkeinenAlleinunterHeterosthecontraryisthecase:

villagerstakeontheroleofvisitorsintheurbansphere.Thecamera
accompaniesUwetothenightlifeandshopsofGermanyscapital,Richard
intohotelsandontopublictransportofSwitzerlandlargestcity,and
HartmuttothegentlehustleandbustleofaresorttownintheFarEast.
NonruralandforeignenvironmentsareanintegralpartofHeimat,as
Hfigobserves:

DasBildderHeimatunddamitdasderpositivbewertetenSeiteder
HeimatfilmWeltwirdausdemGegensatzzurFremdeentwickelt.
Fremde,daskannheien:dieexotischeWelt();daskannheien:
dieStadt.

[TheimageoftheHeimatandwithitthepositiveevaluationofthe
worldoftheHeimatfilmdevelopsfromthecontrastwiththeforeign.
Foreigncanmean:theworldoftheexotic();itcanmeanthecity.]295

Onlyintheforeigncontextdothemenfindsexualliberation:Uweenjoys
sexshopsandgayclubsinBerlin,Richardenjoysanactiveelderlygay

Trimborn,p.72.
Hfig,p.386.

294
295

240

communityinZurich,Hartmutenjoysthephysicalwellbeingprovidedby
youngmeninThailand.Thejourneysoutsideoftheruralhabitatsare,
however,notmarkedbyanegativecounterimage.InIchkennkeinen
AlleinunterHeteroscitydwellersprovetobefriendlyandforthcoming.A
darkundercurrent,however,appearsintheformofHartmutsillness.
Hartmutsdeterioratedbodybecomesthefocusofmuchofthecamera
workonhisjourneytoThailand:theattentionpaidtohisbodyexposes
Hartmutasold,illandweak.ThevisualconnectionbetweenThailandand
Hartmutsillness,however,isturnedonitsheadbyHartmuthimself:Bei
mirimOrtvermutetjeder,dassichmirinThailanddenVirusgeholthabe.
Ichselbervermuteeher,dassichihnmirimSchwarzwaldgeholthabe.
[EveryoneathomethinksIpickedupthevirusinThailand.ImyselfthinkI
pickeditupintheBlackForest.].Allofasuddenitistheruralandnotthe
urbanthatcarriesthedarkundercurrent.Despitehissexualpromiscuity
andillness,Hartmuthasthesupportofhisfriendsfromhomewhopack
theirbagsandaccompanyhimtoThailandforaholiday.Although
differinginissuesofsexuality,theydisplayatogethernesswhichis
capturedinashotthatshowsthemlinedupatthebeachposingforthe
camerawiththeirarmsaroundeachother.296(seealsoscenedescription1.1.)

SeeAppendixI,E7.

296

241

Themensfamilystructuresnonexistent,brokenorunbalanced

bearwitnesstotheunderlyingproblemsintheruralcommunities.Both
UweandStefanlivewiththeirmotherswhereasRichardandHartmutlive
alone.ThebrokenfamilywasawidespreadHeimatfilmmotifanda
reflectionofunstablefamilyfortunesafterthewar.Theconstellationof
fatheranddaughterplayedacentralrole,theroleofthemotherfigure
beinggenerallyomittedinHeimatfilmsofthe1950s.Thisfamily
constellationdoesnotcorrespondtothepostwarconditionsofabsentor
fallenfathers.Thisprocessallowedtheviewertoidentifyaswellasrepress
memoriesofwarconditions.297InIchkennkeinenAlleinunterHeterosthis
familyconstellationisreversedwithsoleattentiongiventotherelationship
betweenmotherandson,therebyomittingthefatherfigure.Evenwhena
fatherfigureexists,thefilmchoosestodisregardhim.InStefansfamilythe
fatherfigureismentionedbutneverseen.InClaudiosfamily,motherErika
becomesoneofthefilmsprotagonistswhereashisfatherremainsmainly
silentinthebackground.Atthesupportgroupforparentsofhomosexual
children,ofwhichErikaisamember,onlymothershaveasayinfrontof
thecamera,althoughinanestablishingshotofthegroupfatherscanalsobe
identified.

FormoredetailseeTrimborn,pp8087.

297

242

WhilevisitingthebrightlightsofThailand,Hartmutthistime
discoversanewkindofrelationshipwithaman:Ichhabesexuell
berhauptkeinInteressemehr.IchmagdenJungeneinfach,ja,wieein
Sohn.Undichglaubeermagmichauch.[Ivegotnosexualinterestany
more.Ijustliketheboy,likeason.AndIthinkhelikesme.].InZurich
Richardoffersinsightintohisnonsexualrelationshipwithaman:Man
lerntsichkennen,manlerntsichlieben,mantrenntsichwiederaberbleibt
guteFreunde.[Yougettoknoweachother,youlearntoloveoneanother,
yougoyourseparatewaysbutstaygoodfriends.].Inbothcasestheurban
evolvesfromaplaceofsexualfulfilmenttoaplaceofmalefriendshipa
bondbetweentwomalesthatremainsabsentintheirfamilyrelationships.
Attheendofthefilmtheprotagonistsreturntotheirruralhabitatthe
urbanrepresenting,asitdidinthe1950s,aplacefarfromHeimat.

243

3.2. HeimatRevived:ModernisationandTradition

SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

DieBlutritter(DouglasWolfsperger,2004)

TheHeimatfilmisfraughtwiththematicdualitiesalongsidethetwofold
premiseofnatureandcivilisation(see3.1.),modernisationandtradition
playaleadingroleinconstructingHeimatonscreen.

DiemeistenProblemeundKonfliktedesHeimatfilmslassensichauf

dieFormelreduzieren:BedrohungundVerteidigungdes

Traditionsraums.DasBsebestehtalsomeistensineinemVersto

gegentradiertesBrauchtumundbestehendeOrdnung()Dies

Grundschemawirdinhaltlichinverschiedenen,ihrerseitsaber

ebensostereotypenHandlungsablufenprsentiert:().

GegensatzStadtLand,oderNaturTechnik.

[MostHeimatfilmproblemsandconflictscanbereducedtothe
formula:threatanddefenceofthetraditionalspace.Evilmainly
consistsofabreachofhandeddowntraditionsandexistingorder
().Thisbasicschemeispresentedwithrespecttocontentin
differentstereotypedplots:()theoppositescitycountry,or
naturetechnology.]298
EckhardBailer,KritischerRckblickaufdieGeschichtedeutscherHeimatkunst,Der
deutscheHeimatfilm(Nrnberg:VHSSeminarMeisengeige,publicationdatenotavailable),
111(p.4).

298

244


InbothDieBlutritterandSchotterwieHeutraditionliesatthecoreofthe
narrative.DieBlutritterisataleaboutamedievalreligiousprocession;
SchotterwieHeuisaportrayalofaonemanvillagebankboastingahistory
ofthreegenerations.Bothfilmsareaboutplaceswheretraditionsand
customsarealivedespitechangesbroughtaboutbyprogress.Alongsidethe
narratives,thefilmsaresteepedinformalaspects,auralandvisual,that
confirmtheleadingroleplayedbytradition.

Ontheonehand,thisisdisplayedinthechoiceofsoundtrack:both

filmmakersworkedwiththemusicgroupHaindling,whoareknownfor
theirBavarianinfluencedcompositions.Theregionalrootsofthe
soundtrackspointtotraditionsoflongestablishedfolklore.Inaddition,the
folkloricmusicimitatesthenatureoftraditionitself.Inbothfilmsthemusic
iscyclicalinmelody,thusunderpinningthecyclicalnaturethatregulates
customarytradition.Therecurringmusicalleitmotifisgovernedbyafast
rhythmandacheerfultuneHeimatonscreenbecomesaplaceof
traditional(aural)delight.
Ontheotherhand,traditionistobefoundinthechoiceofvisual
presentation.BothDieBlutritterandSchotterwieHeumakeuseofmaterial
fromapriortime:footagewithinthefilmshowsWeingarten(thevillagein

245

DieBlutritter)andGammesfeld(thevillageinSchotterwieHeu)atanearlier
dayandage.DieBlutritteropenswithblackandwhitefootageofthe
medievalprocessionintheyear1924.Thesequenceismirroredinthelatter
partofthefilmintheportrayalofthecontemporaryprocession.
Resemblancesbetweenthetwofilmicrepresentationsareunmistakable:a
churchleaderonhishorseacceptingthereligiousrelicinfrontofthe
basilica;themusiciansmarchingonthestreets;thehorseprocession
struttingthroughthecountryside299thereligiouscustomshavechanged
littleoverthepasteightyyears:horse,attireandlocationshaveremained
thesame.Thestasisoftimebroughtaboutbytraditionisfurthernotedin
thecloseupofapaintingdepictingtheprocession.Thedateofthepainting
isnotrevealedbutitresemblesJosephBayerslithographofthesame
processionof1865.Thecameramovesacrossthepaintingfromlefttoright
overthebasilicaonthehorizon,fromthecrowdsofpilgrimstothepious
horseridersintheforeground.Theshotisfollowedbyaninterviewwitha
localshopkeeperwhoconfirmsthestrengthofthetraditionbystating:Ich
lebeseitmeinerGeburthierinWeingarten,bineinberzeugterWeingrtler
undstehehinterunserenTraditionenhier.[IvelivedhereinWeingarten

SeeAppendixI,F1andF3.

299

246

sinceIwasborn,ImhappytobelongtoWeingartenandtoupholdour
traditions.].
InSchotterwieHeuSuper8footageprovidesavisualaidto
understandingtraditionandalsodocumentsthevillagearchitectureand
gardens.300Thefootageisprovidedbyavillagerthedateitwastaken
remainsunknown.Super8itself,however,alreadyestablishesasenseof
timepassedregardlessofitsactualage.Thevoiceoveroftheamateurfilm
makeradditionallyestablishesthehistoricaldimensionoftheshot:Dasist
jetztdieRaiffeisenbankwiesiehaltfrherwar.[ThatstheRaiffeisenBank
thewayitwasbefore.].Thefilmmakers,BaierandKhler,matchtheSuper
8footagewiththeirownshotsofthevillage:thefilmjumpsfromagrainy
exteriorshotofthebanktoapresentdayexteriorshotofthesamebank.
Notmuchhaschangedapartfromthecameraangleandperhapsthesizeof
theflowershangingfromthewindows.Thejuxtapositionofthetwoshots
createsasenseoftemporalstasis.Thiseffectisheightenedbythe
appearanceofamanandhiswheelbarrowinthecontemporaryshot:an
elderlymanpusheshiswheelbarrowfromlefttorightacrosstheframe,
additionallyindicatingtheslowpaceoflifeinGammesfeld.301Likethe

SeeAppendixI,C4.
SeeAppendixI,C2.

300
301

247

religiousprocessioninDieBlutritter,thebankasymboloffamilyand
villagetraditionhasremainedunchangedovertime.

Nostalgiaisacloseallyoftradition.Whilenostalgiaisapresent
longingforthepast,traditionisamaintenanceofthepastinthepresent.
Insidethebank,FritzVogt,thebankdirector,isthepersonificationof
nostalgia.Heprefershistypewritertocomputers,hisdialtelephonetoa
touchtonetelephone,hismanualletterscaletoadigitalletterscaleandthe
GermanMarktotheEuroVogtrecalculateseveryEuroamountbackto
theGermanMarkfortheconvenienceofhiscustomers.Vogtsbankisa
havenofnostalgiathatseemstoborderontheincredibleattimes.
Moreover,thegeographicallocationofthebankistransferredintothe
realmofthefantastic.Thevillageisrepresentedbyaerialshotsofathree
dimensionalmodelofthevillage,whichthefilmusestointroduceand
locateforthcomingsequences.Themodelisdeliberatelyrenderedina
simplisticchildlikestylewithbrightcolouringsandtoylikefeatures.The
modelshiftsthelocationofGammesfeldintoachildlikerealmarealmof
innocenceandsimplicity.PeterBlickledefinestheideaofHeimatasexactly
that:Imaginaryspacesofinnocenceprojectedontorealgeographical
sites.302Thislongingforthepastisinessencealongingforanimaginary

Blickle,p.130.

302

248

past,orasManuelaFiedlerputsit:Er[derMythosHeimat]existiertnurin
dersentimentalenErinnerung.[ThemythofHeimatonlyexistsin
sentimentalmemory.].303Itisnotanobjectiverecollectionbutanadult
perspectiveofwhatchildhoodmighthavebeenlike.Thevillagemodel
capturesthisnotion:themodelischildlikebutnotchildmade.
ThemodelsymbolisestheconceptofHeimatastheproductof
subjectificationofspatialvisualisation.RoseDerkauarguesthatHeimat,
althoughanchoredinspatialrelations,isforemostanideaofthemind.The
experienceoftheplaceissubjective,hence,Derkauargues,theplaceof
Heimatisonlytobefoundonmapsofthemind:mentalmaps.304Amental
mapmustbemeasuredwithdifferentparameters,asKarlSchlgelexplains:

SiebestehenauseinemanderenMaterial,ausBildern,Erinnerungen,
GerchenSiehabensichsosehreingeprgt,daihnennichteinmal
dieZeit()etwasanhabenkann.

[Theyaremadeofdifferentmaterial,ofimages,memories,smells
Theyaresoimprintedthatnoteventimecanaffectthem.]305

Fiedler,p.74.
RoseDerkau,MentalMapsoderWieobjektiveWirklichkeitundsubjektiveDarstellung
zueinemGefhlvonHeimatwerden,inRegion:HeimatenderindividualisiertenGesellschaft,
ed.byHeinzSchillingandBeatricePloch(Frankfurta.M.:InstitutfrKulturanthropologie
undEuropischeEthnologie,1995),pp.207224(p.207).
305KarlSchlgel,ImRaumelesenwirdieZeit:berZivilisationsgeschichteundGeopolitik
(Munich:CarlHanserVerlag,2003),p.1.
303
304

249

ThemodeloftheGammesfeldvillagereflectsthissubjectivelongingfora
placethatpromotesatimelessheileWelt[idealworld]ofnostalgia.
InSchotterwieHeuthevillagebankoffersasliceofidealisedbygone
time;inDieBlutritteramedievalrelicelicitstraditionsofthepast.InDie
BlutritterthebeliefinaheileWeltisestablishedthroughthefaithinthelocal
legendsurroundingtheprocession:abloodrelicstoredintheWeingarten
Basilica.Itisnotabiblicalbeliefbutonebasedontraditions,asthelocal
priestelucidates:Dasisteineberlieferung.()UnserechristlicheKultur
lebtvonvielenauerbiblischeberlieferungen.DassindnatrlichDinge,
diemanalsChristnichtunbedingtglaubenmuss.[Itsatradition.Our
Christianculturelivesfrommanynonbiblicaltraditions.Thesearethings
whichasaChristianyoudonthavetobelievein.].TheWeingarten
community,however,doesbelieveinitstraditions,asanelderlyman
explains:BeiirgendwelchenGefhren,beiUnwetter,nimmtmandas
HeiligeBlutlundsprhtesausdemFensterhinaus,wennmannicht
mehrhinauskann.Undsomitistmanimmerverschontgebliebenvor
allem.[Whenthereareanydangersorstorms,youtaketheoiloftheholy
bloodandsprayitoutthewindowifyoucantgetoutanymore.Thenyou
areprotectedfromeverything.]Thisunitedfaithinthepoweroftherelicis
conveyedinasequencewhichblendsprotagonistsstatementsofbeliefinto

250

onesuccession.Thefilmschoiceofprotagonistsechoesthefirmgrounding
intraditionalprinciplesallarefromtraditionalprofessions:abaker,a
butcher/horsebreeder,abeekeeper,atextilerestorer,acarpenter,anurse,
amonk,avet.Thestatementsoftwointervieweesareclosetoidentical:
bothareconvincedthattheholyrelicisthesourceofhis/herrecovery.The
filmcutsbackandforthbetweentheelderlywomanandtheelderlyman
who,independentlyfromeachother,narratethetalesoftheirpersonal
physicalhealing:

Man:IchlagachtTagezwischenLebenundTod.Unddahabeich
immerwiedergebetet.
[Ilayforaweekbetweenlifeanddeath.AndIprayedagainand
again.]
Woman:EshatmirdamalsauchgeholfenimKrankenhaus()
UndtatschlichichbininfnfTagenentlassenworden.
[IthelpedmewhenIwasinhospital()AfterfivedaysIwas
discharged.]

Inthefilmbothprotagonistsfailtomentionthesuccessofmodernmedical
intervention.Thedismissalofmodernpracticesinfavourofthepowerof
therelicistobefoundattheendofthesequence:InderRegion
WeingartenundSchussentalvertrauenwiraufsheiligeBlutunddasagen
viele,wirbrauchenkeineHagelVersicherung.[IntheWeingartenand

251

SchussentalregionwetrustintheHolyBloodandmanysaywedontneed
anyhailstorminsurance.].
IncontrasttoDieBlutritter,issuesofmodernisationsurfacein
SchotterwieHeu.Inlinewithconventional1950sHeimatfilmnarratives,
modernisationisseenfirstandforemostasathreattothetraditionalvillage.
Thepotentialconstructionofacombusterontheoutskirtsofthevillage,to
whichcontaminatedsoilwastobebroughttoberegenerated,causesa
villageinsurgence.Thecontaminatedsoilisametaphoricalaswellasareal
hazardtothepuresoiloftheHeimat(seealso1.3.).Theplannedinstallation
ofthecombusterisseenasaperil,particularlybyVogt:Schreckliches
Szenario!Unddas200MetervomDorfrandentfernt![Aterriblescenario!
Andjust200metresfromthevillage!].Ayoungvillagerssolutiontothe
problemsumsupthetraditionalHeimatdialecticsbetweencityandvillage:
DahttesichsoeineAnlagefrStuttgartrentiert.()WeilinStuttgart
findetmanimmerwasKontaminiertes.[Suchathingwouldhavebeen
worthitinStuttgart.BecauseinStuttgartyoualwaysfindsomething
contaminated.].Thegravelpitlocatedontheoutskirtsofthevillageis
similarlyrejectedbecauseofitsindustrialnature:Dasgehrtnichtzum
Dorf!DasistIndustrie.[Thatdoesntbelonginthevillage!Thats
industry.].

252

Whereasmodernisationisgenerallyassociatedwiththefuture,

traditioniscommonlylinkedtothepast.Thisstrugglebetweenthepastand
thefuturetheoldandthenew,restorationandabolition,regressand
progressabsorbedtheHeimatfilmperiodofpostwarGermanyoffaswell
asonscreen.Whileearlierfilmscholarshaveconcentratedonablackand
whitedivide(Heimat=traditionandFremde=modernisation)inthe
Heimatfilmgenre,recentscholarshaveshednewlightonthematter.Von
Moltkepointstowhathetermsanostalgicmodernizationprevalentin
someHeimatfilms:

ThefunctionoftheHeimatfilmisnotsomuchtonegatetheeffectsof

modernity,ascriticshavesuggested,butrathertomodel

compromisesolutions:negotiatingtheencroachingdemandsof

modernitywithinthespacesofHeimat,thesefilmsallowviewersto

imaginepostwarreconstructionasaprocessthatembracesboththe

traditionalismofHeimatandtheadvancesofmodernization.306

Bergfelderlikewiseseesthereconciliationofstrongantagonismsinsome
Heimatfilms:

TheHeimatfilmconstructedandcelebratedaworldinwhichthe

technologicalandsocialprogressofmodernitycouldwithoutmajor
vonMoltke,p.120.

306

253

problemsbenegotiatedandharmonisedwitharuralandpre

industrialArcadia.307

InSchotterwieHeu,althoughitisnotacinematicproductofthepostwar
period,modernforcesareequallyvisible:theEuro,thetechsavvyfarmer,
thecar.TheseforcesmustbeviewedasmodernincomparisontoFritz
Vogt:VogtrecalculatesEuroamountsbackintotheGermanMark,he
remainsabankdirectorandparttimefarmerwithouttheaidofcomputers,
andheridestoworkonhisbicycle.Vogtviewsmodernityasanexistential
threattolocaltraditionalism:WennwiraufdiemoderneTechnik
aufsteigenalssoeinekleineBank,dannsindwirweg.Dasknnenwiruns
nichtleisten.[Ifwetakeonmoderntechnologyassuchasmallbank,then
werefinished.Wejustcantaffordtodoit.].Technologyisdestinedforthe
bin:VogtisseenstrugglingtoopenaCDcase(evenaskingforthehelpof
thefilmmakers),senttohimbytheFederalStateBank,toonlycloseitand
throwitawaywithoutviewingit.Ontheotherhand,Vogtisshown
embracingthemoderncurrencyasheexclaims:EsgehtnahtlosinEuro
weiter![ThingswillcontinuesmoothlyinEuro!].Althoughherecalculates
EurobackintotheGermanmark,heisproudtointroducetheEurointohis

Bergfelder,p.42.

307

254

bank.TherelationshipbetweenEuro(modernisation)andlocalbank
(tradition)turnsouttobeoneofharmonyduetoVogtsmediation.

TheportrayaloffarmerDrrshowsasimilarcompromise:Drris

seenshowingoffhishightechcomputerfacilitiesinhispigpen(Nichts
Nostalgie![Nonostalgiahere!]).Drrstechnicalambitionsaremotivated
equallybyagriculturalutilisationandbyhisdedicationtoatraditional
Heimatvaluethewelfareofanimals,asheexplains:Freinmodernes
Schwein()istesdochmodernundartgerecht,daswirihmbieten.Und
wirbietenjanurdasBeste,dassesunserenTierengutgeht,damitsie
wachsenundGeldbringen.[Foramodernpigitsalluptodateand
properwhatwegive.Andweonlygivethebestsothatouranimalsthrive
andgrowandbringmoneyin.].Thesequenceisfollowedbyamediumshot
ofavillageconstructionworkerstandinginfrontofademolishedstructure
which,heexplains,wasonceapigpen.Thereasonforitsdemolitionis
identifiedasthediscontinuationofthefamilyrunagriculturalbusiness.In
thislightDrrbecomesanexampleofhelpingagriculturetosurvivewith
thehelpofmodernprogress.

Themodernfeatureofthecar,ontheotherhand,mustbeviewed

withspecialconsideration.Bothfilmsfeaturetheuseofnonmotorised
modesoftransportation(horses,wheelbarrows,bicycles).InSchotterwie

255

Heu,however,thecarisportrayedalongsidetheseolderstylevehicles.The
1950sHeimatfilmdidnotlimititstransportationmodestopreindustrial
means,asBoaandPalfreymanexplain:Themotorcarwasatoopotent
symbol,atooalluringobjectofdesiretobedisplacedbythehorseand
cart.308Thecarfigureddominantlyinthe1950sHeimatfilm,reflectingthe
everincreasingprivateownershipofcarsinthatdecade.Kaschubanotes:
Derscheinbarrckwrtsgewandte,antimoderneHeimatfilmder50erJahre
bereitetdiesenAutomobilboomvor:dieLandschaft,dieNaturalsschne
erundbefahrbareKulisse.[Theseeminglybackwardlookingantimodern
Heimatfilmofthe1950sisapreparationforthiscarboom:thelandscape,
natureasabeautifulsettingwhichcanbeexperiencedanddriven
through.].309InSchotterwieHeuthecaractsasasymbolofpride.Inalow
angleshotoverthebakerycounter,theyoungfemalebakersassistant,
Andrea,isquestionedaboutherdream:anewAudiA3.Thefilmcutstoa
mediumshotoftheshopowners,whosmuglyproclaim:Wirhaben()
nocheinennigelnagelneuenAudiA6unddasistmeinmomentanes
Traumauto.[WehaveabrandnewAudiA6andthatsmydreamcarofthe
moment.].Thefilmnextcutstoanexteriorshotofagaragewithavehicle
slowlyreversingoutofit.Thecamerapanstotherightfollowingthe

BoaandPalfreyman,p.95.
Kaschuba,p.90.

308
309

256

movementofthecartofinallyrevealthedriver:FritzVogt.Vogtgetsoutof
hiscartoproudlyexclaim:Schwarz,japanischundbezahlt![Black,
Japaneseandpaidfor!].AcloseupofanAudiA3miniaturemodelcar
follows;thecameratiltsuptorevealacloseupofAndreasmiling:Mein
Auto![Mycar!].Thecarisworshippedasanindicatorofstatusandself
satisfactionevenifithasnothavebeenmadeintheHeimat.Mobilityasa
meanstoleavetheregion,ontheotherhand,isportrayedasundesirable:
Andreagivesupaholidaytosaveforhercar;ChristianeDrrtreatsherself
andherdaughterstoanAlpineholidaybutadmitsonherreturn:Die
wolltennachHause,dieMdchen.Heimwehhabensiegehabt.[They
wantedtogohome,thegirls.Theywerehomesick.].Thevillagersrejection
ofmobilityandtravelisfurtherexpressedafterthecarsequence.Ina
mediumshot,Vogtatthebankcounterexpresseshisconcernstraightinto
thecamera:EinundsechzigAutobahnenhabenwirjetztinDeutschland.
()UnddabrauchtmannatrlichsogigantischeSchotterwerke,wenndas
soweitergeht.Ichfragemichblo,wielangedasLanddasaushlt.[Weve
gotsixtyonemotorwaysnowinGermany.()Andthenyouneedsuch
giganticquarriesifitdoesntstop.Ijustwonderhowlongthecountryside
canholdout.].

257

Modernadvancesareembracedbutwithlimits:especiallynotatthe
costoftheland(inthiscasemeaningruralcountryside),thegeographical
locationofHeimat.Oncemorethereiscompromisebetweenmodernisation
andtradition:automobilesarerequired,travelrejected.Ostensibly
contradictory,Heimat,atrademarkofstabilityandcontinuity,remains
compatiblewithmodernmeansoftransportbutnottravel.VonMoltkes
analysisofthenostalgicmodernizationof1950sfilmscanbedirectly
appliedtothecontemporaryscreen:It[theHeimattopos]provideda
groundforwistfulbackwardglancesandaheadlongrushtowardsthe
futurewithoutmonopolizingeitheroneoftheseimpulses.310
NostalgicmodernizationdoesnotfeatureinDieBlutritteras
modernisationinitselfdoesnotfeatureinthefilm.Insteadthetraditional
conquersall,eventhecitydweller.OttfriedisanativeBerlinerwhohas
foundhiszweiteHeimat[secondhome]inWeingarten.Thefilmfirst
captureshimonawalkinthewoodsHeimatmetaphoricallyembracing
himinitssurroundings.Thecameratiltsupfromastreamflowingbetween
thegreentreesoftheforestontoapathabove.Ottfriedwalksdownthe
pathtowardsthecameradressedingreen,heisalmostcamouflagedinto
theenvironment.Thesequencecontinueswithablackandwhitestillofa

vonMoltke,p.133.

310

258

youngerOttfriedlyingoutdoorswithawomanwhileOttfriedsvoiceover
isheardintroducinghimself.Thesequencereturnstotheforestsceneryand
amediumshotofOttfriednarratingwhilstleaningonatreetrunk.Ottfried
confessestoinitialdifficultiesinlivinginasmallvillagebutstatesthatthese
wereovercomebythediscoveryoftheloveforhiswife.Ottfriedhas
developedanemotionalattachmenttohisnewsurroundings.Hisdeep
affectionforWeingartenisexpressedlateroninthefilminhisreactionto
thelocalBlutritttradition.Again,Ottfriedisdepictedinnature.Ina
mediumshot,heisportrayedsittingonabalconydecoratedwithflowers:
flowershangingfromabove;flowerssproutinginfrontthestemsofred
flowersframinghisbody.Smallornamentsintheformofalittlebirdand
twogardengnomesaclichofGermannessadorntheflowerbeds.
Whilstdescribingthemostspiritualritualsoftheprocession,hestartsto
cry.Thecameramovesintoacloseupdetailinghissincereemotionalbond
tothetraditionsoftheplacethathehasadoptedasHeimat.Jrgen
Trimborndividestheportrayalofcitydwellersin1950sHeimatfilmsinto
twocategories:receptiveandnonreceptivecitydwellers.311Ottfried
qualifiesasareceptivecitydweller.Trimborn,however,alsoseeslimitsas
anintegralpartoftheportrayalofthereceptiveurbaninhabitant:

311

Trimborn,pp.7275.

259


WiepositivdieStdterimHeimatfilmeninAusnahmefllenauch
dargestelltseinmgen,einsvermgensienicht,nmlichdie
bedingungsloseSelbstlosigkeitalsoberstesIdealanzuerkennenund
zuleben,wieihnendiesvondenLandbewohnernvorgemachtwird.

[Aspositiveascitydwellersmightbeportrayedinexceptionalcases
inHeimatfilms,onethingtheycannotdoistoacknowledge
unconditionalselflessnessasthehighestidealandtoliveitasthe
ruralinhabitantsdo.]312

TheportrayalofOttfried,however,seemstodisagreewithTrimborns
argument.Ottfriedexperiencesanemotionaloutbreakwhichhasbeen
causedbyhisthoughtsandprayersforothersasignofaltruism:Undmit
demHintergedankenimKopf,denSegenfrdieFelderunddieHfe,die
Stadt.[Andwiththethoughtsinyourhead,theblessingofthefieldsand
thefarms,thecity.].ThetraditionsofWeingartenhavenotonlywithstood
theinfluencesofurbanmodernisationbuthavealsomadetheurbanman
partofitsruralmysticism.
SomeHeimattraditionsrevivedinSchotterwieHeuandDieBlutritter
donotevokenostalgicsentimentinacontemporaryaudience.TheHeimat
filmworldisapatriarchalonethewomansroleislimitedandset.
312

Trimborn,p.75.

260

JrgenTrimbornnotes:ImberwiegendenTeilderbundesdeutschen
HeimatfilmederfnfzigerJahreisteineGlorifizierungderFrauinder
traditionellenRollealsaufopferndeHausfrauundMutterzubeobachten.
[InthemajorityofnationalGermanHeimatfilmsinthe1950sthe
glorificationofwomaninthetraditionalroleofselfsacrificinghousewife
andmotherisevident.].313Bothcontemporaryfilmsreflectasimilar
compositionoftraditionalelements:womenareexcludedfromcertain
roles.InSchotterwieHeuwomenarepreventedfrombecomingboard
membersofthebank(Villager:DaistkeineFrau,unddakommtauch
keineFraumehrrein.[Theresnowomanhereandtherellbenowoman
here.]).InDieBlutritterwomanareprohibitedfromridingintheprocession
(Villager:DasistjaeineausgesprocheneMnnerprozession.[Itsan
exclusivelymaleprocession.]).InDieBlutrittertheabsurdityofsomeofthe
reasonsgivenbymaleridersonlyunderlinesthedeepseatednessofthe
genderdivide:Wennsie[dieFrauen]dannFigurkriegen,dasieeinfach
breiterwerdenunddieVorderseiteunddieHinterseiteebenausartet.()
DasistschoneineStreitfrage:Istdasschnodernichtschn?[Whenthey
(women)starttogetafigure,whentheygetwiderandthefrontandback
starttogetoutofhand()thatsthenamatterofdispute:doesthatlook

Trimborn,p.92.

313

261

goodornot?];StellenSiesichvor,eswrendoppeltsovieleReiter.Man
wusstegarnichtwohindamit.[Justimaginethereweretwiceasmany
riders.Onewouldntknowwheretoputthem.].
InSchotterwieHeuthegenderdivideisattachedtoatraditionthatis
onthebrinkofextinction(thevillagebank).OnthesurfaceHeimat
promotesaheileWelt,ontheinsideexclusionisevident.ManuelaFiedler
notes:Sie[Heimat]istderOrtderUtopieebensowiederOrtder
Ausgrenzung.[Heimatistheplaceofutopiabutalsotheplaceof
ostracism.]314OnHeimatandsocialexclusion,PeterBlicklesimiliarlynotes:
ThedefensivestructureofaselfandofaHeimatfulfilthesamepurpose:
theyprovideasenseofontologicalsecurityattheexpenseofthosewhoare
notgivenaccessbecausetheymightthreathenthesmallworld.315
InSchotterwieHeuadditionalcracksbecomeapparentinthe
seeminglywholesomeHeimatimage.Theflawsarenotvisiblebutare
indicatedbythevillagersinconversationunderliningthatthereisa
darkersidetoHeimat:neverseenopenlybutimpliedfurtively.Vogt
himselfdescribesoneofthesecracks:NichtdasSiemeinen,dasswirin
einerheilenWeltleben.BeiunsgehenEhenzuBruch,dassesnursopfeift.
[Dontthinkweliveinanidealworld.Wehavemarriagesbreakinguphere
Fiedler,p.11.
Blickle,p.78.

314
315

262

allovertheplace.].ThevillagecommunityaprimeHeimatvalueisin
itselfbroken:hostilityamongfamilyandneighbours(Daknntemanein
Horrorromandrberschreiben()wasdaunterderDeckeluft.[One
couldwriteahorrorstoryaboutwhatgoesonbehindcloseddoors.]),
desertedandlonelyyouth(InGammesfeldistfrdieJugendeigentlichfast
nichtsda.[TheresalmostnothingforyouthinGammesfeld.]),suicides(Es
flltauf,dassberdurchschnittlichvieleSelbstmordeimBlickaufdie
Einwohnerzahlhiergeschehensind.[Itsnoticeablethatthereisanabove
averagenumberofsuicidesinrelationtothenumberofinhabitants.]).
InDieBlutritterthevictimsofHeimatostracismspeakoutdirectly.It
isonlytowardstheendofthefilmthattheshadowsofHeimatappear.
JrgenHohl,achurchtextilerestorer,discloseshishomosexualityforthe
firsttimeinfrontofthecameratowardstheendofthefilm.Herecountshis
sexualcomingout:MiristinnerlichderBodenunterdenFssenweg,weil
ichpltzlichgemerkthabe,manbeginntauszustoen.[Ifeltasiftherug
hadbeenpulledfromundermyfeetbecauseIsuddenlynoticedIwasbeing
expelled.]Scenesthatfollow,however,representJrgenaspartofthe
communitythatexpelledhim:adevoutmemberofthetraditional
processionandlocalchurch.AlatersequenceshowsJrgenwithhisnew
partner.Thecamerapansfromonecloseupofafacecoveredbyatheatrical

263

masktoanotherfacecoveredbyasimilarmask.Thelightinglendsthe
sceneadreamlikeatmosphere.Thementakeoffthemasksinthe
establishingshotthatfollowswhichshowsthembothseatedinarmchairs
positioneddiagonallyfacingeachother.Theimageisframedbya
decoratedwoodendoorthatleansopenandfillstheleftpartoftheimage.
Themasksanddoorcanbereadsymbolically:thefilmmakerhasopened
thedoorintoaprivateanddeepersideoftheHeimatpicture;Jrgenis
willingtobreakoutofhismaskedlifeandpresenthimselfwithamale
partnerapartnernotfromWeingartenbutfromelsewhere.The
representationofHeimatisfarfromablackandwhitepicture;itisaplace
wheretraditionremainsalivebutatacost,whetherthisisthecostof
traditioncompromisingorthecostoftraditionostracising.

264

3.3. HeimatRevived:HeimwehandFernweh

HerrWichmannvonderCDU(AndreasDresen,2003)

OutofEdeka(KonstantinFaigle,2001)

Thenotionsofdepartureandreturnareintrinsicallylinkedtotheconceptof
Heimat.TheHeimatimageismostoftengeneratedbythesentimentof
Heimweh[homesickness].Heimatdevelopsfromalongingthelongingfor
aplaceleftbehindandatimeelapsed.MartinHechtexplains:

HeimatentstehterstimBlickzurck,imAugenblickdes
InnewerdensdesVerlustseinesOrtes.OhnediesenerlebtenVerlust
gibteskeineHeimat.

[Heimatoriginatesinlookingback,atthemomentofawarenessof
thelossofaplace.Withoutthisexperienceofloss,therecanbeno
Heimat.]316

Hence,thereturntothelocationofHeimatisasearchforwhathasbeen
lost,describedbyoneHeimatpublicationinitstitleasSuchbildund
Suchbewegung.317

MartinHecht,DasVerschwindenderHeimat.ZurGefhlslagederNation(Leipzig,Reclam,
2000),p.17.
317FabienneLiptay,SusanneMarschallandAndreasSolbach,eds,Heimat.Suchbildund
Suchbewegun(Remscheid:Gardez!,2005).
316

265

Thegeneric1950sHeimatfilmfeaturedadistinctemphasison

displacement,onecausedmainlybywarrefugees.However,thismobility
wasnotcharacterisedbyareturntoHeimatbutmorebyHeimwehandthe
longingforthatreturn,asMoltkepointsout:Toindulgeinnostalgiawas
onlyoneofthefunctionsoftheVertriebene[displacedpersons]inthe
Heimatfilm.318BoththenarrativesofHerrWichmannvonderCDUandOutof
EdekaaredrivenbythereturntoHeimat,inbothcasestotheplaceof
birth/ofchildhood.InHerrWichmannvonderCDUHenrykWichmann
returnsfromBerlin,wherehestudieslaw,tohishomeregionofthe
Uckermark,whereheembarksonapoliticalcampaign.InOutofEdekafilm
makerFaiglereturnsfromthebigcitytohishomevillageofEmpfingenin
theregionofSwabia,whereheembarksonajourneyofselfdiscovery
throughhisfamilyrelationships.OnthereturntotheHeimat,Heimweh
expectationsmustbereconciledwiththediscoveryoftheprosaicnessof
reality,orinErnstBlochswords:DassdieVergoldungdesHeimwehsbei
derRckkehrverschwindet.[ThatthegildingoftheHeimwehdisappears
withthereturn.]319Therelationshipbetweenillusionarylongingsand
realisticfindingsiscentraltoperceptionsofHeimatinbothfilms.

Theseterms,noteasilytranslatableintoEnglish,expressnotionsofyearning.
318vonMoltke,p.139.
319ErnstBloch,DasPrinzipHoffnung(Frankfurta.M.:Suhrkamp,1959),p.433.

266

HerrWichmannvonderCDUopensbyestablishingtherelationship

betweenHenrykWichmannandhislongingforHeimat.Thefilmbegins
withamediumshotofWichmannstandingagainstabackgroundofgreen
countryside:bushes,leaves,trees,water.320Wichmannlaunchesintoa
motivationalspeechdirectedatsomeonetotheleftbehindthecamera:Ich
bin25Jahrealt,einervonhier,undmchtemichinBerlinfrmeineHeimat
starkmachen.[Iam25yearsold,comefromhereandwanttorepresentmy
HeimatinBerlin.].AsWichmannphysicallymovestowardsthispointof
engagement,thecameraslowlypansleftwithhismovements.Thespeech
endswithWichmannembracinghisgirlfriend:Ichmchte,dassunsere
KindereinmalhiereineZukunfthaben.[Iwantourchildrentohavea
futurehere.].ThesceneisoneofHeimatmotifs:pastoralnature,regional
belonging,familyvalues.Thescenefadesintoablackoutwhichcarriesthe
filmstitleinwhitelettering:HerrWichmannvonderCDU.Thesequence
continuesbutonlytorevealtheartificialconstructofthepreviousscene:a
camerateamfilmingandWichmannrehearsinghislinesandmovements.
TheconstructionoftheHeimatimageisfacedwithexternalintrusion:noisy
passersby.TheintrusionhasitsaffectontheHeimatsetting.Thecamera
capturesWichmanninmediumshotstandingonasmallwalkwaybridgein

SeeAppendixI,D1.

320

267

themiddleofgreencountryside.Thesoundofapproachingpassersby
irritateshimandhemimicsthesoundoftheirsteps:Schlurf,schlurf,
schlurf![Shuffle,shuffle,shuffle.].Oncethepassersbyreachthebridge
Wichmannmutters:Fsseheben![Liftyourfeet!].Thecameraman
comments:DassinddeinepotentielleWhler![Thoseareyourpotential
voters.].AndWichmannreplies:Diebestimmtnicht.[Notthemforsure.].
ThepassersbydescendintothebackgroundwhileWichmannagain
imitatestheirclatter:Krup,krup,krup!Thisauralimbalanceanddisparity
isreflectedinthevisualframing:theteamscameralensandmicrophone
infringetheframe,asdothesoundengineersbodyandthecameramans
hand.Alongmetalpolespeckledwithrustrunsverticallythroughthe
framefromthebridgesrailing.TheinitialHeimatimageisobliteratedand
theinitialHeimatmotifsareinverted:metalconstructsandtechnical
equipmentinsteadofpastoralgreencountryside,regionalirritationinstead
ofregionalbelonging,aproductionteaminsteadofafamilyunit.This
sequenceforeshadowsboththefilmsandWichmannsdialectics:Heimat
idealismversusHeimatrealities.

ThefirstsceneinOutofEdekaforeshadowssimilarHeimatdialectics.

Faiglesvoiceoveroffersanindicatortotheillusionaryqualityofhisfilms
subjectmatter:

268

IchtrumeoftvonunseremLaden,dannsteigtmirdieserGeruchin
dieNase,einGeruch,denichnievergessenwerde.()Nunwirder
baldschlieen,derLadenmeinerKindheit,derOrt,denichimmer
nochalsHeimatbezeichne.

[Ioftendreamaboutourshop,thenIsmellthissmellwhichIllnever
forget.()Nowitsgoingtoclose,theshopofmychildhood,the
placewhichIalwaysthinkofasHeimat.]

Thecameraslowlymovesalongtheshopshelvesthroughdarknessguided
byatorchslightwhichshinesontotheitemsforsale.Themovementsof
thetorchlightandroamingcameraestablishHeimatasasearchasearch
intoaplaceandtimewhichremainsunidentifiableinthedarkness.The
nondiegeticsoundofwindwhistlingstrengthensthesurrealismofthe
sequence.Thedreamlikesequenceendswiththenoisesofabusyshop:a
blackinsertdisplayingthefilmstitleinwhiteletteringappears
accompaniedbythesoundofmurmuringcustomervoicesandtheharsh
noiseofthecashtill.Thenostalgicdreamlikesceneisendedbyareturnto
theeveryday.

ThecorrelationbetweenHeimatnostalgiaandHeimatrealityis

epitomisedinthedepictionofFaiglesparents.Faigleplaceshisparentsat
thecentreofcollectiveGermanHeimatnostalgia:thecoupleareseen

269

listeningtoHeimatmusik[Heimatmusic]andwatchingaHeimatfilm.Hans
andJosefinearedepicteddancingintheshoptotraditionalVolksmusik[folk
music].ThemusicpromptsassociationwiththeHeimatfilmgenrea
genreladenwithspectaclesofdancesandVolksmusik.TheVolksmusiksong
inOutofEdekaactsasanostalgicbridgetothepast:itwasmusicthat
broughtthecoupletogetheroverthirtyyearsago,anditismusicthatunites
thecoupleinoldage.ThelyricsofthesongechoHeimatsillusionary
qualityasalongingratherthanareality:UnterdenKastanienspieltdie
Musik.Dortzusitzen,zulauschen,zutrumen,dasistmeingrtesGlck.
[Themusicplaysunderthechestnuttrees.Tositthere,tolisten,todream,
thatismygreatestjoy.].Thesequenceisfollowedbyanothersceneinwhich
thecoupleisplacedwithinHeimatnostalgia.Faiglesparentsareseen
sittingrelaxinginpyjamasandblanketsintheirarmchairswatchingTV.A
closeupoftheTVscreenidentifiestheprogrammeasoneofageneric
Heimatfilmnature:agroupofmenandwomeninregionaldresstwo
carryingbouquetsofflowersgatheredinatraditionalinteriorsettingand
involvedinacomicalsceneofconfusion.321TheseimagesofHeimatfamily
blissarecounterbalancedbyscenesofharshrealities.Thecamera
symbolicallyindicatesatragedythatlingersinthepast:ashotofadrawer

Confusionandmisunderstandingbeingatypical1950sHeimatfilmmotif.

321

270

ofemptyschnappsbottlesandamousecaughtdeadinamousetrap.The
filmthencutstoconfrontFaiglesfather,thenhismother,aboutanalcoholic
andviolentpast.Whenconfrontinghismotherabouthisfathersbehaviour,
shegetsupfromherchairtoescapetheglareofthecameralens:Ichsag
dazunichts.DannhabichdieganzeZeitStreit.Dannstrstduunseren
Frieden.UndichwillkeinenStreitmehr.[Imnotgoingtosayanything.
Therelljustbeargumentsthewholetime.Youreruiningourpeace.AndI
dontwantanymorearguments.].Despiteindicatingrealitiesthatchallenge
theconstructionofHeimatbliss,Faigleconcludeswithanimageoffamily
romanticismsteepedinaHeimatlandscape.Hansispushinghiswifeina
wheelchairalongthefields.322Thecameracapturesthecouplemovingfrom
lefttorightalongthehorizonbladesofgrassintheforeground,vastforest
hillsinthebackgroundandaredtintedskyreigningovertheentireimage.

ThereturntoHeimatinHerrWichmannvonderCDUisnotmotivated

bynostalgia.ThefilmdeniesinsightintoWichmannspersonalpast.Itmust
benoted,however,thattheDVDoffersinterviewswithbothhisparents
(whodonotfeatureinthefilm)asextendedmaterial.Wichmannsvisitto
anoldfolkshomethegatewaytothepastoffersinsightintodementia
ratherthannostalgia.Theonlyhintofnostalgiaisoneofpolitical

SeeAppendixI,B8.

322

271

parameters:Ostalgie,atermreferringtonostalgiaforlifeintheformerEast
Germany.323Wichmannadmitsinanemotionalmomentinaplenary
discussion:Wirwollendas,waswirinderDDRauchhatten.[Wewant
whatwehadintheGDR.].Wichmannsreturntohishomeisdrivenfar
morebyapoliticalidealismforhisHeimatsfuture.WhereasFaigleturnsto
searchforHeimatinthepast,Wichmannissureoffindingitinthefuture.
Hence,Heimatbecomesaplaceofutopiaaswellasaplaceofnostalgia.

OnthereturntoHeimat,theprotagonistsinbothfilmsare

confrontedbythreatstotheHeimatbroughtaboutbyeconomic
circumstances.InOutofEdekatheautobiographicaljourneyisinstigatedby
theclosureofthefamilyrunvillageshop.Thethreatcomesfromthe
modern:theglobaldiscountersupermarket.Themodernlifestyleisthe
perpetratorofthedemiseoflocalfamilytraditions(seealso3.2.).Thefilm
stagesadreamlikebattleagainsttheglobalenemy:dressedasarmed
guerrillas,thefamilytakecustomersofthediscountersupermarkethostage
(see2.3.forscenedescription).324Inthenextscenethecameraentersthe
rivaldiscountersupermarketwithintheconfinedspaceofashopping
trolley.Thefamilycatisseensittinginfrontofthelensinthecartwith

ItisaportmanteauoftheGermanwordsOst[east]andNostalgie[nostalgia].
SeealsoAppendixI,B7.

323
324

272

explosivestiedarounditsbody.Thethreattothefamilylegacyisatypical
Heimatfilmplotline,asHfignotes:

DieAnalyse()hatergeben,dasdasbuerlicheAnwesenalsErbe
einenpositivenHFWertdarstelltunddiegesamteheimischeWeltin
Gefahrgert,wenndieserWertbedrohtwird.DerRettungeines
bedrohtenAnwesensistdeshalbimmerder()Erfolgbeschieden.

[Analysishasshownthatruralpropertyasinheritancepresentsa
positiveHeimatfilmvalueandthewholeworldofthehomeisin
dangerwhenthisvaluecomesunderthreat.Savingathreatened
propertyisthereforealwaysallowedsuccess.]325

OutofEdeka,however,endswiththeclosureoftheshopratherthan
itsrescue.ThenegativeeffectsonfamilyandHeimatare,however,
palpable.Thecollapseofthefamilylegacycauseshealthconsequences.
Towardstheendofthefilm,motherFaigleisfacedwithaphysicalailment:
Josefinehasinjuredherlegandisrestrictedinmovement.FatherFaigleon
theotherhandsuffersfromanemotionalailment:hislawyerrecallsa
breakdowninhisoffice.EvenfilmmakerFaigleisseenvisitingan
acupuncturepracticetoreducestressrelatedillness.

Hfig,p.422.

325

273

InHerrWichmannvonderCDUHeimatalsofaceseconomicthreat:

thelackofemploymentandconsequentmigration.WhileDresendispenses
withallvoiceover,itisthecameraworkthatcommentsonthe
consequencesoftheeconomiccircumstancesonHeimat.Byusinglong
shotstocaptureWichmanncampaigning,Dresensimultaneouslydepicts
hissurroundings:urbanisedspacesemptyofpeople.AshotofWichmann
campaigninginfrontofashoppingarcadeisdominatedbyavacant
pavement.AshotofWichmanncampaigningattheroadsideisagain
dictatedbyanemptypavement.326AshotofWichmanncampaigningon
stageisovershadowedbyrowsofunfilledbeerbenchesassembledonan
openpavement.
WhereasinOutofEdekathereturnwitnessesthedisintegrationof
familytradition,inHerrWichmannvonderCDUthereturnisgreetedbythe
disintegrationofaruralcommunity.Wichmannispreparedtocompromise
onHeimatsnaturallandscapetocreateemploymentopportunitiesand
avoidthedemiseofhishome.Heisheardrepeatingthesamecatchphrase
overandoveragaintohispotentialvoters:DieGrnenkommenund
sagen,daisteinFrosch,daisteinTrockenrasen,einFeuchtbiotop.[The
Greenscomeandsay,thatsafrog,thatsgrassland,thatswetland.].

SeeAppendixI,D5.

326

274

WichmannisofferingHeimatsmostvaluedcommodityforsale:nature.
Nevertheless,likeOutofEdeka,thefilmdoesnotendwiththerecoupingof
Heimat.ThereturnofWichmanntotheUckermarkconcludeswiththe
defeatofhisutopianidealism.Thefilmendswithelectionresults:aclose
upofWichmannshakinghishead,frowningandmutteringindisbelief
whilehewatchesthescreensdelivertheresults.

InkeepingwithHeimatstwofoldcharacter,thenotionofHeimwehis

linkedtoFernwehthelongingfortheFremde.TheurgeofHeimkehristhe
resultofaninitialFernweh:adecisiontodepartmustprecedethedecisionto
return.ItcanonlybepresumedthatWichmannsdecisiontoleavethe
regionwasmotivatedbyhiseducationalambitionsthefilmgives
informationaboutWichmannsstudiesinBerlinbutfailstoofferinsight
intohisinitialdeparturefromtheregion.InOutofEdeka,ontheotherhand,
thethemeofFernwehisexploredtoagreaterextent.Onhisreturntothe
villageofEmpfingenFaigleattemptstorevisithisyouthfuldays,thereby
exploringsentimentsofFernweh:thecamerafocusesonaninteriordoor
whileFaiglesvoiceovercontextualisestheimage:Zwischenmeinem
heutigemZimmerundmeinemJugendzimmerliegen468Kilometer,94
MeterundzehnLebensjahre.[Betweenmyroomtodayandtheroomofmy
youthlie468kilometres,94metresandtenyearsoflife.].Thedooris

275

coveredwithaposterdepictingaSpanishmatadorandabullinbattle.The
namesoftwofamousSpanishbullfightersadditionallydecoratetheposter.
ItisstrikingthatFaiglesnamestandsalongsidethatoftheSpanishfighters
aclearidentifierofacustommadesouvenir.WhetherornotFaigle
actuallyvisitedSpainisirrelevant,however.Moreimportantisthatitoffers
anindicatorofFaiglesearlyFernweh.AsayouthFaiglepicturedhimselfon
aSpanishbattlefieldratherthaninaSwabianshopfloor.Thesequencethat
followsemphasisesFaigleslongingtobepartofthenonfamiliar:inare
enactedsceneFaigleisabletotranslateaSpanishcustomersshopping
requests.Spainrecursasaleitmotifthroughoutthefilm:onereenactment
showsFaigleactuallydressedasamatador(seeChapterTwo),andanother
reenactmentshowshimbeingdepilatedbyaSpanishwoman.Faigles
Fernwehisequallyexpressedinhischoiceofgirlfriendsovertheyears,as
fatherFaigleexplains:ZuersteineausMnchen,danneineFranzsin,die
dritte,weiichnichtwoher,undjetzthaterwiedereineSpanierin.Derist
international,derKerl.[FirstonefromMunich,thenaFrenchgirl,dont
knowwherethethirdonecamefromandnowhehasaSpanishgirl.The
fellowsinternational.].FaigledescribeshisFernwehas:EineFluchtvor
demLaden.[Anescapefromtheshop].Hisurgetoforsaketheshopisan
ostensiblesimultaneousabandonmentofHeimatvaluessuchasfamily,

276

homeandtradition.Faigleisseenreenactinghisteenagedaysofescapeby
racingthevillagestreetsandcountrysideonhismopedwithachicken
maskaccompaniedbyrockmusic.Thefilmsuddenlycutstoadifferent
landscape:Faiglesittingsmokingontopofahilloverlookingatown.Like
Faigleinthepast,thecameraventuresawayfromthevillagetoGeorgia,
whereFaiglerevealsthathehasayoungdaughterliving.Thedisclosureis
unexpectedasFaiglehasnotmentionedherupuntilthislatepointinthe
film.Asthereisnosubsequentmentionofthegirlsmother,theimagesof
GeorgiafailtoexplorethebrokenrelationshipbetweenFaigleandthe
mother.InsteadtheimagesofGeorgiaremainuncomplicatedandpurely
innocent:thechildMiriamicombingherhairinfrontofamirror,Miriami
walkingdownthestreet,Miriamirunninginaredhat.Thecameracirclesa
treewhichFaigleidentifiesinthevoiceoverasawishtree(seealso1.3.for
scenedescription).FolkloricGeorgiansongsunderlinethecamera
movement.AlthoughfarofffromhisrealHeimat,FaigleportraysGeorgia
inHeimatfilmterms:theinnocenceofchildhood,thesupremacyofnature
andfolklore,theabsenceofamotherfigure.Thefilmreconcilesthetwo
ostensiblyconflictingnotionsofHeimatandFremde.InEmpfingenFaigle
offersafurtherpictureofthisreconciliation.Faiglesbrother,Gerhard,is
portrayedasasolitaryhardworkingmanwhohasonlyjustfound

277

happinessinlifewithhisgirlfriendandtwochildren.Familyblissis
conveyedthroughasingleshotoftwochildrenplayinginthegardenwith
theirmother.GerhardsfamilyblissoriginatedintheFremdehisgirlfriend
isfromPoland;theymetthroughlettercorrespondence.Gerhardhas
embracedsomeoneelsesFernwehtooptimisehisHeimat.InOutofEdeka
FaiglereinventsideasofHeimatandfamilyintoaglobalframework.

TowardstheendofthefilmtheelderlyFaiglecouple,whoadmitto

havingtravelledabroadonlyonceintheirlifetime,areseentravelling
outsidethefamiliarregionajourney,however,thatisnotmotivatedby
Fernwehbutnecessity.Toavoidembarrassmentthecoupledecidetotravel
outsideofthevillagecommunitytodotheirfoodshoppingandtoselltheir
remainingshopgoods.HansandJosefineareseensellingremainingshop
goodsatacarbootsaleontheparkinglotofalargediscounter
supermarket.Thecameramovespaststallsandgoods,buyers,carsand
largetrucksamotorwaybridgeisvisibleinthebackground.Middle
Easternflutesanddrumsaccompanythehandheldcameramovements.A
shotofafemalesellerinaheadscarfunderlinesfurthertheforeignnessof
theplacefortheFaigles.Thesupermarketcarparkisworldsapartfromthe
cosyvillageshop.Heimat,asFaigleonceknewit,nolongerexists.

278

InHerrWichmannvonderCDUdisplacementisequallymotivatedby

necessityratherthanbysentiment.LiketheFaigles,theyoungpeopleofthe
UckermarkregionareforcedtoleavetheirHeimatduetoeconomic
circumstances.Theyseethesolutiontotheireconomicproblemsinthe
Fremde.Inotherwords,theirlongingtomoveawayisaneconomic
Fernweh.Economically,theHeimathasonlyunemploymenttooffer.
Fremdeisnolongerdefinedbythedividebetweenruralandurban(see3.1.),
butbyaneconomicsegregationcausedbytheendofthepoliticaldivide
betweenEastGermanyandWestGermany.Wichmannmakesthisclearin
oneofhisrallies:InBayernwirddasGelderwirtschaftet,undin
BrandenburghatRegineHildebrandt327ABMProjektedavonbezahlt,die
nichtsgebrachthaben.[ThemoneyisearnedinBavaria,andin
BrandenburgRegineHildebrandtspendsitonjobcreationprojectsthat
amounttonothing.].
Althoughacommunityofeconomicemigrants,however,the
Uckermarkregiondoesnotgenerallywelcomeeconomicimmigrants:
HauptsachedieAuslnderraus!,Michrgert,dasssovieleAuslnderhier
sind![Mainthingistogetridoftheforeigners!Itmakesmeangrythat
therearesomanyforeignershere!]Theimmigrants,alsomotivatedby

FormerministerofthegovernmentofthefederalstateofBrandenburg.

327

279

economicFernweh,areseenbythelocalinhabitantsasanintrusioninto
theirHeimat.TheyfailtoseethatthattheirowneconomicFernwehwill
makeofthemintrudersintosomeoneelsesHeimat.

WichmannintendstosavehisHeimatfromeconomicFernwehand

itsconsequencesbyoverrulingHeimatconventions:changeinsteadof
consistency,economyinsteadofecology,constructioninsteadof
preservation.AlthoughWichmannscampaignslogansproclaimchange
(FrischerWindbringtBewegungindiePolitik;ZeitfreinenNeuen[A
freshwindwillgetpoliticsmoving;Timeforsomeonenew]),itisachange
thatactuallyaimsatpreservation.ByreplacingeconomicFernwehwith
economicHeimweh,thefutureoftheHeimatissafeguarded.

280

3.4.HeimatRevived:GemeinschaftandGesellschaft

DieBlumederHausfrau(DominikWessely,1999)

Durchfahrtsland(AlexandraSell,2005)

3.1.examinedthespatialdimension(Territorium)ofHeimat,3.4.will
considerthesocialdimension(Gemeinschaft)inmoredetailonthebasisof
thefilmsDieBlumederHausfrauandDurchfahrtsland.ThetermGemeinschaft
hasbeenshapedsignificantlybysociologistFerdinandTnnies.According
toTnnies,Gemeinschaftequalssocialbondsthatarebasedonnatural
conditionswhichheexplainsasfollows:DieallgemeineWurzeldieser
VerhltnisseistderZusammenhangdesvegetativenLebensdurchdie
Geburt.[Thegeneralrootoftheserelationshipsistheconnectionofthe
vegetativelifethroughbirth.].328ThecoreofGemeinschaftlieswithinthe
relationsthatareacquiredbybirth:thefamily.Gemeinschaft,however,isnot
limitedtofamilyrelations,whichgraduallyexpandtoincluderelations
throughneighbours,friendsandmarriage.Gesellschaftontheotherhandis
notbasedonfamilybonds:DieTheoriederGesellschaftkonstruierteinen
KreisvonMenschen,welche()auffriedlicheArtnebeneinanderleben
undwohnen,abernichtwesentlichverbunden()sind.[Thetheoryof
FerdinandTnnies,GemeinschaftundGesellschaft(Darmstadt:Wissenschaftliche
Buchgesellschaft,1963),p.8.

328

281

Gesellschaftconstructsacircleofpeoplewholiveandresidenearone
anotherbutarenotessentiallyconnected.].329AndreaBastiandrawsupon
thetermGemeinschafttodefinethesocialdimensionofHeimat.Her
understandingofHeimatrelationsresemblesTnniesinsightinto
Gemeinschaftearlysocialisationbeingthekeyinitiator:

MitzunehmendemAltererweiternsichdieHeimatBeziehungen

berdieMutterunddieFamiliehinausunddasIndividuumtrittin

vielfltigeBeziehungenzuseinerUmwelt.()NebenFamilie,

Verwandtschaft,FreundeundNachbarntretenimLaufedes

SozialisationsprozessesInstitutionenwieKindergarten,Schule,

Arbeitsplatz,Vereine,Verbnde,Gewerkschaften,Parteien.Ausall

diesenBeziehungen,diedemIndividuumpotentiellzur

Verfgungstehen,kannsich,bedingtdurchdasBewusstseinvon

Zusammengehrigkeit,Heimatgefhlentwickeln.

[WithincreasingagetheHeimatrelationshipsexpandbeyond
motherandfamilyandtheindividualentersintodiverse
relationshipswithhissurroundings(...)Besidesfamily,relatives,
friendsandneighboursinstitutionssuchaskindergarten,school,
workplace,clubs,societies,unions,partiesareaddedinthecourseof
thesocialisationprocess.Fromalltheserelationshipsthatare

Tnnies,p.40.

329

282

potentiallyatthedisposalofanindividual,conditionedthroughthe
awarenessofbelonging,afeelingofHeimatcandevelop.]330

Bastian,however,notesthatGesellschaftaswellasGemeinschaftcanleadto
sentimentsofHeimat(Heimatgefhl).331HeruseofthetermGemeinschaft
embracesbothTnniesdefinitionsofGemeinschaftandGesellschaft.This
Section,however,willdistinguishbetweenGemeinschaftandGesellschaft
whenlookingatHeimatonscreen.WhereasGemeinschaftisgenerally
associatedwithpreindustrialsocieties,Gesellschaftislinkedtoindustrial
societies.ThetermHeimatitselfisoftencastbetweenthepreindustrialand
theindustrialitsnineteenthcenturyconceptualdevelopmentevolved
alongsidethedeclineofGemeinschaftandtheadvanceofGesellschaft.A
centurylaterthe1950sHeimatfilmprovedaforumfornegotiatingthepre
industrialandtheindustrial.Hence,GemeinschaftaswellasGesellchaftmust
betakenintoconsiderationwhenexaminingthesocialdimensionof
Heimat.

Durchfahrtslandportraysfourprotagonistsrepresentedthroughtheir

experienceswithlocalsocialstructuresofGemeinschaft:PastorDmmerand
hisreligiouscongregation;GuiseppeScolaroandhisbrassband;Mark
BasinskiandtheJungesellenverein[bachelorclub]andSophiaReyandthe
Bastian,p.42.
Bastian,p.26.

330
331

283

villagecommunity.OtherformsofGemeinschaftareindicatedthroughout
thefilm:aSchumiclub,332aSchtzenverein[shootingclub],aKarnevalverein
[carnivalclub].ThecohesivenessoftheGemeinschaft,providedbywhat
AndreaBastianreferstoasgemeinschaftsstiftendebzw.
gemeinschaftserhaltendeAspektewiez.B.Traditionen,Bruche,Rituale
[aspectswhichpromoteormaintainGemeinschaftsuchastraditions,
customs,rituals.],333iswitnessedinthefilmsmanyscenesofseasonal
Gemeinschaftcelebrations:theEasterprocession,theMayQueenauction,the
Maytreeallocation,theMayQueencoronation,theSt.Martinslantern
parade,theCarnivalmeeting.Withtraditionalmodesoftransport(foot,
tractor,horse)andtraditionalcostumes,theGemeinschaftisseenmoving
throughthelandscapeorvillagesymbolicallyrevivingtimesgoneby.Sells
voiceoverassuresherviewersthatthesecelebrationsareprofoundly
historical:FrhergabesRegionenimchristlichenAbendland,dabegandas
KirchenjahrzuOstern.ImVorgebirgeschienesimmernochsozusein.
[Before,therewereregionsintheChristianWestwherethechurchyear
beganatEaster.Thisstillseemstobethecaseinthefoothills.].Theywere
alsoclosetofolkloricandmythicalhappenings(MancheruntenamRhein
sagte,dassesdieFrauenwren,dieimVorgebirgedenTonangeben.Dass
AfancluboftheGermanracingdriverMichaelSchumacher,whosepublicnicknameis
Schumi.
333Bastian,p.25.
332

284

dieMnnernichtallzuvielzusagenhttenunddassesamTrinkwasser
dortobenliegenmsse.[SomedownattheRhinesaidthatitwasthe
womenwhocalledthetuneinthefoothills.Thatthemendidnthavemuch
ofasayandthatitmustbebecauseofthedrinkingwaterupthere.]).The
Heimatfilmhasoftenbeendiscussedinmythicalterms.334Sellsfrequent
useofthesubjunctiveinhersentenceconstructionsaddsamythicalquality
toherimages.Hervoiceoverdeliverswordofmouthratherthanverified
facts(Ganzgenauwuteniemand,warumdasVorgebirgeVorgebirge
hie.[Noonereallyknewforsurewhythefoothillswerecalledthe
foothills.]).Sellsvoiceisoccasionallyinterruptedbyamalevoiceover
readingpassagesfromacrimenovelsetintheVorgebirge,therebysetting
theimagerywithinanadditionalfictionalcontext.Sellsvoiceover
techniquespermitthegenerallyfactdrivendocumentarytotakeona
fictionalcharacter,allowingthemythofHeimattoenterthegenreof
documentary.

Nevertheless,Sellschoiceofframingisfarfrommythical.Onthe

contrary,sheremindsherviewerofthenearbyindustrialstructuresof
Gesellschaft.TheshotoftheMayprocessionofmusiciansmovingthrough
thegreenfieldsisgovernedbytallfactorychimneysrisingintotheskyin
GeorgSeelen,DerHeimatfilm.ZurMythologieeinesGenres,inSprungimSpiegel.
FilmischesWahrnehmenzwischenFiktionundWirklichkeit,ed.byChristaBlmlinger(Vienna,
Sonderzahl,1990),pp.342362.

334

285

thebackground.ThechildrensEastermarchisintroducedbyashotof
branchesofyellowflowersandahorizonofindustry.335Whereasthe1950s
Heimatfilmavoideddisruptionstothepreindustrialvillagescapes,
DurchfahrtslandencouragesframingthatsetspeopleofGemeinschaftin
oppositiontosymbolsofGesellschaftareminderperhapsthattheHeimat
Gemeinschaftisafragileconstructinthispresentday.

Neitherframingnornarrativeallowsforanidyllicunderstandingof

Gemeinschaft.RatherthanportrayingGemeinschaftfromitsmidst,Sell
choosesprotagonistswhostruggletofindtheirplaceintheGemeinschaftof
Heimat:Dmmerisnewtotheregionandfindshimselfcaughtbetweenthe
hostilityoftwovillages;GuiseppeistornbetweenhisItalianheritage,his
commitmenttotheGermanarmyandthelocalbrassband;Markwould
ratherpaintthandevotehistimetotheJunggesellenverein;Sophiahas
becomeanoutcastinherownvillage.Allfourprotagonistsaretoanextent
outsidersfromaHeimatGemeinschaft.Whereaslocalsocialformationsof
GemeinschaftgenerallyaimtoprovideaharbourforsentimentsofHeimat,
inDurchfahrtslandtheyareportrayedassourcesofconflictforthe
protagonists.

SeeAppendixI,G8.

335

286

ThesetroubledundercurrentsofGemeinschaftareforeshadowedin

thefirstsequencesofthefilm:melancholicmusic,greysnowwashed
villagesceneryandacitationfromSophiasnovel.Theexcerpttellsabouta
youngwoman,Camilla,whoisluredintothefoothillsbyadoctorinhis
luxuriouscartobebrutallymurderedinhislavishholidayhome.Theaudio
islinkedtotheimagerybysymbolicallyconnectingthefictitioustothe
factual:thepassagedescribingCamillaapproachinghermurderer(Sie
tippeltewieselbstverstndlichaufdenDoktorzu.[Shetiptoedtrustingly
towardsthedoctor.])islinkedtothecongregationapproachingpastor
Dmmerforcommunion;thedescriptionofthedoctorgaspingforair(Er
drangnachLuft.[Hefoughtforair.])istiedtoacloseupofSophia
breathingdeeplyamongsthercigarettesmoke;theaccountofCamillaslast
momentofsilenthorror(CamillamachtedieAugenaufundwolltevor
Schrecklautschreien.Dochsiekamnichtmehrdazu.[Camillaopenedher
eyesandwantedtoscreaminterror.Butshewasnolongerableto.])is
accompaniedbyanimageofSophiasporcelaindollholdingherhand
delicatelyinfrontofhermouth.Thebridgebetweenaudioandimage
ascertainsHeimatasunheimlichratherthanheimlich.

Towardstheendofthefilmthereisasecondreadingfromoneof

Sophiasnovels.ThistimeSophiaswordstellaboutamanfleeingfromthe

287

Eastandsettlingdowninthefoothills:ErmusstezurArbeit.Erfhltesich
wohldort.()ErhattesichdenVorgebirgsdialektseinerKollegen
angewhnt.[Hehadtogotowork.Hefeltgoodthere.(...)Hehadgot
usedtohiscolleaguesfoothilldialect.].Thecameramomentarilyrestsona
diagonalviewofatelevisionscreen:acolourfulandjoyfulcarnivalparade
flickersonthescreen.TheGemeinschaftofunheimlichhasbeentransformed
intoaGemeinschaftofheimlich.

TheliterarypassageisechoedintheprotagonistsDmmerand

Guiseppewhobothcometotheregionfromelsewhere.Dmmersorigins
remainunknownwhereasGuiseppeisofSicilianoriginandmoreover
residesinavillagebeyondtheregion,thefoothills.Theirnonregional
background,however,doesnotdeterthemfromparticipatinginthelocal
Gemeinschaftinstitutions.Dmmerspositionasheadofthereligious
congregationobligeshimtotakeonaformalroleinthereligious
Gemeinschaft.Althoughthefilmdepictsscenesofhissuccessinunitingtwo
hostilecommunities,Sellcreatesariftbetweenhimandthevillage
congregationinDmmersfinalappearanceinthefilm:Eigentlichhatte
PfarrerDmmerseineAnnahmeanallenKarnivalssitzungen()abgesagt
().Letztendlichkamerdoch,dennseineAbsagewurdevieldiskutiert.
[FatherDmmerhadcancelledhisparticipationatallcarnivalmeetings.In

288

theendhedidcomebecausehisrefusalwasmuchdiscussed.].Thecamera
cutsbetweencloseupsofelderlyladiesdressedincarnivalcostumegazing
sternlyoffscreenupwardstowardsthestageonwhichDmmerisbeing
presented.BychoosingtoillustratetheaudienceseparatelyfromDmmer,
Sellcreatesavisualpartitiontherebyreinforcingthedividealready
indicatedinthevoiceover.Dmmersroleinthefoothillsisapurely
occupationaloneheisneverseeninteractingwiththeGemeinschaftona
personallevel,whichindicatesarelationshipmoreGesellschaftinnature.
DmmerdoesnotevidenceanyHeimatsentiment.
Guiseppe,ontheotherhand,isseenseekingemotionalbondsof
Heimatthroughhismusicband.ThebandisadistinctsignofGemeinschaft
BennoKleber,aprominentmemberofthegroup,actsinafatherlyway
towardsGuiseppeandevenreferstothemembersasBrder[brothers].
GuiseppeabandonshisItalianrootstoembracethefoothillstraditions,as
hismotherexplains:DahaterdasItalienischeabgelehnt.()Guiseppehat
Nebelschtz336undBenno337immervorgezogen.()DerVereinstandan
ersterStelleimmernoch![HehasrejectedtheItalian.(...)Guiseppehas
alwayspreferredNebelschtzandBenno.(...)Theclubalwayscamefirstfor
himandstilldoes.].GuiseppereplacestheGemeinschaftofearly
VillageinEastSaxony,wheretheTambourcorps[pipeanddrumband]holidayonan
annualbasis.
337ProminentmemberoftheTambourcorps[pipeanddrumband].
336

289

socialisation(hisfamily)withanewone:thebrassband.Guiseppescrisis
withthemusicalGemeinschaftcommenceswhenhiscommitmentstothe
armygetintheway.Thecrisisevolvesandbreaksdownrelationsinthe
group.Afterfailedattemptstomakepeacewiththebrassband,Guiseppe
putsinarequesttobestationedabroad.FilmmakerSellrecountstherising
hostilitytowardsGuiseppe:MancheimTambourcorpssagten,Guiseppes
pltzlichesFernwehwreeinereineTrotzreaktion.Dagingeeinmalwieder
seinitalienischesTemperamentmitihmdurch.[Somemembersofthepipe
anddrumbandsaidGuiseppessuddenlongingtogoawaysomewhere
elsewasnomorethananactofdefiance.HisItaliantemperamentonce
moregotthebetterofhim.].AlthoughGuisepperejectshisItalianheritage,
thebandnowseehimasexactlythat:anItaliantherebylabellinghimas
anoutsidertotheGemeinschaft.ThefilmendswithGuiseppesdefinite
withdrawalfromthebrassband.Thefilmsfinalstillshowshimonceagain
intraditionalcustomthistimeasamemberoftheSchtzenverein[shooting
club].ForGuiseppeGemeinschaftisreplaceable.

MarkandSophie,ontheotherhand,arefromthefoothillsbutlike

DmmerandGuiseppestruggleforintegrationintothevillages
community.MarksrelationshiptotheJunggesellenverein[bachelorclub]isa
troubledone.MarksuneasinessintheVereinisdisplayedthroughhisbody

290

languagewhenwiththeVereinmembersthecameracatcheshimoffguard
yawning,bitinghisnailsorpeeringattheothers.Despitebeingfromthe
region,Marktakesontheroleofanoutsider,asSellmakesclear:Mark
BasinskihatteseineganzeKindheitberlebtohneeinemeinzigenVerein
beizutreten.DasmachteihnzueinemeherungewhnlichenWalberberger.
[MarkBasinskiwentthroughhiswholechildhoodwithoutjoiningasingle
club.ThatmadehimanunsualWalberberger.].Hisexceptionalityis
expressedthroughhispassionforart:ratherthanassistinghisVerein
colleaguestobuildthefestivetent,heisseenhelpingthegirlspaintthe
stagedesigninthetent.Intheprivacyofhisownhome,Markintroduces
hisartisticachievementstotheviewer.338Thecamerafocusesonacloseup
ofapaintinginblueshades,withanunmistakablesimilaritytoVanGoghs
masterpieces.Markshandpointstothefewhousesamongsttheblueland
andskyscape:AlsohieruntenfehltnochdasDorf.[Downherethevillage
isstillmissing.].ThisstatementseemstosumupMarksfeelingstowards
hisneighbourenvironment:Markhasleftthevillageuntiltheenditslack
ofpriorityreflectsthevillageslackofprecedenceinMarksownlife.His
desiretoleavethevillagetostudyfashioninthebigcity,however,is
thwartedbyobstacles.Instead,attheendofthefilmMarkdecidesto

SeeAppendixI,G7.

338

291

becomeaflorist,whichwillallowhimtoenjoyHeimatsentimentwithout
compromisinghispersonalartisticambitions.

WhilstMarkescapesintotheworldofart,Sophiaescapesfromthe

villageinherwriting.AlthoughSophiasrelationshiptothefoothillsis
problematic,hernovelsexploreexactlythatgeographicmilieu.Withnovels
titledsuchasKiffer,KlunkerundKaffeetanten[Potheads,Blingand
Biddies]andWahnsinn,Wirrwarr,Wasserleichen[Madness,Chaos,Water
Corpses].339SophiaportraysherHeimatasaplaceofcrime.Thenovelsare
notasuccesswithhervillageneighbours.Sophiasrelationshiptowardsher
villageGemeinschaft,however,changestowardstheendofthefilm.The
reasonforthisishernewbook,accordingtoSellsvoiceover:DerMrder
kamausdemVorgebirgeundderHeldwareinunschuldigverdchtiger
Zugereister.DashatesniegegebenineinemBuchvonSophia.Der
MaskenmannwurdeSophiaReysgrterErfolg.[Themurderercamefrom
thefoothillsandtheherowasaninnocentsuspectfromoutside.Thathas
neverbeeninanyofSophiasbooks.TheMaskedManbecameSophiaReys
biggestsuccess.].Thischaracterisationofheroandvillaincontradictsthe
conventionalHeimatfilmplotlinewherethevillainisalwaysassociated
withtheoutside.ThisreversalofHeimatroleshasironicallyallowed

Thealliterationofthetitlesisobviouslylostintranslation.

339

292

SophiatoembraceHeimatsentiment:SophialiesichfrihrAutoeinen
AufklebermirderAufschriftSophiaRey,SchriftstellerinausSechtem
anfertigen.[SophiahadacarstickermadewiththeinscriptionSophiaRey,
AuthorfromSechtem.].EventhoughSophiahasnowfoundareadership
amongstherfellowvillagers,thefilmstilldoesnotrepresentherinthe
villageoutsideofherownprivatehome.InsteadSellsvoiceisheardover
animageofthelocalsupermarketasymbolofcommerce.Sophiassuccess
isessentiallybasedoncommerceherfellowvillagersmustpaytoenjoy
Sellsproduct.ThisrelationshipresemblesoneofGesellschaftratherthan
Gemeinschaft.SophiasnewfoundHeimatsentimentisduetohersuccessin
transformingherfailedvillageGemeinschaftrelationshipintoasuccessful
villageGesellschaftrelationship.

TheinterplaybetweenGemeinschaftandGesellschaftincreating

HeimatsentimentisequallyexploredinDieBlumederHausfrau.The
relationshipbetweenthefilmsfivedoortodoorvacuumcleanersalesmen
isfoundedontheirdailyworkcommitments.Themenareseendiscussing
salestargets,tacticsandturfs.Christmasisrepresentedbyaworkpartya
celebrationofannualsuccessandawards.Themenareacommunityof
competitiveworkrelationsandmostcertainlyaGesellschaftformation.The
film,however,alsosetsadominantfocusonscenesofworkintermission:

293

thecoffeeandlunchbreaks.Thecameraobserveswhilethemenmeetto
chat,jokeandgossip.Thesescenesallsetinacafandapubaremore
reminiscentofthetogethernessandfamiliarityofalocalStammtisch
[regularstable]thanofaworkencounter.Candles,decorativecurtains,
floraltabledecorationsandplantsbothinthecafandthepubcreatean
atmosphereofhomelywarmth.340Thelastsceneevenshowsthemen
kickingafootballoutsidethepub.Byrepeatedlyincorporatingtheseleisure
scenes,filmmakerWesselyallowsanotherlayerofthismalecommunityto
cometothesurface:theGesellschaftstructureincludeselementsof
GemeinschaftwhichevokesentimentsofHeimat.

Despitethisindicationofpersonallife,thefilmomitsthedepictionof

themenshomes,therebyrepresentingthemsolelyintheiroccupational
rolesassalesmen.Thedepictionofworkhasalimitedfunctioninthe
conventionalHeimatfilm,asTrimbornstates:DiePersonenimHeimatfilm
sindindenberwiegendenFllennichtmitalltglicherArebitbelastet.
[ThepeopleinHeimatfilmareforthemostpartnotburdenedwithdaily
work.].341IfrepresentedinHeimatfilm,workgenerallyservesthewelfare
ofthecommunity.Theproductsoldbythesalesmenisonethat
incongruouslydoesserveHeimatvalues.Thevacuumcleanernotonly

SeeAppendixI,A4.
Trimborn,p.119.

340
341

294

upholdsthewellbeingoftheHeimatvenue,thehome,butmoreover
upholdsregionaltraditions,theKehrwoche[regionalcleaningweek].The
targetcustomerisfemale,asaseniorsalesmanimpliesduringatraining
sessionatChristmastime:DassdieFrauen(.)imStresssindmitGutsle
backen.Aberdasdarfeuchnichtstren.ImGegenteilihrsolltetvielleicht
versuchen,dassihrvondeneinenoderanderenBackgutslegeschenkt
kriegt.[Thatthewomenarestressedmakingbiscuits.Butthatshouldnt
botheryou.Onthecontrary,youshouldmaybetrytogetthemtogiveyou
apresentofsomeoftheirbiscuits.].Hisdescriptionrevealshisprototype
customer:thehousewife,whoisalsotheprototypeofthefemalepersonain
Heimatfilm.342InDieBlumederHausfrauthehousewifetakesontheroleof
consumer(ofvacuumcleaners).Thisconsumerism,however,islinkedto
homekeepingtheHeimatstructuresofpatriarchalismarestillinplace:
DieimSinnedesHeimatfilmsguteFrauistwederkarrierebewutnoch
ehrgeizig.[ThegoodwomaninthesenseofHeimatfilmisneithercareer
consciousnorambitious.]343Thefilmallowsforoneexception:acustomerof
Greekorigin.Thissceneaddsanironictwisttothenotionofpatriarchal
Heimat.CustomerChatzichristidisshowsmuchenthusiasmforcleaning
hetellssalesmanStefanhowhepreviouslycleanedhiscarpet:Zwlf

SeeTrimborn,Chapter:DastraditionelleFrauenbildimHeimatfilm,pp.9295.
Trimborn,p.92.

342
343

295

Eimer,Seifenwasser,warm,habeichhineingeschttet.ZwlfEimer!Ich
habeesgeschrubbtunddannabgesaugt.[Ipouredintwelvebuckets,
soapywater,warm.Twelvebuckets!Iscrubbeditandthenvacuumedit
off.].ThephoneringsmidscenetorevealFrauChatzichristidisontheline
alocalSwabianwoman,asHerrChatzichristidisexplains.Thephoneis
passedtoStefan,whotriestoarrangeatimetorevisitonceFrau
Chatzichristidishascomehomefromworkbutthisprovestobedifficultas
sheworkslate.TherolesoftheChatzichristidisseemtobereversed:whilst
shegoesoutandworks,hestaysinandcleans.HerrChatzichristidisisthe
onlyhousehusbandpresentedinthefilm.Thisisallthemoreextraordinary
asheisfromGreeceasocietythatisperceivedastypicallypatriarchal.

TheidyllicHeimatimageofthewelcomingbakinghousewife

describedbytheseniorsalesmanfailstodeliverforallsalesmen.Thefilm
showsthemenmoreoftenthannotstandinginvaininfrontofaclosed
door.344Theworldbehindthecloseddoorisonlyopentoafew:Stefanwho
issalesmanoftheyear,forexample,isneverportrayedoutsidethehome
butalwayswithinit.Persuasionandcharmarethekeystothehousewives
homesandsuccessfulsellingisthekeytopersonalaccomplishment.The
filmcutsbetweenStefansuccessfullydemonstratingsalesequipmentand

SeeAppendixI,A6.

344

296

Dittaunsuccessfullyringingdoorbells.Stefanisseeninanelderlyladys
cosylivingroom.ThesceneissteepedinHeimatmotifs:thefaintsoundof
churchbellsandacloseupofanornamentalangellendthesceneanairof
religiousserenity;atraditionalbroompointstoregionalobligationssuchas
theKehrwoche[cleaningweek]andapettortoiseprovidesanallusiontothe
significanceofnature.Thisscene,however,provestobetheexception:the
housewifeofSwabianolongerlivesinHeimatscenery.Financialtroubles
(DasGeldfehlt.[Theresnomoney.]),divorce(AufgrundScheidung,
finanziellesProblem.[Financialproblemsbecauseofdivorce.])andabsent
fathers(EristKraftfahrer.[Hesalorrydriver.])havedisruptedthe
notionsofaHeimatidyll.Thehomesaresmallflatsinhighrisesfarfrom
nature.Thecameraobservesthesalesmenwalkingalongcorridorslined
withdoorsandupanddownhallwaysofstairsavisualindicatorofa
societyofindividualismratherthancommunity.Thefilmportrays
Santagattimorethanonceworkingthelineofdoorbuzzers.Distantvoices
speaktoSantagattioverthespeakerphone.WesselysdepictionofSwabia
lacksallsenseofGemeinschaft.Althoughtraditionsmaybeupheld
(Kehrwoche[cleaningweek]),theyarenotcommunal:thefilmincludesa
closeupofaKehrwochereminderpinnedupinalonelycorridor.Itisthus
surprisingthatitispreciselytherepresentativesofGesellschaft,thefive

297

salesmen,whoaretheonestocreateGemeinschaft.Notthehome,butthe
cafandthepubbecometheplaceswhereHeimatsentimentflourishes.

298

3.5.HeimatRevived:ConcludingNote

ChapterThreehasrevealednewperspectivesontherelationshipbetween
Heimatandfilm.AlthoughHeimat,aGermanconceptofbelongingand
identityinterlinkedwithasenseofplace,haslongbeenpartofGermanfilm
history,academicattentioninfilmsstudieshasonlyreallydevelopedin
recentdecades.
Thischapterhasidentifiedandexaminedanewhybridonthe
Germancinemascreen:Heimatanddocumentary.Ithashighlightedfour
differentHeimatmotifs,eachofwhichconsistsofpolaritiesandtheir
negotiations,whichareintegraltotheconceptofHeimat:ruralandurban,
modernisationandtradition,HeimwehandFernweh,Gemeinschaftand
Gesellschaft.Theanalysishasshownthatthesemotifsareasrelevantto
contemporaryfilmmakingastothe1950sHeimatfilmbutinreinvented
form.
FullMetalVillageandIchkennkeinenAlleinunterHeterosoffer
insightsintoHeimatfilmsdualisticunderstandingofsetting:theruraland
theurban.AlthoughHeimatisgroundedinideallandscapesofrurality,the
roleoftheurbanshouldnotbedismissedbuttakenintoconsiderationas
partofHeimatsdoublecharacter.InFullMetalVillagethenotionofrural

299

andurbanisplayedoutinthecontextofacultureclashbetweenvillagers
andvisitors.DespitethesesignificantdifferencesChosportrayalofHeimat
alsoincludesscenesofculturalreconciliation.InIchkennkeinenAllein
unterHeterosthedualityofruralandurbaniscontextualisedinthedesires
oftheprotagonistsandtheirvisitstotheurban.Althoughtheruralpresents
sexualsuppressionandfamilybreakupcomparedtotheurbanofsexual
liberationandclosefriendships,theruralwithitstightknitsocialstructures
suchasStammtisch,churchandVereinremainsthepreferredchoiceofhome
fortheprotagonists.

DieBlutritterandSchotterwieHeuthematiseHeimatasthelocusof

tensionsbetweenmodernisationandtradition.Tradition,atthecoreofboth
films,isexpressedthroughnarrative,musicandfilmfootage.InSchotterwie
HeutheconstructionofHeimatisfoundedinthecustomsofnostalgia.
Whereasmodernisationisinitiallyviewedasanexistentialthreattolocal
traditionalism,thefilmalsooffersscenesofnostalgicmodernisation:the
roleoftheautomobilebeingapotentsymbolofthis.InDieBlutritterthe
constructionofHeimatisestablishedintheritualsofreligiousmyth.
Insteadofnegotiation,DieBlutrittershowsthedrawbacksforwomen
causedbyuncompromisingtraditionsinapatriarchalsociety.

300

HerrWichmannvonderCDUandOutofEdekaexploresentimentsof

HeimwehandFernweh.AlthoughtheconceptofHeimwehisbasedonfeelings
oflongingratherthantheactualHeimatreturn,bothfilmscentretheir
narrativesonthereturntoHeimatandthediscoveryoftheprosaicness
behindthisidealisedyearning.InOutofEdekareenactmentsofdreamlike
nostalgiaarecounterbalancedwithinterviewsrevealingtheharshrealities
offamilyrelations.InHerrWichmannvonderCDUcampaignspeechesof
politicalutopiaarecounterbalancedwithlongshotsofWichmannina
desolateenvironment.WichmannattemptstorplaceideasofFernwehand
economicgrowthwithsentimentsofHeimweh.Filmmakerandprotagonist
Faigle,ontheotherhand,reinventsideasofHeimwehandfamilybyfusing
themwithsentimentsofFernwehthecameratravelstoGeorgiawhereit
capturesscenesofchildhoodinnocence.

DieBlumederHausfrauandDurchfahrtslandlookattheinterplayof

GemeinschaftandGesellschaftinpresentdayHeimat.Durchfahrtsland
introducesregionalandreligiouscommunitystructuresintowhichthe
filmsmainprotagonistsstruggletointegrate.Thefilmsframingdrawsin
thenearbyindustrialGesellschaft.DieBlumederHausfraurevealsGesellschaft
relationsofworkcolleagueswithsentimentsofHeimat.Homehascometo
representGesellschaft,whereasworkhascometorepresentGemeinschaft.

301

AlleightfilmsunderstudyreviveHeimatmotifstypicalofthe

Heimatfilm,attimesreinventingtheHeimatthemesinadifferentpattern.
However,thequintessentialportrayalofHeimatsheileWeltremains.Itisa
heileWeltonlytosome,anunheileWelttoothers.Again,Heimatprovesits
doublecharacter.

302

4.0.ConclusionandFurtherResearch

Thethesishasprovidedapreliminaryinsightintoacinematicdevelopment
prevalentincontemporaryGermandocumentarycinema.Theresearchhas
identifiedandintroducedacorpusoffilmswhicharerepresentativeofthis
development.Usingclosetextualanalysis,ithasisolatedanddemonstrated
thecharacteristicsthatunitethesefilms.Thethesishasexploredthefilms
throughtherelationshipbetweenhumanandhabitatonscreen:Chapter
Oneexploredtherepresentationoftheruralonscreen,ChapterTwo
examinedtherepresentationoftheregionalonscreenandChapterThree
drewuponbothpreviouschapterstoengageinadiscussionaboutthe
portrayalofHeimatonscreen.
Representationsoftheinterplaybetweenhumanandhabitatunder
discussioninthisresearcharetheresultofarepresentationofreelaswell
asrealenvironments.345Moregenerallyspeaking,thesedocumentaries
oftenrepresenthabitatasanemulationofrepresentationsofenvironments.
Thesereelenvironmentshavebeenformedandshapedbygenerationsof
otherfilmmakers.Filmmakersemulaterepresentationsofcountrysidesin

Thetermsareusedininvertedcommastoavoidmisconceptionsconcerningcinemas
abilitytoproduceanythingotherthancinematiclandscapes(SeeChapterOne
Introduction).

345

303

previousvisualmedia:forexample,landscapepainting,ethnographicfilm
making,andHeimatfilmcinema.Theemulationiseitherasubconscious
wayofseeingoradeliberaterouteofcinematicexploration,inwhichfilm
makeraswellasaudiencecanparticipateoncommongrounds.Becauseof
thiscommonculturalheritage,thecasestudyfilmsdonottranscend
nationalboundarieseasily.AnotableexceptionisIchkennkeinenAllein
unterHeteros,whichwasalsoreleasedintheUSA.Thehomosexualcontext
providedanadditionalcommongloballanguageinthiscase.Inthefilms
understudy,thereproductionofreelenvironmentsandthe
representationofrealenvironmentsarenotclearlydelineated.Theyare
merged,blurringthelinesbetweenreelfictionandrealnonfictionand
therebyhighlightingthedelicatestateofobjectivityindocumentary
representation.
Atthesametime,thefilmmakersinquestionchallengeexactlythe
reelenvironmentstheychoosetoengagewith:rolesareoccasionally
reversedoroverstatedtocontestthereelrepresentations.Thecreationof
reelidylliclandscapesischallengedbytheunshapingofotherlandscapes;
theusageofreelethnographicconventionstransformsthedistinctively
domesticintotheforeignandtheseeminglyfamiliarintotheunfamiliar;the

304

revivalofbygonereelHeimatmotifsincontemporarysurroundings
reordersthemodelHeimatworld.

Ontheonehand,thedocumentariesreflectwhatcinemascreens

representedoverhalfacenturyago:idyllicruralsettings,nostalgic
narratives,sentimentsofHeimwehandGemeinschaft.Thetwentyfirst
centuryscreen,however,hasaddedGesellschaft,Fernweh,modernisation
andtheurbantoanunderstandingofHeimat.Hence,Heimatin
contemporarydocumentarycinemaisanintricatebalanceofreel
replicationsandrealrepresentations.

Thisreflexivemodeofdocumentaryreliesontheviewerrecognizing

theallusionstotheHeimatfilmgenre.Onlythencantheresultsbe
humourous.ArthurKoestlerstheoryofhumourcanbeappliedto
understandthedynamicsatplay:theepitomeoffictionalgenrefilm,the
Heimatfilm,isrevivedinamostunexpectedformat,thedocumentary.The
contextdeviationallowsfortherealtobeviewedattimesinaparodicor
satiricalcontext.Thishumourousundertoneisaaneffectivemechanismto
dealwithaburdenedsubjectsuchasHeimatbutatthesametimereferring
toitsrelevance.

Toallowforsufficienttextualanalysis,Ihavelimitedthenumberof

casestudyfilmstoeight,butthedevelopmentinquestionexceedstheeight

305

filmsunderdiscussion.Itisworthmentioningsomeoftheotherfilmsthat
couldbeplacedandtestedinthisacademicframework.

FilmmakersWiltrudBaierandSigrunKhler(SchotterwieHeu)have

continuedtobringtheGermanregiontothescreen.Fortheirnext
production,theytraveltotheoppositeendofGermany.DergroeNavigator
GottistauchnureinMensch(WiltrudBaierandSigrunKhler,2007)346
followsaSwabianmissionarytotheGermanfederalstateofMecklenburg
Vorpommern,whereheintendstospreadthewordofGodamongthe
people,afterhavinggainedtwentytwoyearsofmissionaryexperiencein
PapuaNewGuinea.TheruralprovincesofnortheasternGermanyandthe
conceptofreligionarerepresentedasaspectacleofexoticism,assimilarly
seeninDieBlutritter.UnlikeDieBlutritter,however,itisalackofreligion
ratherthanaprofusionofreligionthatallowsforanexoticportrayalofthe
ruralregion.

FilmmakerAndreasGeigersfilmHeavyMetalaufdemLande

(AndreasGeiger,2006)347strikesthematiccordswithFullMetalVillage.The
filmexploresaruralcuriosityintheSwabianvillageofDonzdorf:theseat
ofoneofthemostsuccessfulindependentheavymetalrecordlabels.
WhereasFullMetalVillage,however,portraysacultureclashbetweenthe

NoEnglishtitleavailable.[TheGreatNavigatorGodisalsoonlyahumanbeing].
[HeavyMetalintheCountry].

346
347

306

ruralindigenousandurbannonindigenous,HeavyMetalaufdemLande
exploresacultureofheavymetalwithintheindigenousruralcommunity.

LikeAndreaSellinDurchfahrtsland,filmmakersPaulRainerWicke

andGtzPennerexplorearuralcommunityofanomansland.berlebenin
Nauheim(PaulRainerWickeandGtzPenner,2005)348witnessesthrough
theportrayalofsixinhabitantsthelackofcommunityandbelonging
prevalentinthesmallresidentialtownofNauheiminHesseaplace
wedgedbetweentheruralandtheurban.

DieSiedlerAmArschderWelt(ClausStrigel,2004)349portraysaSwiss

communitywhichresettlesinanabandonedvillageinanortheastern
regionofGermanybutnotwithoutlocalconflict.Thefilmcarriesthe
tagline:EindokumentarischerWesternimDeutschenOsten[ADocumentary
WesterninEasternGermany].EchoesoftheWesterngenrearealso
dominantinDieBlumederHausfrau,asistheonscreenrelationshipbetween
settlersandnativesasanextendeddialogueofHeimat.

MilchundHonigausRotfront(HansErichViet,2001)350examinesa

GermancommunityoutsideofthebordersofGermany.Thefilmtravelsto
KyrgyzstantothevillageofRotfront,whereoverhalftheinhabitantsare

NoEnglishtitleavailable.[SurvivinginNauheim].Nauheimisasmalltowninthe
RhineMainregion.
349NoEnglishtitleavailable.[TheSettlersIntheBackofBeyond].
350[MilkandHoneyfromRotfront].
348

307

descendantsofEastFrisianimmigrants.ThisMennonitecommunityhas
kepttheregionalcultureoftheirancestorsaliveoverhundredsofyearsand
evenspeakaFrisiandialect.Thefilmexploresandquestionsideasof
HeimatandFremde(SeeChapterThree)aswellasOtheringandregional
identity(seeChapterTwo).

DerHimmelksstdieBerge(PascaleSchmidt,1995)351isadocumentary

aboutthefamousGermanfolkmusicstars:MariaandherdaughterMargot
Hellwig.Thefilmisasolitaryforerunnertotheoverallcinematic
developmentinquestion.InthedeepestBavarianprovincethefilmreveals
thefamilysguesthousewhichwelcomesbusloadsoftouriststowhomit
hopestosellkitschmerchandise,orinotherwordsabitoflivingHeimat.
Thefilmalsoaccompaniestheduoontheirtouronwhichtheypromote
musicalAlpineHeimatsentimentsacrossGermany.Thefilmisan
explorationoftheindustrybehindHeimweh,thelongingforHeimat.

Asindicatedinthebriefsynopses,thefilmssharecommongrounds

withthecasestudyfilms.Howthesedialoguesshapeintotheacademic
frameworkdevisedbythethesisresearchisaworthwhilesubjectforon
goingstudyandcontinuedobservationofcontemporaryGerman
documentarycinema.

NoEnglishtitleavailable.[Theskieskissthemountains].

351

308

Thethesishaslaidasolidgroundwork,whichcanencouragefurther

researchtotesttheacademicframeworkfromotherangles.Ihave
intentionallysettheresearchnationalboundariesduetotheparticularrole
therural,theregionalandHeimatplaywithintheparametersofGerman
culture.Theresearch,however,doesopenupquestionsforfurther
transnationalresearchwithotherGermanspeakingcountries,suchas
AustriaandSwitzerland,bothofwhichboastastronghistoryofHeimat.352
TheHeimatfilmisalsointegraltoAustrianandSwissnationalfilmhistory.
Isasimilardocumentarycinemadevelopmentevidentinthesecountries?
Althoughthisquestionrequiresextensivefurtherresearch,some
documentariessuggestarecentincreasedfilmicinterestinnarrativesofthe
rural,regionalandHeimatinbothcountries:UnterwegsnachHeimat
(BarbaraGrftner,Austria,2004),353Heimatlebenslnglich(Christine
BnningerandJensPeterRvekamp,Switzerland,2005),354Heimatklnge
(StefanSchwietert,Germany/Switzerland,2007),355EinstseHeimat
(GeraldIgorHauzenberger,Austria,2007),356Bergauf,Bergab(Hans

352

Forexample,theconditionofHeimwehwasfirstrecordedinSwitzerlandin1688by
JohannesHofer,andwasinitiallycoinedtheSwissillness.
353NoEnglishtitleavailable.[OnthewaytoHeimat].
354NoEnglishtitleavailable.[Heimatforlife].
355[EchoesofHome].
356[BeyondtheForest].

309

Haldimann,Switzerland,2008).357Howthesefilmscorrespondtoorconflict
withtheacademicframeworkprovidedforGermandocumentariesbythis
researchawaitsinvestigation.
Myintentionhasbeentoidentifyandcontextualiseacorpusof
documentaryfilmsthatsharesimilarcharacteristicswithreferencetothe
onscreenrelationshipofhumanandhabitat.SinceIbegantheresearch,this
particularonscreenrelationshiphasalsoseenanemergenceinthefictional
genre,mostnotablyinfilmsbyMarcusH.Rosenmller.Werfrherstirbt,ist
lngertot(MarcusH.Rosenmller,2006),358Rosenmllerscinemadebutisa
filmaboutayoungboyinruralUpperBavariawhotriestocometoterms
withhismothersdeath.ThefilmfeaturesstrongBavariandialects(the
DVDofferstheoptionofstandardGermansubtitlesandthespecialedition
evencomeswithaBavarianphrasedictionary)buthasproventobea
nationalfilmsuccess.ItisofinterestthatpriortothefilmRosenmller
directedthreeepisodesofadocumentarytelevisionseriesentitledIrgendwo
inBayern(20032004)359fortheBayrischerRundfunk[BavarianBroadcasting],
whichexploredpeopleandplacesoftheBavarianregion.Werfrherstirbt,
istlngertothasbeentermedaHeimatfilminthepopularpress;subsequent
productionsalsoadheretothegenre.Rosenmllerslatestworkisatrilogy
NoEnglishtitleavailable.[Uphill,Downhill].
[GraveDecisions].
359NoEnglishtitleavailable.[SomewhereinBavaria].
357
358

310

ofcontemporaryHeimatfilmsBesteZeit(2007),360BesteGegend(2008)361
andBesteChance(2009).362BesidesRosenmller,othernondocumentary
filmmakershavealsorecentlytriedrepresentingruralsettings,regional
protagonistsandtheHeimatfilmgenreintheirproductions:Fleischistmein
Gemse(ChristianGrlitz,2007),363Hierankl(HansSteinbichler,2003),364
SchultzeGetstheBlues(MichaelSchorr,2003),Bungalow(UlrichKhler,
2003),Heimatfilm!(DanielKrauss,2002),Storno(ElkeWeberMoore,2002),365
tonameafew.Thisrecentcinematicinteresthasyettobefullyexplored.
Whetherandhowthesefictionalfilmsrelatetothedevelopmentin
documentarycinemaisasubjectworthyoffurtherinvestigationbyfilm
scholars.
IndicatorsofaHeimatrevivalorreinventioncanalsobeobservedin
otherformsofmediaandvisualart.Invisualarts,forexample,AnneMarie
vonSarosdyhascreatedacollectionofironicHeimatkitschwithherclichd
imagesexhibitedunderthetitleHeimatliebe(GalerieReygersMunich,
2008),366andPeterBialobrzeskipublishedhiscollectionofphotographic

[GoodTimes].
NoEnglishtitleavailable.[TheBestArea].
362NoEnglishtitleavailable.[TheBestChance].
363NoEnglishtitleavailable.[MeatismyVegetable].
364NoEnglishtitleavailable.HieranklisthenameofafarminBavaria.
365NoEnglishtitleavailable.[Cancellation].
366NoEnglishtitleavailable.[HeimatLove].
Herworkcanalsobeviewedonline:http://www.sarosdy.de/exhibition.html.[accessed6
March2009].
360
361

311

workentitledHeimat,whichdocumentsGermanyspristinenaturalhabitats
insublimeaesthetics.367Intelevision,ontheotherhand,thereality
televisionshowDieAlmPromischweiundEdelwei(ProSieben,2004)368
observedcelebritiesstrugglingwithlivingconditionsinaclichdHeimat
landscape:analpinecabinonamountainpasture.Anothertelevisionseries
entitledSchwarzwaldhaus1902(ARD/SWR,2002)369placedaBerlinfamilyin
rurallivingconditionsexperiencedbyafarmersfamilyintheyear1902in
theBlackForest.ThetitleSchwarzwaldhauscreatesassociationswiththe
famousHeimatfilmSchwarzwaldmdel370(HansDeppe,1950)aswellaswith
thepopularHeimattelevisionseriesSchwarzwaldklinik371(ZDF,19851989).
TherecentrenaissanceofHeimatthemessuchastheregionalandtherural
inmediaotherthanfilmprovidesmuchscopeforextensive
interdisciplinaryresearch.
ResearchintosociologicaldimensionsofHeimatinthenew
millenniumisalreadyunderway.MartinHecht,BernhardSchlink,
ChristophTrcke,KlausHofmeister,forexample,allreconsiderHeimatin
acontemporarysociety,thusemphasizingthatthetermhasbecomeallthe
moreimportantinatimeofglobalisation.Thisthesishasprovidedfilm
PeterBialobrzeski,Heimat(Ostfildertn:HatjeCantz,2006).
NoEnglishtitleavailable.[Thealmcelebritysweatandedelweiss].
369NoEnglishtitleavailable.[BlackForestHouse1902].
370[TheBlackForestGirl].
371[TheBlackForestClinic].
367
368

312

studieswiththeessentialframeworkandtoolswithwhichtofurther
monitorandevaluatethissocioculturaldevelopment.

Byplacingthisparticularcorpusoffilmsintoanacademic

framework,theresearchhasnotonlyidentifiedandgivenacademicvoice
toacinematicdevelopmentbutatthesametimehasexpandedonconcepts
infilmstudieswithregardtotherural,theregionalandHeimatonscreen.

313

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AppendixI

A1.

A2.

A3.

A4.
DieBlumederHausfrau(DominikWessely,1999)

A5.

A6.

A7.

A8.
DieBlumederHausfrau(DominikWessely,1999)

B1.

B2.

B3.

B4.
OutofEdeka(KonstantinFaigle,2001)

B5.

B6.

B7.

B8.
OutofEdeka(KonstantinFaigle,2001)

C1.

C2.

C3.

C4.
SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

C5.

C6.

C7.

C8.
SchotterwieHeu(WiltrudBaier&SigrunKhler,2002)

D1.

D2.

D3.

D4.
HerrWichmannvonderCDU(AndreasDresen,2003)

D5.

D6.

D7.

D8.
HerrWichmannvonderCDU(AndreasDresen,2003)

E1.

E2.

E3.

E4.
IchkennkeinenAlleinunterHeteros(JochenHick,2003)

E5.

E6.

E7.

E8.
IchkennkeinenAlleinunterHeteros(JochenHick,2003)

F1.

F2.

F3.

F4.
DieBlutritter(DouglasWolfsperger,2004)

F5.

F6.

F7.

F8.
DieBlutritter(DouglasWolfsperger,2004)

G1.

G2.

G3.

G4.
Durchfahrtsland(AlexandraSell,2005)

G5.

G6.

G7.

G8.
Durchfahrtsland(AlexandraSell,2005)

H1.

H2.

H3.

H4.
FullMetalVillage(SungHyungCho,2007)

H5.

H6.

H7.

H8.
FullMetalVillage(SungHyungCho,2007)

AppendixII

DieBlumeder
Hausfrau
1999
Dominik
Wessely

Schotterwie
Heu
2002
WiltrudBaier
SigrunKhler

OutofEdeka
2001
Konstantin
Faigle

HerrWichmann
vonderCDU
2003
Andreas
Dresen

Ichkennkeinen
Alleinunter
Heteros

DieBlutritter

2003

Douglas
Wolfsperger

2004

JochenHick

Durchfahrtsland
2005
AlexandraSell

FullMetal
Village
2005
SungHyung
Cho

AppendixIII

Bruns,Christina,DefamiliarisingtheFamiliar:RegionalandRural
IdentitiesinContemporaryGermanDocumentaryCinema,inCinemas,
IdentitiesandBeyond,ed.byRubyCheungwithD.H.Fleming(Newcastleupon
Tyne:CambridgeScholarsPublishing,2009),200211

ReproducedwiththepermissionofCambridgeScholarsPublishing.

CHAPTER THIRTEEN
DEFAMILIARISING THE FAMILIAR:
REGIONAL AND RURAL IDENTITIES
IN CONTEMPORARY GERMAN
DOCUMENTARY CINEMA
CHRISTINA BRUNS

Recent dynamic changes in German cinema have been drawing an increasing amount of national as
well as international attention. Signifiers are not hard to find. Renowned international awards such as the
Academy Award and the European Film Award have recently seen a number of German recipients. Abroad,
German films are touring the festival circuit and the number of German film festivals has risen in the past
decade. In Germany, the Filmfrderungsanstalt (FFA), the German Federal Film Board, has recorded a
significant rise in audience numbers for domestic productions.i The German film magazine Revolver, a
publication created in 1998 by film students (now film-makers), provides an important forum for discussion
of recent developments in German cinema. First attempts to define these changes are varied. While the
French Cahiers du Cinma writes of a Nouvelle Vague Allemande, others speak of the Berlin School
or the Munich School, and others define it historically as the new New German Cinema. The
definitions may be debatable and the film-makers may be reluctant to be uniformly categorised; a cinematic
change, however, is undeniable.
These cinematic developments have broken with the generic, popular cinema of the 1990s. Post-wall
popular cinema in Germany is characterised primarily by comedies which offer a narrow vision of German
identity: Young urban professionals in predominantly West German cities. Although successful with
national audiences of the time, the films have been criticised for lacking connection with any real identity
of post-wall Germany. Eric Rentschler suggests the films focus on identity crises which are in fact pseudocrises (Rentschler 2000, 263). He sees in them a lack of oppositional energies and critical voices, a
marked disinclination towards any serious political reflection or sustained historical retrospection (ibid.).
It is precisely the generic, cultural hegemony of narrative, stars, settings, and identities that
contemporary cinematic trends have arguably superseded with the construction of new identities for postunification Germany as well as retrospectively for pre-unification Germany. The films of the new
millennium address Germanys complex pastfrom the Third Reich (Der Untergang/Downfall [Oliver
Hirschbiegel, Germany, 2004]) to the German Democratic Republic (Das Leben der Anderen/The Lives of
Others [Florian Henckel von Donnersmarck, Germany, 2006]); and the 1970s political upheaval(Die
fetten Jahre sind vorbei/The Edukators [Hans Weingartner, Austria/Germany, 2004]); as well as its
futurethird/second generation German immigrants (Gegen die Wand/Head-On [Fatih Akin, Germany,
2004]), the new Europe (Lichter/Distant Lights [Hans-Christian Schmid, Germany, 2003]), social
deterioration (Knallhart/Tough Enough [Detlev Buck, Germany, 2006]), and provincial isolation (Schultze
gets the Blues [Michael Schorr, Germany, 2003]). It is a cinema not only made in Germany but one that is
very much about Germany. As Katja Hofmann notes: Germans are rediscovering themselves (Hofmann
2006, 28). It is about German film-makers offering an authentic self reflection. Georg Seelen describes the
cinema as a Bewegung zur sozialen Wirklichkeit (Seelen 2007, 16) [movement towards a social reality],
while Gabrielle Mueller similarly talks of the social as a narrative focus (Mueller 2006, 117).
An important facet emerging from these developments is the exploration of regional and rural identities
in German documentary cinema. This article offers a primary understanding of these developments. It
identifies a corpus of films that are bound by remarkable similarities in representing regional and rural
identities in Germany today. These films are all the more important as they have not yet been the subject of
academic consideration.

Although the regional is not new to the cinema screen, it has often been overlooked or overshadowed by
other research frameworks in film studies. In terms of a historical and geopolitical approach, the context of
national cinemas has been the predominant framework. This national approach has often failed to take note
of the region and its importance within the larger national framework. On a regional level, it is the urban
rather than the rural that has been the focus of academic attention. The recent publication Representing the
Rural stresses the importance of a rural cinema study: There is very little written directly about the use of
land or the rural in the cinema despite the fact that it so frequently forms a backdrop to both fiction and
documentary work (Fowler and Helfield 2006, 2). Although German cinema is not referred to as such, the
need for further research into the cinema of the rural is clearly emphasised.
In the 1990s German regionalism became the subject of much socio-historical research. Celia Applegate
(1990), Alon Confino (1997) and Tom Scott (1997), to name only a few, have created new understandings
of the regional identity within German identity. The new literature on German identity demonstrates
Germanys inclination for the regional as one that is intrinsic to national identity. This recent historical and
sociological interest has made it even more urgent for the discipline of film studies to be able to place and
reconsider the German regions in a cinematic context.
One of the first films to thematise the representation of German regional identities in the framework of
this new documentary cinema is Die Blume der Hausfrau/The Flower of the Housewife (Dominik Wessely,
Germany, 1999). A number of other films have followed in bringing German regional and rural identities
onto national screens, to name some key examples:
Out of Edeka (Konstantin Faigle, Germany, 2001); Schotter wie Heu/Gravel like Hay ii (Wiltrud Baier and
Sigrun Khler, Germany, 2002); Herr Wichmann von der CDU/Mr. Wichmann from the CDU iii (Andreas
Dresen, Germany, 2003); Ich kenn keinen-Allein unter Heteros/Talk Straight: The World of Rural Queers
(Jochen Hick, Germany, 2003); Die Blutritter/Riders of the Sacred Blood (Douglas Wolfsperger, Germany,
2004); Durchfahrtsland/Remote Area (Alexandra Sell, Germany, 2005); Heavy Metal auf dem Lande/Heavy
Metal in the Countrysideiv (Andreas Geiger, Germany, 2006); Full Metal Village (Sung Hyung Cho, Germany,
2007).

Almost without exception, these film-makers have been funded or partially funded by regional film
funding institutions. The regional occupies an increasingly important position in the national film
production industry in Germany. Germanys film production is supported by a unique funding structure. It
is a decentralised structure of funding institutions, the majority of which are regional film funds. In 1979
the Bundeslnder, the German federal states, for the first time followed the national example of film
subsidy and established their own regional funding institutions. In the 1980s the regional film funds
developed as they proved to be means to boosting regional economy and regional awareness. However, it
was not until the 1990s that the regional film funds reached the significant position in German film funding
structures they hold today. They have been further strengthened by the introduction of a film commission to
every regional film fund. Regional film prizes offer additional promotion and exposure. Regional funding
is undoubtedly linked to regional endorsement and is known as Standort-politik, the politics of place
(Elsaesser 1993, 3-16).
Whereas production is linked to regional institutions, the cinematic perceptions are not of regional
origin: With few exceptions, the film-makers are not from the region they choose to portray. The filmic
view is therefore not a view from within but a view from outside. Although these films are contemporary in
nature and offer a novel understanding of the German rural regions, they show similarities with
ethnographic film-making conventions. The outside and inside dichotomy has been a special concern in
ethnographic film-making: Participant-Observation is one of the most basic ethnographic research
methods (Fife 2005, 71), which involves the ethnographer observing as well as participating in his subject
matters. The dichotomy is also relevant to the documentary film-makers under discussion, who have dealt
with it in varying degrees of observing and participating. Some film-makers opt to observe solely from
behind the camera and reduce their presence to a minimum (Herr Wichmann von der CDU); others have
defined roles for interviewer and interviewee (Ich kenn keinen-Allein unter Heteros) or narrator and
narrated (Durchfahrtsland), and others again prefer to participate to the extent that they themselves become
the focus of attention (Schotter wie Heu). Like ethnographic films, the films under discussion in this article
are constructed on notions of self and Other. New cinematic interpretations of the German rural regions that
re-create and re-invent ethnographic notions of self and Other are presented here.
Full Metal Village is the creation of Sung-Hyung Cho, a South Korean film-maker who has made
Germany her home of choice for close to twenty years. Funded amongst others by regional institutions, the

film went on to win two regional film awards in 2006 and received the prestigious Max Ophls Prize in
2007. The film portrays an international Heavy Metal festival in the small North German village of Wacken.
Film-maker Cho is seen participating with subjects on screen. She is instantly aurally and visibly
identifiable as non-indigenous due to her Asian ethnicity and accented German. In early ethnographic
footage a shot of the ethnographer posing with the natives was generally included. The ethnic or racial
contrast forms an on-screen, visual divide between researcher and bodily artefact, between subject and
object, and ultimately between self and Other. In Full Metal Village these roles are to an extent reversed.
Like the ethnographer, Cho is non-indigenous to the areaethnicity is the key, on-screen indicator.
However, this ethnic divide is inverted: The white man has become the bodily artefact under filmic
investigation. Cho challenges the ethnic roles of traditional ethnography, thereby questioning fundamental,
ethnographic constructions of self and Other. At the same time, the film goes beyond portraying a
conventional, transnational exchange (GermanSouth Korean) to engage in a far more complex
relationship: Wacken meets South Korea, regional meets immigrant, local meets global.
Otherness also becomes a thematic concern in Dominik Wesselys film (Die Blume der Hausfrau). The
film, a huge audience success at the International Hofer Film Days (1998) and the Filmfestival Max Ophls
(1999), focuses on Swabian suburbia. Wessely places the Swabians reputation for cleanliness at the centre
of his documentary. He portrays five door-to-door vacuum-cleaner salesmen in a region most noted for
cleanliness in the regional week most renowned for cleaning (Kehrwoche: Annual Swabian cleaning week).
Wessely pinpoints his protagonists ethnic origin from the start: The protagonists Italian origin is
emphasised by the generic music of the Spaghetti Western, which forms a musical leitmotif and brings a
whole spectrum of genre clichs to the films images. The music transforms the salesmen in their long dark
coats into cowboys. The final shot of the salesmen driving off into the sunset in their company cars
accompanied by the musical leitmotif reinforces the stylised image of provincial cowboys.v Although the
soundtrack marks out foreignness, the salesmen, however, lack any aural features that would identify them
as being non-regional. On the contrary, their language functions as an indicator of Swabian belonging: The
men speak in Swabian dialect. One of the mens customers highlights a similar verbal assimilation. A client,
whose surname Chazilikizctisidis, identifies him as being of Greek origin, talks in a somewhat broken
Swabian dialect and even insists that the salesman call him by the shortened, more German-sounding
version of his name SchatziSchatzi being a German term of endearment. Although being a Greek, he has
not only germanified his name but also adopted the extreme sense of Swabian cleanliness: He relates
how he had previously used twelve litres of water to wash his carpet and kneels down on the carpet to
inspect it with a magnifying glass.
Dialects form the primary division between the film-maker and the subject matter, between the region
and the audience, between self and Other. In addition, it forms the primary indicator of a regional identity.
The foremost indicator of any regional identity is a common dialect, as Lyndhurst Collins explains:
Language is generally viewed as the supreme expressive component of identity (Collins 1998, 34). A few
of the documentaries (Schotter wie Heu, Out of Edeka) resort to German subtitles to overcome the language
barrier created between on-screen Germans and an off-screen German audience. The interest in German
dialect on-screen is part of a wider development in recent German cinema.vi
These contemporary German film-makers place the German rural region under an ethnographic lens,
thereby representing the rural region as a terrain of Otherness. Otherness is by and large marked as the
unfamiliar and exotic and, as Kateryna Olijnyk Longley explains, the exotic is always an attribute given to
someone else or somewhere else exoticism is a way of seeing (Longley 2000, 23). The film Out of
Edeka (Edeka: Cooperation of independent retailers) captures the notion of the unfamiliar already within its
title. The film, an autobiographical journey into the lives surrounding a small Swabian family-run village
shop, was partially funded by regional television and film organisations and was awarded the 2001
Bavarian Prize for Documentary Film. The title exudes foreignness on two levels. Firstly, Faigle chooses
an English title for a German production. Secondly, the English title is undoubtedly a reference to the film
Out of Africa (Sydney Pollack, USA, 1985) and echoes a vision of a geographically distant and unfamiliar
place, thus creating an air of exoticism in a German rural region. The theme is supported throughout the
film by exotic music ranging from Middle Eastern to Indian, Spanish-Flamenco and Gypsy instrumental
compositions. The film features colourful re-enactments of worlds far away, played by the villagers and the
film-maker himself: A queen, guerrilla warfare, cowboys, a Flamenco dancer.
Faigle emphasises the notion of the geographical foreignness by quoting the actual distance between his
village of Empfingen and the Mongolian city of Ulan Bator: Mein Heimatdorf Empfingen, 3500 Seelen.
8235 Kilometer von Ulan Bator, der Hauptstatdt der Mongolei [My home village Empfingen, 3500 souls,

8235 kilometres from Ulan Bator, the capital of Mongolia]. The camera tilts from a low-angle shot of the
clouds in the sky down onto the villages yellow sign and a long shot of two men standing beside it facing
the camera. The distance from Swabia to Mongolia is irrelevant to the films content, but by linking the
village with such a faraway place, Faigle creates associations with the far-off. In conjunction with the wideangle shot of the men seemingly waiting at the village entrance for arrivals, it also evokes an image of a
sparse and isolated populationa population living outside the borders of the familiar. The film is no
longer a story about the familiar local but about the unfamiliar local.
Like Out of Edeka, Die Blutritter similarly places the region within a geographically exotic context. Die
Blutritter, also the recipient of regional funding, portrays the people surrounding the medieval equestrian
procession of the town of Weingarten. A man dressed as a Native American has a recurring role in the film.
Alois Weber, the costumed man, runs a Native American museum in the middle of the German countryside.
He explains that his interest is rooted in the filmic adaptations of Lederstrumpf (The Leatherstocking Tales)
and Winnetou. Both tales are fictional works on Native Americans by non-Native American writers, thus
echoing notions of the Western view of the exotic Other. The film pans over figurines of Native Americans
carved and clothed by Weber. This physical construction of the Other metaphorically points to a mental
construction of the exotic. Webers museum is a dedication to a geographically removed and vanishing
culture. His obsessive collecting echoes that of early anthropologists who harboured materials from the
cultures of Others. The early anthropological need to classify and collect was driven by the desire to
conquer the exotic by statically materialising it. Longley defines the exotic as precisely that: The desire to
enter forbidden territory, whether in the imagination or physically, to partake of otherness and to stake a
claim (Longley 2000, 23).
Die Blutritter also bears witness to the problematic notions of this exotic relationship. In an interview
with a Swabian man and his black wife, Wolfsperger captures the colonisation and domestication of a
living Other. The Swabian man explains his reasons for marrying his wife as follows: Deutsche Frauen
habe ich auch schon gut kennen gelernt, und die Ansprche von deutschen Frauen sind ein bisschen zu
hoch und deswegen war die Wahl, eine schwarze Frau zu heiraten [There have been German women
that Ive gotten to know quite well, but German womens expectations are too high and thats why I
chose to marry a black woman]. He gestures with his hand towards his wife, thereby objectifying her as
little more than a consumer choice. His perception is based on male and racial superiority. Longley points
to this power imbalance between the viewer and the viewed: Exoticism is a way of seeing which
sustains the myth of cultural centrality, and therefore the superiority, of the viewer (Longley 2000, 23).
The white mans superiority in this scene is unmistakable. In addition to his verbal presencethe woman
remains silent and acquiescentthe dominance of the white man is physically conveyed: The woman is
seated on a bench between her husband and another white man. The camera tilts down her body to rest at
knee level: Both mens bodies are physically pushed up against hers. The slow tilt down her body
emphasises her sexual role. This is confirmed in the final shot at knee level: The woman has one hand
placed on each mans thigh. The camera movement encourages the perception of a regional colonisation
of the Other as sexual exoticism. The cinematic objectification of the woman becomes so apparent that this
in itself points to the problematic issues surrounding the beholder of the exotic gaze.
In Schotter wie Heu the exotic is linked to notions of primitiveness. The film is a portrayal of Fritz
Vogt, the bank director of the smallest bank and the last bank in Germany to run without a computer. The
film exposes the protagonists nave unawareness of the power of the camera. Prior to filming, Vogts
appearance on national television results in his village bank becoming the victim of a robbery. During
filming of the documentary, Vogt welcomes a further camera, one from the regional television station. It is
during these television recordingswith both cameras directed at himthat Vogts navet towards the
media is confirmed. Out of earshot from the television crew, Vogt turns towards the documentary camera
to let the film-makers know exactly what he thinks about the other cameraman. Vogts confidence in filmmakers Baier and Khler allows him to seemingly ignore the presence of the documentary camera. In
another scene Vogt cycles down the path to his cows as directed by the television crew. After cycling down
the path, Vogt turns to the television camera to ask: Kann es weiter gehen? [Shall I go on?] The camera
crew start laughing at his inexperience towards the camera. The encounter between primitive man and
advanced technology formed the basis for much of early ethnographic film-making (Oksiloff 2001).
The media are engrossed with Vogts primitiveness. In the bank Vogt turns his attention to a small,
manual letter weight while the television crew spread out their equipment. He holds up the weight (Die ist
mindestens 60 Jahre alt! Oder lter [Its at least 60 years old! Maybe more!]), and admires it. Behind Vogt
the television lights shine brightly on him while the crew gets a grip on their equipment. The shot embodies

Vogts dialectic relationship with the camera: Vogt has become a media attraction by rejecting
modernisation. The television camera is out to capture Vogt in all his technological innocence. This
fascination that transforms the innocent into an object of attraction resembles the appeal many early
ethnographic film-makers shared, as Assenka Oksiloff explains: the screened body of the native figured
as a lost unity and provided a vanishing point for a fantasy of coherence and wholeness (Oksiloff 2001, 6).
In the first instance then, it may seem surprising that many of the films explicitly promote themselves as
Heimatfilms (Schotter wie Heu, Durchfahrtsland, Full Metal Village). Heimatfilm implies Heimata unique but
widespread word in the German language that expresses a strong sense of home and belonging. Heimat is
so intrinsically being a part of the German language that there is no consensus on its translation.
Translation attempts, however, remain unsatisfactory as the word is bound to a wide spectrum of
connotations, implications and meanings, which have been shaped by the words developments within
German-speaking countries. Despite the words many interpretations, it is the location of Heimat in
cinematic representation that remains persistent. The Heimatfilm is integral to German cinema history, as
Thomas Elsaesser comments: Deutschlands einzigem eigenstndigen und historisch bestndigstem Genre
(Elsaesser 1994, 195) [Germanys only independent and most historically consistent genre]. It is the rural
region that has featured strongly as a location for Heimat.
The contemporary film-makers under discussion revisit the traditional Heimatfilm location. Familiar to
German cinema viewers as a place bearing notions of belonging and home, the traditional Heimatfilm
setting has become exactly the opposite: A place of unfamiliar Otherness. Thus Die Blume der Hausfrau is
defined by its own film-maker as a schrgen Heimatfilm (Wessely, quoted in Hesler and Richter, n.d.)
(schrg literally means slanting and is commonly used to described the off-beat). Spiegel magazine
describes the film Full Metal Village as a Heimatfilm der etwas anderen Art (Bu 2007) (another kind of
Heimatfilm). ZDF television sees Die Blume der Hausfrau as a Heimatfilm of skurril (skurril meaning
bizarre, whimsical) nature. Although Heimat is a familiar place, the Heimat location on contemporary
screens is far from familiar.
Whilst the films on the one hand defamiliarise, they also emphasise the values so much associated with
the familiar, generic Heimatfilm, such as nature, tradition, family and community. Full Metal Village
focuses on a small village community; Die Blume der Hausfrau and Die Blutritter are portrayals of
regional traditions; Schotter wie Heu and Out of Edeka are explorations into village family businesses.
However, the films expand from the familiar notions of Heimat to construct new understandings of a
traditional concept. Faigle (Out of Edeka) reveals contemporary images of family and Heimat that are to be
found not within the village community but outside it: A brother who has finally found love and a family
with his Polish wife; a father who is seen on the phone talking to his Georgian granddaughter; a girlfriend
who is Spanish. Faigles Heimat has grown literally out of Edeka. Wesselys (Die Blume der Hausfrau)
Heimat community is not a village community but the communal solidarity among vacuum-cleaner
salesmen. Wessely restricts his portrayals of the salesmen to their professional role, omitting any reference
or access to their private lives. The support of the salesmen for one another takes the place of the traditional
role of family and home.
The nature of Heimat, whether in familiar or unfamiliar guise, is double-faceted, as Manuela Fiedler
points out: Sie ist der Ort der Utopie ebenso wie der Ort der Ausgrenzung und des Vergessens [It is the
place of utopia as well as the place of ostracism and oblivion] (Fiedler 1995, 11). The Heimat image
gradually reveals cracks: An alcoholic and violent father (Out of Edeka); isolated youth and suicides
(Schotter wie Heu); gender discrimination (Die Blutritter); lonesome suburbia (Die Blume der Hausfrau);
the abuse of nature (Full Metal Village). Even the new Heimat structures are not impervious to cracks. In
Out of Edeka the core of the familythe shopshuts down as it can no longer compete with the global
discounters. Global expansion allows Faigle to expand the traditional notion of Heimat and family out of
Edeka but equally threatens the traditional core of Heimat and family: The shop. In Die Blume der
Hausfrau the solidarity between salesmen is vulnerable to ethnic divides: East German salesmen make
jokes about their Italian colleagues. Again, global expansion allows Wessely to develop the traditional
notions of Heimat and region into a multi-ethnic regional community but not without drawbacks.
Although German cinema has been drawing an increasing amount of attention, an important element of
its cinematic revival deserves closer examination. Contemporary documentary cinema has become a strong
forum for German rural and regional identities. The non-urban region as location is typical of the traditional
Heimat image; however, it is in the heart of this Heimatfilm backdrop that young documentary film-makers
reveal new understandings of identity, belonging and Heimat. Not only do the film-makers exoticise the
familiar Heimat setting but they moreover represent new structures of Heimat communities unfamiliar to

the viewer. By defamiliarising a seemingly familiar, German territory, film-makers challenge audiences
expectations and presumptions, thereby introducing a new array of fabrics to be woven into contemporary
concepts of regional and rural identities in Germany. This focus on German rural regions and the
constructions of new interpretations of German identities by means of defamiliarisation unite these
documentaries into a cohesive group, which must be taken into consideration in any discussion about
German cinema today.

References
Applegate, Celia. 1990. A nation of provincials: The German idea of Heimat. Berkeley & Los Angeles:
University of California Press.
Bu, Christian. 2007. Teufelsanbeter im Paradies. Spiegel Online, 18 April,
http://www.spiegel.de/kultur/kino/0,1518,477815,00.html.
Collins, Lyndhurst. 1998. The dynamics of regional identity in a frontier region: The case of Alsace.
Journal of Borderlands Studies 13: 29-55.
Confino, Alon. 1997. The nation as local metaphor: Wrttemberg, imperial Germany, and national
memory. Chapel Hill: University of North Carolina Press.
Elsaesser, Thomas. 1993. German cinema in the 1990s. In The BFI companion to German cinema, ed.
Thomas Elsaesser, 3-16. London: BFI.
. 1994. Der neue deutsche Film. Von den Anfngen bis zu den neunziger Jahren. Mnchen: Wilhelm
Heyne Verlag.
Fiedler, Manuela. 1995. Heimat im deutschen Film. Ein Mythos zwischen Regression und Utopie.
Coppengrave: Coppi-Verlag.
Fife, Wayne. 2005. Doing fieldwork: Ethnographic methods for research in developing countries and
beyond. New York & Hampshire: Palgrave Macmillan.
Filmfrderungsanstalt (FFA). Markdaten. Kinoergebnisse5 Jahre auf einen Blick, http://www.ffa.de/.
Fowler, Catherine, and Gillian Helfield. 2006. Introduction. In Representing the rural: Space, place and
identity in films about the land, ed. Catherine Fowler and Gillian Helfield, 1-14. Michigan: Wayne State
University Press.
Hesler, Jakob, and Urs Richter. n.d. Der Vertreter in Dir. Interview mit Dominik Wessely. filmtext.com,
http://www.filmtext.com/start.jsp?mode=3&thema=I&key=18.
Hofmann, Katja. 2006. Refound selves. Sight & Sound, 12: 28.
Jirsa, Waltraud. 1979. Triviales in Western und Heimatfilm. Mnchen: Fink.
Longley, Kateryna Olijnyk. 2000. Fabricating otherness: Demidenko and exoticism. In New exoticisms:
Changing patterns in the construction of otherness, ed. Isabel Santaolalla, 21-39. Amsterdam: Rodopi.
Mueller, Gabriele. 2006. Welcome to Reality. Constructions of German identity in Lichter and Halbe
Treppe. New Cinemas: Journal of Contemporary Film 4: 117-27.
Oksiloff, Assenka. 2001. Picturing the primitive: Visual culture, ethnography, and early German cinema.
New York: Palgrave.
Rentschler, Eric. 2000. From new German cinema to the post-wall cinema of consensus. In Cinema and
nation, ed. Mette Hjort and Scott Mackenzie, 260-77. London: Routledge.
Scott, Tom. 1997. Regional identity and economic change: The upper Rhine, 1450-1600. New York:
Clarendon Press, Oxford University.
Seelen, Georg. 2007. Die dritte Generation. epd Film: Was tut sichim deutschen Film? Sonderheft: 16-19.
ZDF. Deutschland skurril,
http://www.zdf.de/ZDFde/inhalt/23/0,1872,2099767,00.html.

Notes
i

see FFA. Markdaten. Kinoergebnisse5 Jahre auf einen Blick,


http://www.ffa.de/.
ii
No English title available. Literal translation. The title in German is an idiom meaning lots of money.
iii
No English title available. Literal translation.
iv
No English title available. Literal translation.

Parallels between the Heimatfilm genre and the Western genre have been the topic of academic consideration. For
textual comparisons, see Jirsa (1979).
vi
In the run-up to the 2007 Berlinale, the president of the German Film Academy, Gnter Rohrbach, encouraged filmmakers not to shy away from German dialects on-screen. It is of interest that a fiction film shot in Bavarian dialect, Wer
frher stirbt, ist lnger tot/Grave Decisions (Marcus H. Rosenmller, Germany, 2006), received a number of awards at
the German Film Prize 2007.

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