Professional Documents
Culture Documents
(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.
10
Introduction
0.1.GeneralOrientation:ContemporaryGermanCinema
11
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).
12
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
13
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
14
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,
15
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
16
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
17
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.
22
18
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.
23
19
throughsocialistforcesintheGDR.Ruralityandfilmservedaspartofa
politicalideologyorclimate.
Althoughtherelationshipbetweenruralanddocumentaryfilm
isnotanewone,ithastakenonaninnovativedimensioninthenew
millenium.Thecorrelationhasadoptedareflexiveapproach
incorporatinghistoriesofruralonscreenfromtheGermanHeimatfilm
genre(seeLiteraryReview0.3.3.),therebyrevealingnovelfacetsofthis
relationship.
20
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
21
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
22
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
23
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
24
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
67
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
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University of California Press.
Bu, Christian. 2007. Teufelsanbeter im Paradies. Spiegel Online, 18 April,
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Notes
i
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.