This article examines the representation of the GDR past and the treatment of Ostalgie in Wolfgang Becker's Good Bye, Lenin! and Hannes Stöhr's Berlin Is in Germany, arguing that the films evidence a split in recent German fiction films between nostalgic constructions of the past, on the one hand, and postnational views of the present, on the other. Close readings demonstrate that these investments play out on an aesthetic as well as narrative plane. The article concludes that these two works articulate divergent conceptions of post-Wall identity, and relates them to larger trends in contemporary German cinema.
No takes yet. Share an insight, caveat, or question.
Jennifer M. Kapczynski (2007) studied this question.
Synapse has enriched 5 related papers. Consider them for comparative context: