This site uses cookies to deliver our services, improve performance, for analytics, and (if not signed in) for advertising. By using LibraryThing you acknowledge that you have read and understand our Terms of Service and Privacy Policy. Your use of the site and services is subject to these policies and terms.
Hide this

Results from Google Books

Click on a thumbnail to go to Google Books.

The Nazi Past in Contemporary German Film…

The Nazi Past in Contemporary German Film (Screen Cultures: German Film…

by Axel Bangert

MembersReviewsPopularityAverage ratingConversations
711,138,814 (4)None



Sign up for LibraryThing to find out whether you'll like this book.

No current Talk conversations about this book.

In The Nazi Past in Contemporary German Film, Axel Bangert examines the change in how the Nazi period is portrayed since reunification. This change seems to be reflected in both a more personal style as well as a shift from a dominant tone of guilt to one of shame. The book covers both television and film productions and both documentary and fictional portrayals.

One aspect which seems to bother some people about such portrayals is that there is less of a distinctive line drawn which makes it more difficult to simply point and proclaim evil. While that may well be understandable for some to find problematic it also presents the period in a more realistic light. To draw a parallel which I acknowledge can only go so far, American Civil War films used to draw simplistic lines of right and wrong (even to the extreme of glorifying the side which had by far the worse human rights record in Griffith's Birth of a Nation) then started portraying the human side. It was the sense of many southerners who had little or nothing to do directly with slavery that their "way of life" was being infringed upon and thus were pulled into a war of which they had almost no political interest. The suffering their families suffered even while supporting the Confederacy allowed the human side of the "evil" foe to give a more holistic view. Certainly the parallel can only go so far, it was a different kind of genocide and carried out at a different pace. But the personalization of the stories being told allowed some degree of healing to begin. In other words, the German cinema does not need to keep beating themselves up just to make the rest of the world feel like Germany is still paying a price, but rather they can find a way to tell the smaller stories, many of which fall into that grey area of evil vs good, in order to help a reunified country heal and move on.

This book is a wonderful addition to either an academic or a popular library where there is an interest in film studies. It is a descriptive book primarily, not prescriptive, so to expect something that presumes to take the past to task for not addressing what is not covered by contemporary German film is not reading the book on its terms. After reading this, one could easily find avenues for further study in any number of areas from film studies to cultural studies and sociological applications as well.

Reviewed from an ARC made available by the publisher via NetGalley. ( )
  pomo58 | Aug 7, 2015 |
no reviews | add a review
You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Series (with order)
Canonical title
Original title
Alternative titles
Original publication date
Important places
Important events
Related movies
Awards and honors
First words
Last words
Disambiguation notice
Publisher's editors
Publisher series
Original language

References to this work on external resources.

Wikipedia in English


Book description
Haiku summary

No descriptions found.

No library descriptions found.

Quick Links

Popular covers


Average: (4)
4 1

Is this you?

Become a LibraryThing Author.


About | Contact | Privacy/Terms | Help/FAQs | Blog | Store | APIs | TinyCat | Legacy Libraries | Early Reviewers | Common Knowledge | 126,388,667 books! | Top bar: Always visible