Project MUSE - The Ghosts of Autumn Past: History, Memory, and Identity in Christian Petzold’s Die innere Sicherheit. Just two weeks before the official release of Der Baader Meinhof Komplex (2. Der Spiegel ran its cover story of Uli Edel’s much anticipated film. Although the headline asserted the necessity of this film in destroying the myths surrounding the Red Army Faction, the article nevertheless posed the question, “Schon wieder Baader- Meinhof, schon wieder RAF? Schon wieder die Geschichte von Andreas Baader, Gudrun Ensslin und Ulrike Meinhof, die entsetzt sind von der Bundesrepublik und dem Krieg in Vietnam ? Although the number of narrations has not yet reached the thousands, to a certain degree the author was right. Within a year of the so- called German Autumn of 1. Rainer Werner Fassbinder along with Alexander Kluge, Volker Schl. One year later, Fassbinder released his own film, Die dritte Generation, reflecting on the motivations, implications, and possible success of an anti- establishment movement in modern Germany, and in 1. Margarethe von Trotta followed suit with her feature film Die bleierne Zeit. In 1. 98. 5, Stefan Aust of Der Spiegel published the original book form of the 2. Reinhard Hauff’s 1. Stammheim. By 1. 98. Gerhard Richter released his RAF- inspired series of paintings 1. Oktober 1. 97. 7, and in 1. Astrid Proll published her “photo album” as an eyewitness account of the RAF from within. Theatrical and literary confrontations with this subject matter have been numerous as well, including former RAF member Peter- J. 1981, First Blitz invasion. We’re unable to escape the era’s reproaches. The autumn issue of V Magazine recasts the New Romantics for American readers. The Warsaw Pact invasion of Czechoslovakia. Czechs and Slovaks greeted Warsaw Pact soldiers with arguments and reproaches. In the Autumn of 1989. Karl Rahner’s Girlfriend. Rinser’s average of two or three letters a week are the cause of one of his most frequent reproaches. Directed by Kristaq Dhamo. Visit IMDb for Photos, Showtimes, Cast, Crew, Reviews, Plot Summary, Comments. The number of cinematic, artistic, theatrical, literary, and scholarly works that address the members, actions, and repercussions of the Red Army Faction has continued to grow in the last ten years, thereby reinforcing the question in September’s Der Spiegel, “Schon wieder?”Among this multitude of representations and works that address terrorist- related themes, however, Christian Petzold’s 2. Die innere Sicherheit stands out as an exception. And Women Workers (Autumn 1981) From International Socialism 2:14. Everywhere arguments, reproaches, appeals – the revolution makes another forward step.While the majority of RAF- inspired texts, especially . The film spans approximately one month in the life of this family on the run, focussing on the fifteen- year- old daughter, Jeanne, whose parents, Hans and Clara, are presumed to be former left- wing terrorists. Though these characters never make explicit reference to past terrorist violence or ideologies, several allusions in the film’s structure and content highlight this implicit connection. In addition to eliminating direct naming, Petzold further distances this work from other RAF literature and films by framing the film not as a “Terroristendrama,” but rather as the first part of his Gespenster- trilogy, this 2. Gespenster and in 2. Yella (Hofer 1. 75). With a relatively wide reception among German audiences, several reviews and interviews in the print media, and the 2. Golden Film Award, the film uses the legacy of the Red Army Faction to expand a public discussion of the various forms of ghostly existence in modern society, as well as the traces of history’s ghosts. This article pursues the ghost- like qualities of Die innere Sicherheit and its characters as they pertain to questions of knowledge and memory regarding the past. It argues that the hazy distinctions between presence and absence generate ambiguous understandings of the eponymous concepts of interiority and security and that this uncertainty has the ability to challenge not only conventional representations of the RAF, but also common understandings of memory and historical transmission in both the public and private spheres. While working predominantly with a close reading of Petzold’s film, the argument offered here..
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