Mothers, Comrades, and Outcasts in East German Women’s Films New Dir ections in Nationa l Cinem as Jacqueline Reich, editor Mothers, Comrades, and Outcasts in East German Women’s Films Jennifer L Creech Indi a na Univer sit y Pr ess Bloomington & Indianapolis This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu © 2016 by Jennifer L Creech All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher The Association of American University Presses’ Resolution on Per missions constitutes the only exception to this prohibition ∞ The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992 Manufactured in the United States of America Library of Congress Catalogingin Publication Data Names: Creech, Jennifer L., [date] author Title: Mothers, comrades, and outcasts in East German women’s films / Jennifer L Creech Description: Bloomington : Indiana University Press, [2016] | Series: New directions in national cinemas | Includes bibliographical references and index Identifiers: LCCN 2016017124| ISBN 9780253023018 (pbk : alk paper) | ISBN 9780253022691 (cloth : alk paper) | ISBN 9780253023179 (ebook) Subjects: LCSH: Motion pictures for women—Germany (East) | Motion pictures—Germany (East)—History | Women in motion pictures Classification: LCC PN1995.9.W6 C74 2016 | DDC 791.43/6522—dc23 LC record available at https://lccn.loc gov/2016017124 21 20 19 18 17 16 For Violet Mae, Charlotte Yvonne, and Violet Gail The direct, natural, and necessary relation of person to person is the relation of man to woman From this relationship one can therefore judge man’s whole level of development —Karl Marx, Economic and Philosophic Manuscripts of 1844 Contents · Preface ix · Acknowledgments · Note on Translation xxi xvii Introduction: Rescuing History from the Ruins 1 Happily Ever After? The Emancipatory Politics of Female Desire in Lot’s Wife 41 The Lonely Woman? (Re)production and Feminine Desire in The Bicycle and On Probation 85 Pleasure in Seeing Ourselves? All My Girls 141 Real Women: Goodbye to Winter and the Documentary Women’s Film 195 Conclusion: After the Fall · Notes 233 · DEFA Filmography · Works Cited 261 · Index 275 223 259 vii Preface In the opening sequence of Egon Günther’s 1972 film, Der Dritte [Her Third ], the viewer watches the female protagonist, Margit, at work as a mathematician in a computer engineering lab Overlaid with a blue filter, the camera captures the lab and the engineers—equal numbers of men and women—in medium shots, in discussion while working with the computers that fill the room In voiceover, we hear the film’s direc tor, Günther, asking the lab’s director about specifics regarding job skill differences, wages, and gender parity The camera then cuts to medium shots of Margit and her colleagues leaving the lab, taking the streetcar, and walking home Arriving at home, Margit enters her dark apartment, turning on lights that reveal its emptiness, occasionally turning toward the camera in medium closeup, baring a face that looks tired, beat She is alone She turns on the television and returns to the kitchen to make a solitary meal, but the dialogue from the television piques both her and the viewer’s interest We see her peer around the kitchen doorway to get a closer look at the man and woman on screen The camera cuts to the screen withinthescreen: we—the diegetic and extradiegetic viewers—see a Russian captain standing on the forest floor, looking up at his younger female compatriot, an army nurse, teasing her, suggesting she is afraid to walk along the narrow trunk of the fallen tree on which she stands.1 A highangle closeup emphasizes his desiring gaze as he exclaims, ix 268 Wor k s Cit e d Laverne and Shirley Dir Gary Marshall USA, 1976–1983 Leben und Weben Dir Volker Koepp DEFA, 1981 Legende von Paul und Paula, Die Dir Heiner Carow DEFA, 1973 Lesage, Julia “The Political Aesthetics of the Feminist Documentary Film.” Quarterly Review of Film Studies 3.4 (1978) Rpt in Erens 222–237 Lewis, Alison Subverting Patriarchy: Feminism and Fantasy in the Works of Irmtraud Morgner Oxford: Berg, 1995 Lim, Dennis “Summoning Halcyon Days of Failed Ideals.” The New York Times December 2012 http://www.nytimes com/2012/12/09/movies/christianpetzold-directs-barbara-starring -nina-hoss.html?ref=movies&_r=0 Lindenberger, Thomas “Die Diktatur der Grenzen.” Herrschaft und Eigen-Sinn in der Diktatur Studien zur Gesellschaftsgeschichte der DDR Ed Thomas Lindenberger Köln: Böhlau, 1999 51–101 ——— “Gewalt und Wahrheit: Verkehrte Welt in Good Bye Lenin!” WerkstattGeschichte 2004, Nr 37: 101–114 Linville, Susan E Feminism, Film, Fascism: Women’s Auto/biographical Film in Postwar Germany Austin: U of Texas P, 1998 Lischke McNab, Ute “Interview— Women, Film, and Writing in the GDR: Helga Schubert and the DEFA.” MajerO’Sickey and von Zadow 199–206 Lohre, Mattias “Zur Begrüßung den Schlüsselbund im Gesicht.” 2005 http://www.das-parlament de/2005/16/JugendimDialog/001 html Loth, Rothraut Letter to Arbeitsgruppe: “Roter Kreis.” Sept 1965 Stiftung Archiv der Parteien und Massenorganisationen der DDR im Bundesarchiv, Berlin (SAPMO): DR 117 BA A/0100a Lots Weib Dir Egon Günther DEFA, 1965 Les Amants Dir Louis Malle France, 1958 Macht der Männer ist die Geduld der Frauen, Die Dir Cristina Perincioli, BRD, 1978 Mädchen in Wittstock Dir Volker Koepp DEFA, 1975 Madonnen Dir Maria Speth Germany, 2007 Magnificent Seven, The Dir John Sturges USA, 1960 Majer-O’Sickey, Ingeborg, and Ingeborg von Zadow, eds Triangulated Visions Women in Recent German Cinema Albany: State U of New York P, 1998 Marciniak, Katarzyna “Second Worldness and Transnational Feminist Practices.” Imre 3–20 Maron, Monika “Lebensentwürfe, Zeitenbrüche: Vom Nutzen und Nachteil dunkler Brillen ” Süddeutsche Zeitung 13 September 2002 Marx, Karl Economic and Philosophic Manuscripts of 1844 Tucker 66–125 ——— The German Ideology Tucker 146–200 ——— Grundrisse Tucker 221–293 ——— Manifesto of the Communist Party Tucker 469–500 McCormick, Richard W “Confronting German History: Melodrama, Distantiation, and Women’s Discourse in Germany, Pale Mother.” Frieden et al vol 2, 185–206 McLellan, Josie “Glad to be Gay Behind the Wall: Gay and Lesbian Activism in 1970s East Germany.” History Workshop Journal 74 (Autumn 2012): 105–130 Merkel, Ina und Du, Frau an der Werkbank! 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Renata The Spoils of Freedom: Psychoanalysis and Feminism After the Fall of Socialism New York: Routledge, 1994 Sander, Helke “Feminism and Film.” 1977 Rentschler 75–81 ——— Interview Marc Silberman In Frieden et al vol 1, 163–165 Sander, Helke, and R Schlesier “Die Legende von Paul und Paula: Eine frauenverachtende Schnulze aus der DDR.” Frauen und Film (Sept 1974): 8–47 Schenk, Christina “Zum Politik und Feminismusverständnis ostdeutscher Frauen.” Frauenleben—Frauenliteratur—Frauenkultur in der DDR der 70er und 80er Jahre Ed Ilse Nagelschmidt Leipzig: Leipziger Universitätsverlag, 1997 56–64 Schenk, Ralf “Abbilder des Lebens Von der Kunst, Drehbücher zu schreiben: Wor k s Cit e d Jurek Becker und Helga Schütz.” Film Dienst 60:20 (2007): 16–17 ——— “Mitten im Kalten Krieg (1950– 60).” Schenk 51–157 ———, ed Das zweite Leben der Filmstadt Babelsberg DEFA-Spielfilme 1946–1992 Berlin: Henschel, 1994 Schieber, Elke “Anfang vom Ende oder Kontinuität des Argwohns 1980 bis 1989.” Schenk 265–326 ——— “Im Dämmerlicht der Perestroika 1980 bis 1989.” Jordan and Schenk 170–210 Schittly, Dagmar Zwischen Regie und Regime: Die DEFA Filmpolitik der SED im Spiegel der DEFA-Produktionen Berlin: Ch Links, 2002 Schlüpmann, Heide “Femininity as Productive Force: Kluge and Critical Theory.” New German Critique 49 (1990): 69–78 Schmidt, Sabine Frauenporträts und -protokolle aus der DDR: Zur Subjektivität der Dokumentarliteratur Wiesbaden: Deutscher Universitätsverlag, 1999 Schönemann, Sibylle “Stoffentwicklung im DEFA-Studio für Spielfilme.” Filmland DDR: Ein Reader zu Geschichte, Funktion und Wirkung der DEFA Ed Harry Blunk and Dirk Jungnickel Köln: Verlag Wissenschaft und Politik, 1990 71–81 Schreiber, Eduard “Zeit der verpassten Möglichkeiten 1970 bis 1980.” Jordan and Schenk 129–69 Schütz, Helga Jette in Dresden Berlin: Aufbau, 1977 ——— Julia oder Erziehung zum Chorgesang Berlin: Aufbau, 1980 Schwarz, Gislinde and Christine Zenner, eds Wir wollen mehr als ein “Vaterland.” DDR-Frauen im 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Aufbau, 2003 266–281 Stegmann, Vera “Frauenschicksale: A DEFA Film Viewed in Light of Brecht’s Critique 481 of the Opera and Eisler/ Adorno’s Theory of Film Music” German Studies Review 28.3 (Oct 2005): 481–500 Streetcar Named Desire, A Dir Elia Kazan USA, 1951 Summerfield, Penny “Dis/composing the Subject: Intersubjectivities in Oral History.” Feminism and Autobiography: Texts, Theories, Methods Transformations: Thinking Through Feminism Ed Tess Cosslett, Celia Lury, and Penny Summerfield New York: Routledge, 2000 91–106 Sylvester, Regine “The Forbidden Films.” Viewsletter: News on Midwest Media Art/A Legacy Productions’ Publication 8.3 (Fall 1992) “Sympathische Frauen und Mädchen aus unserer Mitte: Zuschauer diskutieren Alle meine Mädchen.” Tribüne [Berlin] 12 June 1980 Szaloky, Melinda “Somewhere in Europe: Exile and Orphanage in Post-World War II Hungarian Cinema.” Imre 81–102 Tag für Tag Dir Volker Koepp DEFA, 1979/1980 Thornham, Sue, ed Feminist Film Theory: A Reader New York: New York UP, 1989 Töchter Dir Maria Speth Germany, 2014 Trampe, Tamara “Filmmaking after the Wende: A Personal Story.” Berghahn and Bance 72–84 ——— Personal interview Aug 2003 Trumpener, Katie “DEFA: Moving Germany into Eastern Europe.” Moving Images of East Germany: Past and Future of DEFA Film Ed Barton Byg and Bethany Moore Harry and Helen Gray Humanities Program, ser 12 Washington DC: American Institute for Contemporary German Studies and Johns Hopkins UP, 2002 85–104 Tucker, Robert C., ed The Marx-Engels Reader 2nd ed New York: Norton, 1978 Turovskaya, Maya “Auf der Suche nach einer ‘freundlicheren Welt.’” Film und Fernsehen (1981): 20–24 ——— “Der ‘Frauenfilm’, was ist das?” Film und Fernsehen (1982): 15–23 Ulbricht, Walter Schlußwort auf der 11 Tagung des ZK der SED 1965 Stiftung Archiv der Parteien und Massenorganisationen der DDR im Bundesarchiv, Berlin (SAPMO): Dy 30/iv 2/1/191 Agde 266–81 Unmarried Woman, An Dir Paul Mazursky USA, 1978 Urang, John Griffith Legal Tender: Love 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Princeton: Princeton UP, 1996 Verfassung der Deutschen Demokratischen Republik, die 1949 http://www.documentarchiv.de/ddr /verfddr1949.html#b1 Versteck, Das Dir Frank Beyer DEFA, 1979 Wor k s Cit e d Vivre sa vie Dir Jean-Luc Godard France, 1962 Von der Emde, Silke “Irmtraud Morgner’s Postmodern Feminism: A Question of Politics.” Women in German Yearbook 10 (1995): 117–142 Voss, Margit “Frauenprofile gefragt Resümee des Filmangebots aus Frankreich, Italien, Schweden und den USA im Spielplan 1979/80.” Prisma 12 (1981): 165–184 ——— “Vertrauen—Prüfstein für alle.” Film und Fernsehen (1980): 8–9 Wagner, Brigitte DEFA After East Germany Rochester: Camden House, 2014 Wäscherinnen Dir Jürgen Böttcher DEFA, 1972 Waldman, Diane, and Janet Walker Feminism and Documentary Minneapolis: U of Minnesota P, 1999 Wander, Maxie Guten Morgen, du Schöne 1977 Berlin: DTV, 1995 What Women Want Dir Nancy Meyers USA, 2000 White, Hayden “The Value of Narrativity in the Representation of Reality.” Critical Inquiry (1980): 5–27 Wieder in Wittstock Dir Volker Koepp DEFA, 1976 Wierling, Dorothee “The East as the Past: Problems with Memory and Identity.” German Politics and Society 15.2 (Summer 1997): 53–75 Williams, Raymond Marxism and Literature Oxford: Oxford UP, 1977 Winston, Brian “Documentary: I Think We Are in Trouble.” Ed Alan Rosenthal New Challenges for Documentary Berkeley: U of California P, 1988 21–33 Winter adé Dir Helke Misselwitz DEFA, 1988 Wir von ESDA Dir Gitta Nickel DEFA, 1976 Wischnewski, Klaus “Die zornigen jungen Männer von Babelsberg.” Agde 355–371 273 With Babies and Banners Dir Loraine Gray USA, 1978 Wittstock III Dir Volker Koepp DEFA, 1977 Wittstock, Wittstock Dir Volker Koepp BRD, 1997 Wolf, Christa Der geteilte Himmel Berlin: Aufbau, 1963 ——— Foreword Guten Morgen, du Schöne! München: dtv, 1977 11–22 ——— Kassandra 1983 München: DTV, 1996 ——— Kindheitsmuster 1976 München: DTV, 2000 ——— Nachdenken über Christa T 1969 Hamburg: Luchterhand, 1993 Wolf, Dieter Gruppe Babelsberg: unsere nichtgedrehten Filme Berlin: Das Neue Berlin, 2000 Wolter, Christina Die Alleinseglerin Berlin: Aufbau, 1982 Wood, Robin “Images and Women.” Hollywood from Vietnam to Reagan New York: Columbia UP, 1986 202–222 Rpt in Erens 337–352 Working Girl Dir Mike Nichols USA, 1988 Yella Dir Christian Petzold Germany, 2007 Zimmermann, Peter, ed Deutschlandbilder Ost Dokumentarfilme der DEFA von der Nachkriegszeit bis zur Wiedervereinigung Vol Close Up Schriften aus dem Haus des Dokumentarfilms Konstanz: UVK-Medien/Ölschläger, 1995 ——— “Der Dokumentarfilm der DEFA zwischen Propaganda, Alltagsbeobachtung und subversiver Rezeption.” Zimmermann 9–24 Žižek, Slavoj Did Somebody Say Totalitarianism? Five Interventions in the (Mis)Use of a Notion New York: Verso, 2001 ——— For They Know Not What They Do: Enjoyment as a Political Factor London: Verso, 1991 Index Page numbers in italics indicate illustrations Adoption, 90, 246nn17–18 See also Mészáros alienation: in Berlin School films, 9, 230; in East European cinema, 145, 149; in East German cinema, 7, 74, 103, 129, 131, 166, 193, 197, 229, 253n35; in French New Wave cinema, 45, 46; in West German cinema, 6, 137 All My Girls, 40, 161, 172–175, 177, 240n125, 251n16, 252n24, 252n34, 253nn37–43, 254n50, 254n53, 255n55, 255n63, 255n66, 256nn69–70 See also collectivity, documentary, emancipation, gaze, Gruppe Berlin, Gusner, production, reproduction, spectatorship, Trampe, and voice “all-round developed socialist personality”, 16, 36, 40, 57, 118–119, 136, 145, 193, 240n18, 245n54 Alltag, 2, 22, 29–33, 34, 232; and authenticity, 197–198; in Berlin School films, 9, 228–229; in East German cinema, 57, 78, 97–98, 99, 106, 120, 184–187, 189, 193, 196–198, 219, 223–224; in East German culture, 18; and female protagonists, 31–33, 61, 157, 185; in French New Wave cinema, 43 See also Gusner, motherhood, reproduction, women’s film, and time Ankunftsroman, 58–59, 244n49 antifascism, 3, 11, 12, 21, 24–25, 73–74, 244n49 Artists Under the Big Top: Perplexed, 52, 53–54, 55 See also Kluge Aufbau, 10–12, 145 autobiography, 8, 86–88, 144, 200–201, 221, 226, 245n6, 246n13 See also documentary banned films, 3, 20, 21–22, 34, 56–57, 61, 78, 82, 241n1 See also rabbit films Berlin School, 9, 228–232 Beyer, Frank, 80 See also Trace of Stones Bicycle, The, 39–40, 80, 87–88, 96–116, 103, 105, 107, 110–112, 116, 120, 122, 126, 127, 129, 136, 138, 240n125, 244n54, 253n35 See also alienation, collectivity, love, motherhood, production, public sphere, reproduction, and voice over Böttcher, Jürgen, 198; Born in ’45, 30–31, 34, 241n1, 241n3, 258n30 Brückner, Jutta, 6, 86, 92, 142–143; Years of Hunger, 86, 88 Buck-Morss, Susan, 1, 4, 9, 92, 233n3, 238n86 275 276 i n de x Carow, Heiner xiii; Coming Out, 156 See also The Legend of Paul and Paula and Until Death Do Us Part Chaplin, Charlie, 150, 151, 177, 183 Chytilová, Věra, 234n19, 235n25; Daisies, 146–149, 147, 254n43 collectivity, xiv, xvi, 5, 9, 12, 21, 23, 27, 32–33, 40, 145; in All My Girls, 149, 161–162, 165, 167–170, 180–181, 187–188, 189, 192–193, 226, 256n71; in The Bicycle, 247n34; and East German cinema, 43, 59, 62, 68, 74, 77, 82, 176, 227, 229, 243n34, 256n68; in East European cinema, 89, 145–147, 257n75; as feminist practice, 141–143, 149; in Hollywood cinema, 191–192, 257n74; in On Probation, 249n58, 249n70; in West German cinema, 136, 142–144, 253n40 See also lesbian continuum and lesbianism consumption, 88, 95, 146–149 See also Chytilová (Daisies), production, and reproduction counter cinema, 7, 83, 235n21, 252n22 cyclicality See time de Lauretis, Teresa, 6, 182–183 Destinies of Women, 193, 235n31, 243n34, 256n68 Divided Heaven, 30–31, 58, 241n1, 243n29 divorce: in East German culture, 15, 56, 69, 81, 245n64; in French New Wave cinema, 49; in Goodbye to Winter, 203, 213–215, 217; in Lot’s Wife, 61–62, 63, 66–67, 69–70, 74, 76–77, 80–81, 225, 245n55; in On Probation, 120, 123, 127 documentary, xi, 8, 16–17, 40, 254n54, 258n22; and All My Girls, 152–153, 159, 176–178, 179–181, 183–184, 187, 189–190, 255n55, 256n71; and Goodbye to Winter, 195–222, 226, 258n13 See also Alltag, autobiography, Böttcher, Junge, Koepp, Misselwitz, and Nickel domestic labor See reproduction Donnersmarck, Florian Henckel von, 1, 258n7 emancipation: in All My Girls, 226, 253n40; and cinematic structures, 8, 37, 154, 225; and collectivity, 141–142, 145, 149; and desire, 121, 134, 154; in East German cinema, 7, 36–37, 243n34; and East German culture, 10, 14–17, 35, 94–95, 118, 141–142, 164, 240n116; in French New Wave cinema, 43, 45; in Goodbye to Winter, 201–203, 205–206, 212, 217, 221; in Her Third, xiii, 20, 176; in Lot’s Wife, 69, 75–77, 78–80; in On Probation, 135, 253n35; in The Rabbit is Me, 60; in Until Death Do Us Part, xv; in West German cinema, 52 Engler, Wolfgang, 242n24; Die Ostdeutschen, 35, 145, 239n115, 240n116, 243n43, 243n44, 244n52, 254n51, 255n62 everyday See Alltag Fellini, Federico, 150–151, 183 fetishism, 6, 49, 50, 52, 55, 244n48 Frauenfilm See women’s film French New Wave, 42–51, 57, 228, 241nn3–4, 241n6, 242n17, 242n21, 243n29, 243n42, 245n55 See also individual names of films and Godard Gaines, Jane, 143, 154, 155, 252n22, 254n46 Gal, Susan: and the public/private distinction, 33–34, 67, 69–70, 78–79, 80, 257n8; and the “us”/“them” distinction, 34, 70, 159, 161–165, 166–170, 179 gaze: in All My Girls, 160–161, 162–164, 175–176, 180–181; as cinematic structure, 6, 8, 38–39, 60, 64–65, 86, 141, 204; in Goodbye to Winter, 204, 205–206; in Her Third, ix, xi–xii; in Lot’s Wife, 39, 60–61, 65–67, 68, 71–73, 74–76, 225; in French New Wave cinema, 45, 50, 54, 82–83; in The Rabbit is Me, 59–60; in ReDuPers, 144 See also Mulvey, Silberman, and voice Gegenwartsfilm, 30–31, 33, 78, 97 Godard, Jean-Luc, 42, 44, 46–49, 46, 228, 241n4, 243n38, 243n42, 244n46, 244n48, 245n55, 252n22 See also i n de x French New Wave, A Married Woman, and My Life to Live Goodbye to Winter, 40, 196–222, 202, 207–208, 213–214, 216, 240n125, 245n6 See also autobiography, divorce, documentary, emancipation, Gruppe Berlin, love, marriage, Misselwitz, motherhood, production, voice, and voice over Gruppe Berlin, 40, 158–159, 162, 184–187, 225 See also All My Girls, Gusner, Kotte, Trampe Günther, Egon, 26, 41, 81, 241n2 See also Her Third and Lot’s Wife Gusner, Iris, 150 See also All My Girls, Gruppe Berlin, Kotte, and Trampe happiness: and Aufbau, 12; and emancipation, 37, 118; public vs private, 74–77, 132, 136, 225; and motherhood, 96, 99, 100, 104–105, 110, 116, 247n28; and class difference, 113; and marriage, 213–215; and work, 148 happy ending, xiii, xv, 77, 104–105, 115, 152, 189, 192–193, 248n38, 254n48, 256n70 Her Third, ix–xiii, 20, 40, 80, 176, 193, 233n3 (Preface), 254nn47–48 See also emancipation, Günther, love, motherhood, spectatorship, and voice over Holland, Agnieska, 235n19, 235n25 See also motherhood homosexuality 156–157, 171 Junge, Winfried, 197 Kahlschlag, 21–22, 25, 28, 29, 55–58, 62, 78–80, 151, 223, 225 Kaninchenfilme See rabbit films Kaplan, E Ann, 154; Motherhood and Representation, 85, 119, 124, 249n70 See also melodrama Kirsten, Ralf, 252n33 Klein, Gerhard, 252n33 Kluge, Alexander, 57–58, 241n6, 242n23; Öffentlichkeit und Erfahrung, 74 See also Artists Under the Big Top: Perplexed and Yesterday Girl 277 Knight, Julia, 143, 149, 235n22 Koepp, Volker, 197, 198 Kotte, Gabrielle, 184–187, 240n125, 255n63 Kristeva, Julia, 6, 39, 44, 85, 90–93, 95, 105, 122, 125, 128, 139, 143, 233n3 (Preface) See also motherhood, reproduction, and time Künstlerische Arbeitsgruppen (KAGs), 24, 56 See also Gruppe Berlin Kuzniar, Alice, 156–157 See also homosexuality, lesbian continuum, lesbianism, and queer theory labor See production Law for the Protection of Mothers and Children, and Women’s Rights, 13 Legend of Paul and Paula, The, xiv, 80, 245n125, 249n70 See also Carow Lesage, Julia, 199, 211, 258n13 lesbian continuum, 6, 7, 40, 141, 155, 157, 170–176, 191, 193, 226, 252n27 See also collectivity, homosexuality, and lesbianism lesbianism, 44, 142, 156 See also collectivity, homosexuality, and lesbian continuum life story See autobiography Lot’s Wife, 26, 38–39, 41–83, 47, 49, 64, 75, 124, 159, 214–215, 217, 225, 240n125, 242n13, 243nn42–43, 244n46, 244nn48–49, 244nn53–56, 253n39 See also divorce, emancipation, gaze, Günther, love, marriage, production, voice, and voice over love: in The Bicycle, 98–99, 104, 111–113, 115, 248n41; in Divided Heaven, 58–59; in East German culture, 15–16, 17, 56, 247n27; in French New Wave cinema, 45, 50; in Goodbye to Winter, 209, 217, 227; in Her Third, xii–xiii; in Lot’s Wife, 61–62, 66–69, 76–77, 81, 83, 243n43, 245n55; in On Probation, 39, 93, 119, 125–126, 132, 249n58; and romantic narrative, 110; in Until Death Do Us Part, xiv–xv, 176 Lovers, The, 45, 243n38, 243n42 Loves of a Blonde, 145, 257n75 278 i n de x Maetzig, Kurt, 62; Ernst Thälmann films, 73–74 marriage, xii–xvi, 15, 44, 45, 49–50, 99, 119, 245n64, 247n27; in Goodbye to Winter, 203, 204, 208, 212–217; in Lot’s Wife, 61–83, 225, 243n42, 244n53, 245n55; in On Probation, 132, 176; in Until Death Do Us Part, 254n49 Married Woman, A, 49–51, 47–48 See also Godard masculinity, 11, 46, 50, 71–74, 115, 134, 182–186, 250n74 See also DeLauretis and Mulvey melodrama, 62, 66, 86, 87, 119, 132, 191, 241n5, 243n34, 249n70, 256n68, 256n72 See also Kaplan Mészáros, Márta, 89, 235n19, 235n25, 246n13; The Girl, 89–90; Riddance, 145, 257n75 See also Adoption and motherhood Michel, Sonja, 199, 211, 254n54, 256n71, 258n13 Misselwitz, Helke, 26 See also Goodbye to Winter Morgner, Irmtraud, 16, 17–18, 86, 92, 236n53 motherhood, 85, 233n2 (Introduction), 257n74; in Berlin School films, 228, 231; in The Bicycle, 39, 87, 92–93, 96–116, 139, 225, 246n8, 248n38; in East German cinema, 90, 193, 249n70; in East German culture, 13–15, 17, 94–95, 236n42, 247nn27–28, 249n43; in East European cinema, 85–86, 89–90, 246n13, 246n15, 246n18; and feminism, 7, 86, 142; in Germany, Pale Mother, 87, 246n8, 248n38; in Goodbye to Winter, 201–202, 203, 206, 208–212, 215; in Her Third, xii; in On Probation, 39–40, 92–93, 116–136, 139, 225, 250n73; in ReDuPers, 88–89, 136–139, 143–144; and Stalinism, 11–12, 89, 235n31, 246n13; and storytelling, 103–105, 201–202, 248n38; in Until Death Do Us Part, xiv; in West German cinema, 85–89, 143–144, 245n5 See also Alltag, Kaplan, Kristeva, love, production, reproduction, and time Mulvey, Laura, 6, 45, 60, 64–65, 66, 71– 73, 82–83, 141, 143, 153, 155, 252n22 See also gaze My Life to Live, 46, 48, 49 See also Godard narration, 6, 19, 87, 104–105, 182–184, 200–201, 204, 208–209, 215–216, 248n38, 256n69 NARVA, 149, 153, 161, 176, 179, 185–187, 190, 198 New Wave cinema, 21, 38, 41–83 See also Böttcher, Chytilová, Godard, Günther, Kahlschlag, Kluge, rabbit films, Vadim, Zschoche Nickel, Gitta, 198, 257n9 See also documentary NÖSPL, 56 On Probation, 39, 80, 92, 116–139, 129–131 See also divorce, emancipation, love, marriage, motherhood, production, public sphere, voice, voice over, and Zschoche Petzold, Christian, 38, 228 private sphere, 7, 22, 33–34, 36, 43, 52, 57, 79, 87, 99, 121, 124, 198, 230, 246n8 See also Gal, motherhood, production, public sphere, and reproduction production, 90–91, 245n35, 248n35, 250n7, 253n39, 254n51, 255n66, 256n68; in All My Girls, 151–155, 157–159, 161–162, 164, 166, 168–169, 176, 178, 183, 185–187, 226, 253n38, 253n40, 255n59; in Berlin School films, 228–230; in The Bicycle, 39, 93, 96, 100–103, 104–105, 110, 114–116, 225, 250n73, 255n66; in East German cinema, xii, xiii, xv, 57–59, 227, 253n35; in East European cinema, 145, 147–149, 257n75; in Goodbye to Winter, 204–205, 206; in Hollywood cinema, 252n34; in Lot’s Wife, 51, 61, 78, 225, 253n39; in On Probation, 116–120, i n de x 126, 129, 132, 135–136, 147; in West German cinema, 87–88, 136–138, 142–144, 250n6, 253n40, 257n75; and women’s emancipation, 13–15, 79, 94–95, 145, 157, 236n42, 239n115, 253n36 See also Kristeva, motherhood, rationality, reproduction, and time progress See time public sphere, 143; in All My Girls, 149; in The Bicycle, 107, 110, 225; in East German culture, 16, 27, 36, 76, 238n86; in On Probation, 117, 129; in West German cinema, 43, 51–52, 54, 86, 136, 142; women’s films as an alternative to, 36, 142 See also collectivity, Gal, motherhood, private sphere, production, and reproduction queer theory, 156–157, 254n48 See also homosexuality, Kuzniar, lesbian continuum, and lesbianism rabbit films, 21–22, 56–57, 59, 61, 78, 80, 223, 225, 253n39 See also names of banned films Rabbit is Me, The, 21, 59–60, 241n1 See also emancipation, Maetzig rationality, 17–19, 25, 118–119, 92, 146, 227, 243n29, 245n55 See also Kristeva, production, and time reception See spectatorship ReDuPers, 86, 88–89, 92, 136–139, 138– 39, 143–144, 240n118 See also gaze, motherhood, reproduction, and Sander repetition See time reproduction: as an aspect of production 39, 85, 90–92, 94–95; in The Bicycle, 29, 93, 101, 103–104, 114; in East German cinema, 35–36, 57, 65, 78, 90, 97–98, 197, 205–206; in On Probation, 29, 93, 126, 127; in ReDuPers, 136–139, 253n40; and time, 90–92; in West German cinema, 87, 88; and women’s emancipation, 13, 14–15, 76, 87, 94– 95, 117–118, 236n42, 244n53, 247n29 Romm, Mikhail, 29, 150, 151, 183 279 Sander, Helke, 6, 51, 143, 235n19, 235n22, 249n70; The Subjective Factor, 144 See also alienation, motherhood, and ReDuPers Sanders-Brahms, Helke, 6, 92, 235n19; Germany, Pale Mother, 86, 87, 245n5, 246n8, 248n38 See also motherhood Schittly, Dagmar, 78, 236n62, 237n68 secondary screens, xi, 201, 204–205, 216 Silberman, Marc, 53–54, 120–121, 124–126, 132–133, 234n13, 237n69 Silverman, Kaja, 6, 64–66, 68, 82–83, 153, 155, 251n18 See also voice socialist realism, 12, 28–29, 40, 79, 196 socialist subjectivity xv–xvi, 39, 59, 95, 147, 156, 176 See also alienation, “allround developed socialist personality”, emancipation, production, reproduction, and time spectatorship, xi–xii; and All My Girls 151–155, 162–163, 165, 176–178, 180, 183, 187–191, 192; as theorized by Bisky and Wiedemann, 27–32, 151– 152, 154, 165, 177, 238n89, 239n97, 240n126, 250nn13–14, 251n15, 251n21; in Her Third, ix–xii See also gaze Speth, Maria, 9, 228, 230–231 talking-heads technique See voice as cinematic structure Tarkovsky, Andrei xi–xii, 233n1 (Preface), 246n13 time, 87–88, 91–105, 109–111, 115–116, 120, 122, 128–130, 132, 136–139, 182, 230, 233n3 (Preface), 249n70 See also Kristeva, motherhood, production, rationality, and reproduction totalitarianism, 1, 4–5, 9, 21–22, 27, 39, 85, 223, 227, 232, 234n3, 236n62, 244n49 Trace of Stones, 241n1, 252n33, 253n35 See also Beyer Trampe, Tamara, 24, 184–187, 223, 234n3, 240n125, 255n63 See also All My Girls, Gruppe Berlin, Gusner, Kotte 280 i n de x Trümmerfilm, 11 Trümmerfrauen, 10–11 Ulbricht, Walter, 41, 55, 57, 242n24 See also Kahlschlag unification See Wende Until Death Do Us Part, xiii–xvi, 40, 80, 176, 245n125, 254n47 See also Carow, emancipation, love, marriage, motherhood, and voice over Urang, John, 58–59, 119–120, 233n2 (Introduction), 237n69, 247n29 See also love utopia, 1, 3–5, 9, 24–25, 30, 32, 38, 51, 52, 53, 57–58, 59, 73–74, 76, 83, 92, 94, 97, 102, 125, 176, 227, 243n43, 251n20, 252n22, 256n68 Vadim, Roger, 45, 241n4 voice: in All My Girls, 149, 155, 159, 178– 179, 181, 187; as cinematic structure, 6, 8, 19, 37, 60, 65, 232, 254n54, 258n22; in French New Wave cinema, 46–51, 54; in Goodbye to Winter, 199–200, 212, 217, 221–222; in Lot’s Wife, 61, 65–68, 72–78, 82–83, 225; in On Probation, 123–125, 126, 127, 131, 135; in West German cinema, 54, 142 See also Silverman voice-over: in The Bicycle, 98–99, 111– 112; in Daisies, 148; in Divided Heaven, 58; in French New Wave cinema, 45, 51, 242n14, 242n17; in Goodbye to Winter, 197, 201, 203, 204, 206, 212, 218–219, 220, 246n6; in Her Third, ix, xi; in Lot’s Wife, 38–39, 51, 55, 63, 73, 74–76; in A Married Woman, 46; in On Probation, 123–124; in The Rabbit is Me, 59–60; in Until Death Do Us Part, xiv, xvi; in West German cinema, 87, 88, 89, 136, 137–138, 143–144, 253n40 Wander, Maxi, 16–17, 40, 86–87, 118, 195, 217, 258n13 Wende, 2–3, 9, 198, 223, 229, 231, 233n2 (Introduction), 234n5, 237n74, 258n7 Wolf, Christa, 16, 17, 18–19, 85, 86–87, 92, 118, 243n30 Woman Alone, A, 90 See also Holland women’s film, 2, 5–10, 36–38, 41, 119–120, 157, 191–192, 198, 223–224, 226–227, 229–230, 231–232, 233n2, 234n15, 237n69, 242n23, 249n70, 258n13 work See production Yesterday Girl, 51–53, 53 See also Kluge Žižek, Slavoj, 4, 234n3, 244n49 Jennifer L Cr eech is Associate Professor of German at the University of Rochester, where she is also Affiliate Faculty in Film and Media Studies and Associate Faculty at the Susan B Anthony Institute for Gender, Sexuality, and Women’s Studies Her research and teaching interests include late twentieth-century German literature, film, and culture; cinema studies; and materialist and feminist theories She has published on East German and post-unification cinema in Seminar and Women in German Yearbook and is the co-editor of Spectacle: German Visual Culture, vol 2, and of The Body: German Visual Culture, vol .. .Mothers, Comrades, and Outcasts in East German Women s Films New Dir ections in Nationa l Cinem as Jacqueline Reich, editor Mothers, Comrades, and Outcasts in East German Women s Films. .. a role in my analysis—the translations are mine xxi Mothers, Comrades, and Outcasts in East German Women s Films Introduction: Rescuing History from the Ruins Films can preserve memory and function... explosion of interest in DEFA, only a handful of the works listed focus specifically on women in East German film and media.14 And while DEFA women s films importantly foreground a kind of Eastern