The murderers among us: Post-War German rubble films. The complexities of thematic and visual meaning

Type :

Term papers

Pages :

9 pages

Format :

.doc

Published date :

04/26/2009

Category :

Arts & media

Sub category :

Film studies

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Summary :

Introduction
J. Fisher writes and the themes and context of the films
Bruckner's representation of the past that has to be overcome by the new generation
Merten's nihilism and histrionic behavior
Expressionist film: Frightening allegorical images of a world overrun by violence and trauma
The fotune teller Timm in The Murderers Are Among Us
The setting of his apartment
A key image in the film: Heroic, healing mothers
Womens depiction as strong and nurturing
The use of heightened shadows
Conclusion
Bibliography

Abstract

This paper will discuss the first post-world war II film to be made in Germany. The film, entitled The murderers among Us (Die Morder sind unter uns, 1946) was directed by Wolfgang Staudte. It is the first in a series of films, which are collectively entitled (Trummerfilme) which means postwar rubble films. The designation of this as a genre corresponds to the central role played in the films by the devastated, post-war landscape of bombed german cities. The murderers among us, combines a mixture of cinematic styles, from an emerging neo-realism in European post-war cinema, to a melodramatic narrative that uses noir and expressionistic visual style. In this mix, the message that healing from the war will require both internal and external facets is portrayed. As J. Fisher writes, the themes and context of the films was not completely an individual artistic decision, however. Approved and funded by the DEFA, the Soviet film unit in occupied Berlin, the movie, The murderers among Us, is an example of what the Allies chose to allow to be produced to help push forward the reconstruction agenda. (Fisher, 2001) The films would be approved for production, based on their ability to deal with "themes like collective guilt, nation, national identity, reconstruction, humanistic reeducation, fascism and antifascism..." (Fisher: 92)