East German cinema : DEFA and film history

Chapter 1 Introduction

Chapter 2 East German Cinema as State Institution

Chapter 3 Reciprocities and Tensions: DEFA and the East German Entertainment Industry

Chapter 4 A Cultural Legacy: DEFA’s Afterlife

Chapter 5 The Rubble Film, Wolfgang Staudte, and Postwar German Cinema: Die Mörder sind unter uns ( The Murderers Are among Us , Wolfgang Staudte, 1946)

Chapter 6 Fairy Tales And Children’s Films as Eternal Blockbusters: Die Geschichte Vom Kleinen Muck ( The Story of Little Mook , Wolfgang Staudte, 1 953)

Chapter 7 The Gegenwartsfilm , West Berlin as Hostile Other, and East Germany as Homeland: The Rebel Film Berlin—Ecke Schönhauser ( Berlin SchöNhauser Corner , Gerhard Klein, 1957)

Chapter 8 The Birth of DEFA Genre Cinema, East German Sci-fi Films, New Technologies, and Coproduction with Eastern Europe: Der schweigende Stern ( Silent Star , Kurt Maetzig, 1960)

Chapter 9 Film Censorship, the East German Nouvelle Vague , and the “Rabbit Films”: Das Kaninchen bin ich ( The Rabbit Is Me , Kurt Maetzig, 1965)

Chapter 10 Renegade Films, Defa Musicals, and the Genre Cinema: Heißer Sommer ( Hot Summer , Joachim Hasler, 1968)

Chapter 11 More Genre Cinema, the “Red Western,” and Stardom in East Germany: Apachen ( Apaches , Gottfried Kolditz, 1973)

Chapter 12 Gender, Class, and Sexuality: Ending Taboos in Die Legende von Paul und Paula ( The Legend of Paul and Paula , Heiner Carow, 1973)

Chapter 13 DEFA and the Holocaust, the Antifascist Legacy, and International Acclaim: Jakob der Lügner ( Jacob the Liar , Frank Beyer, 1974)

Chapter 14 The Women’s Film, Konrad Wolf, and Defa After the “Biermann Affair”: Solo Sunny (Konrad Wolf, 1980)

Chapter 15 Passed by History: Dystopia, Parable, and Bookend: Die Architekten ( The Architects , Peter Kahane, 1990)

Chapter 16 The Wendeflicks , Jörg Foth, and DEFA after Censorship: Letztes aus der Da-Da-eR ( Latest from the Da-Da-eR , Jörg Foth, 1990)