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1

Má Bohéma. Meze a možnosti historikova soudu

100%

Hanuš J.

Historie – Otázky – Problémy (History, Issues, Problems)

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2017

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vol. 9

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issue 2

72-80

EN

The study analyses the Czech Television series Bohéma from the perspective of a historian and draws attention to the issue of its genre with an unclear definition. The production follows on a thin boundary line between the trashy, fiction with a historical background, and a work of history, posing a challenge to a historian and asking questions about our relation to historical memory and its instrumentation.

2

AGAINST POLITICAL COMPROMISES – COMING TO TERMS WITH THE AUSTROFASCIST AND NATIONAL SOCIALIST PAST IN JOHN OLDEN’S DOCUDRAMA THE BLUE DANUBE (1965)

88%

Gortat J.

Przegląd Zachodni

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2022

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issue 1 (382)

185-202

EN

An der schönen blauen Donau (The Blue Danube), written by Hellmut Andics and Franz Hiesel and directed by John Olden in 1965, may be viewed as a groundbreaking television docudrama in Austria for two reasons. Firstly, it offered a new, hybrid form called ‘docudrama,’ which combined elements of a documentary film with the features of a fiction film. Secondly, in the context of the Austrian culture of remembrance, the film was astonishing in that its narrative boldly dealt with topics considered taboo at a time of an informal consensus between the two major political parties: the ÖVP and the SPÖ as well as their successors, the CSP and the SDAP. In line with this consensus, no mention of the antagonism between the conservatives and socialists during the authoritarian rule of Chancellors Dollfuß and Schuschnigg was made in the public discourse, instead, both parties claimed to have been victims of the Nazi terror (the so called “camp street” myth – Mythos der Lagerstraße). An der schönen blauen Donau significantly infringes this consensus, showing the persecution of socialist activists by the Austrofacist regime and the downplaying of the activity of the underground Nazis in Austria (the so called illegale Nazis). Embedded in the context of the Austrian post-war culture of remembrance, the paper analyses the teleplay’s narrative, paying special attention to selected characters representing three political movements in Austria: the socialists, the conservatives and the Nazis. Film narration analysis is the principal research method applied in the paper. Its last section also examines the reception of the docudrama and its problematic distribution.

3

A Case of Successful Transitional Justice: Fritz Bauer and his Late Recognition in the Federal Republic of Germany

75%

Gortat J.

Polish Political Science Yearbook

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2017

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vol. 2 (46)

71-84

EN

Germany is an example of a country which has been implementing transitional justice for decades and is still active in this field. What is more, contemporary Germans have recently come to terms with their not-so-distant past and their negligence in this area by showing the falsehood, backwardness, and injustice as negative foundations of the young Federal Republic. This article evokes the person of Fritz Bauer, the prosecutor in the state of Hessen. His struggle for human dignity and the memory of his achievements after his death exemplify an accomplished case of transitional justice and the memory of it. During his lifetime he contributed to bringing to trial numerous Nazi criminals, even at the cost of habitual threats and disregard. Forgotten for a few decades, Bauer and his legacy have been recently rediscovered and studied. Eventually, Bauer became a movie character and was finally brought back to the collective memory of Germans. The belated, but a well-deserved wave of popularity of Fritz Bauer in the German culture memory proves that reflections on the transitional justice are still topical and important.

4

Pamięć miasta i postulat autentyczności na przykładzie filmu „Życie na podsłuchu”

65%

Dobkiewicz M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2013

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vol. 12

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issue 21

283-289

EN

This article is a reflection on the category of authenticity in cinema, based on Florian Henckel von Donnersmarck's movie The Lives of Others (German: Das Leben der Anderen). The action of the film takes place in the late 1980s in East Berlin. The film can be classified as belonging to the category of “coming to terms with the past” and may be treated as a representation of collective memory concerning Berlin, as it depicts Berlin and the former institutions of communist terror. However, it is also an important statement about German collective memory in general. The focal point in the debate on this film is the category of authenticity, which I attempt to trace in the topography of Berlin related to the communist past present in the movie. The main problem is the juxtaposition of materialized and authentic forms of remembering (e.g. buildings, the streets of Berlin) with a fictional story. In case of this movie, it turns out that the pursuit of authenticity to some extent violates taboos of German collective memory, as it conflicts with the canon of official memory, as well as, in some cases, the canon of the audience’s memory (many of whom can still recall the communist past).

PL

The memory of the city and demand for authenticity on the example of film The Lives of Others This article is a reflection on the category of authenticity in cinema, based on Florian Henckel von Donnersmarck's movie The Lives of Others (German: Das Leben der Anderen). The action of the film takes place in the late 1980s in East Berlin. The film can be classified as belonging to the category of “coming to terms with the past” and may be treated as a representation of collective memory concerning Berlin, as it depicts Berlin and the former institutions of communist terror. However, it is also an important statement about German collective memory in general. The focal point in the debate on this film is the category of authenticity, which I attempt to trace in the topography of Berlin related to the communist past present in the movie. The main problem is the juxtaposition of materialized and authentic forms of remembering (e.g. buildings, the streets of Berlin) with a fictional story. In case of this movie, it turns out that the pursuit of authenticity to some extent violates taboos of German collective memory, as it conflicts with the canon of official memory, as well as, in some cases, the canon of the audience’s memory (many of whom can still recall the communist past).

Refine search results

1 Historie – Otázky – Problémy (History, Issues, Problems)

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Polish Political Science Yearbook

1 Przegląd Zachodni

2 Gortat J.

1 Dobkiewicz M.

1 Hanuš J.

1 2022

2 2017

1 2013

Má Bohéma. Meze a možnosti historikova soudu

AGAINST POLITICAL COMPROMISES – COMING TO TERMS WITH THE AUSTROFASCIST AND NATIONAL SOCIALIST PAST IN JOHN OLDEN’S DOCUDRAMA THE BLUE DANUBE (1965)

A Case of Successful Transitional Justice: Fritz Bauer and his Late Recognition in the Federal Republic of Germany

Pamięć miasta i postulat autentyczności na przykładzie filmu „Życie na podsłuchu”