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By Reinhild Steingröver

Final beneficial properties is the tale of forgotten motion pictures made throughout the time of German unification. With leftover GDR cash and less than chaotic stipulations, a gaggle of younger East German filmmakers produced round thirty stylistically diversified movies. almost all these motion pictures have been misplaced within the political upheaval of the Wende, disappearing until eventually the 2009 Wendeflicks pageant in la introduced them again for a world viewers. Now to be had on DVD, those motion pictures offer particular insights into the generational fight within the DEFA studio, East German adolescence tradition within the Nineteen Seventies, ladies administrators at DEFA, the connection among the artist and the kingdom, and the protests of 1989. final beneficial properties focuses specifically at the construction staff "DaDaeR," the construction of which in 1989 fulfilled a longstanding request by way of the final iteration of DEFA administrators for freer construction stipulations. Drawing on archival study and interviews with the administrators, writers, and editors of the movies in query, every one bankruptcy examines particular movies from the final 12 months of DEFA, contextualizing the research of those "last beneficial properties" with a accomplished dialogue of the administrators' total oeuvres, the historic alterations within the studio and the rustic, and the lasting significance of those movies at the present time. Reinhild Steingröver is affiliate Professor of German and movie experiences within the division of Humanities on the Eastman college of track, college of Rochester.

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6 See the website of Icestorm International and the DEFA Film Library at UMass, Amherst for a description of the fourteen titles included in the Wendeflicks series, which toured to twelve North American cities after the premiere in Los Angeles in April 2009. shtml#Wende_Flicks (accessed September 11, 2013). 7 “Aus heutiger Perspektive waren wir geradezu naiv. ” Thomas Wilkening, internal document describing the background of the production group DaDaeR, 16 Feb. 1990, Wilkening File, Archive Film Museum, Potsdam.

On the other hand, it must be acknowledged that the unexpected chance to direct a feature film was suddenly thrust upon directors who had not directed a full-length feature film in a very long time, if ever. The last features by Herwig Kipping and Ulrich Weiß bear witness to the difficulties of suddenly plunging back into the creative work of actually realizing cinematic visions after long periods of forced idleness. From a close reading of the last features by these directors, I trace their artistic evolution from early film-school exercises, diploma films, and theses, to documentary films or “niche work” in the Kinobox series, which, during periods when conflict made it impossible to work on major projects, provided creative outlets under relatively free conditions in the documentary film studio.

Initially, not even all the films could be accessed as they were dispersed in various archives, or stowed away in boxes in filmmakers’ attics. The situation seemed even worse for production files, scripts, and other indispensible material. Nevertheless, many kind archivists and librarians went out of their way to facilitate my work and often pointed me towards material I could not have asked for since I was not aware it existed. Elke Schieber was the first to take the time to facilitate important encounters with the filmmakers but also to help me understand much about the context of the last generation at DEFA.

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