Und ewig ruft die Heimat …
Zeitgenössische Diskurse und Selbstreflexivität in den Heimatfilmwellen der Nachkriegs- und Nachwendezeit
von Sarah KordeckiKein anderes Genre ist in Deutschland gleichzeitig so beliebt und so verhasst wie der Heimatfilm. Seine Bilder, Figuren und Geschichten haben die deutsche Populärkultur der vergangenen 100 Jahre geprägt und sind auch im heutigen Fernsehprogramm omnipräsent: durch immer neue Wiederausstrahlungen der alten Filme ebenso wie durch die vielen Neuproduktionen seit der Jahrtausendwende. Mit ihren Bildern konkreter Landschaften lieferten die Heimatfilme sowohl in der Nachkriegs- als auch in der Nachwendezeit neue Bilder der Nation – in der BRD wie auch in der DDR. Sarah Kordecki untersucht und klassifiziert erstmals die ganze Breite der zwei Konjunkturphasen des Heimatfilms aus dezidiert deutsch-deutscher Perspektive.
In Germany, no other genre is as popular and at the same time as hated as the „Heimatfilm“. Its images as well as its characters and its plots have left a significant imprint on German popular culture of the last 100 years. Even in today’s TV programme, it is ubiquitous: through constant re-emissions of the old movies (especially from the 1950s) as well as through the many new productions since the 2000s. With its images of concrete landscapes, the „Heimatfilms“ supplied new images of the nation – in postwar FRG and GDR as well as in post-reunification Germany. For the first time, Sarah Kordecki examines and classifies both boom periods in their full range. Using four categories, she compares the films of the postwar period with those of the post-reunification period from a decidedly German-German perspective.
In Germany, no other genre is as popular and at the same time as hated as the „Heimatfilm“. Its images as well as its characters and its plots have left a significant imprint on German popular culture of the last 100 years. Even in today’s TV programme, it is ubiquitous: through constant re-emissions of the old movies (especially from the 1950s) as well as through the many new productions since the 2000s. With its images of concrete landscapes, the „Heimatfilms“ supplied new images of the nation – in postwar FRG and GDR as well as in post-reunification Germany. For the first time, Sarah Kordecki examines and classifies both boom periods in their full range. Using four categories, she compares the films of the postwar period with those of the post-reunification period from a decidedly German-German perspective.
