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020 _a9783031750069
_9978-3-031-75006-9
024 7 _a10.1007/978-3-031-75006-9
_2doi
050 4 _aPN1993-1999
072 7 _aAP
_2bicssc
072 7 _a1D
_2bicssc
072 7 _aPER004000
_2bisacsh
072 7 _aAT
_x1D
_2thema
100 1 _aAstafeva, Tatiana.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_989697
245 1 0 _aOstalgie in German Cinema After Reunification
_h[electronic resource] /
_cby Tatiana Astafeva.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer Nature Switzerland :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aVII, 220 p. 14 illus., 11 illus. in color.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 _a -- Chapter 1. Introduction -- Chapter 2. Nostalgia: A Brief Outline -- Chapter 3. Defining Ostalgie: Theoretical Background -- Chapter 4. Reintroducing Ostalgie as a Film Genre -- Chapter 5. Experience of Distance -- Chapter 6. Tactile Encounters with the Recent Past -- Chapter 7. Ostalgie, Retro, and Kitsch -- Chapter 8. Functions of Ostalgic Historical Experience.
520 _aThis book provides a thorough overview of the ostalgie films about the German Democratic Republic (GDR) produced since the 1990s. Far from being a homogenous phenomenon that romanticizes the totalitarian state, the ostalgie genre is multifaceted, reflexive, and at times subversive. Thus, Astafeva argues, the core of "ostalgie" is an experience of distance that is ‘prefocused’ by various aesthetic strategies. This genre-based definition makes it possible to conceptualize the phenomenon of ostalgie film in its heterogeneity and to reveal the mechanisms that lay in the essence of ostalgic experience. The cognitivist-phenomenological approach is underpinned by historiographic and genre theory and close analysis of film examples—from the most popular ostalgie films such as Goodbye, Lenin! (Wolfgang Becker, 2003) to lesser-known film productions and recent series such as Kleo (2022–2024)—that allow exploration of various functions of the ostalgic experience. Ostalgie films can foster uncritical reactionary and conservative views of history and expose the experience of distance by orienting aesthetics toward kitsch and retro. They can also encourage reflexive and meta-reflexive understandings of history so that the GDR past is critically discussed and reworked. Furthermore, ostalgie films can in some cases activate historical consciousness, facilitate the production of historical knowledge, and generate ethical thinking and empathy. Tatiana Astafeva is research fellow at the University of Bremen in the DFG-funded research project “German Film Comedy after the ‘Third Reich’: Political Aesthetics and Entertainment in German Transitional Films”” (2021–2024) and editor of OA journal Research in Film and History. Her experience also entails working for the BMBF-funded research project “Audiovisual Histospheres” (2019–2020). She holds a PhD from the Film University Babelsberg Konrad Wolf and received a scholarship from ZeM – Brandenburg Centre for Media Studies (2016–2019).
650 0 _aMotion picture plays, European.
_966599
650 0 _aFilm genres.
_973905
650 0 _aEurope, Central
_xHistory.
_977403
650 1 4 _aEuropean Film and TV.
_966601
650 2 4 _aGenre Studies.
_973908
650 2 4 _aHistory of Germany and Central Europe.
_977404
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031750052
776 0 8 _iPrinted edition:
_z9783031750076
776 0 8 _iPrinted edition:
_z9783031750083
856 4 0 _uhttps://doi.org/10.1007/978-3-031-75006-9
912 _aZDB-2-LCM
912 _aZDB-2-SXL
999 _c66103
_d66103