Berlin Is in Germany Movie and German Reunification - Research Paper Example

THE INVISIBLE WALL OF BERLIN IS IN GERMANY Introduction The Berlin Crisis of the 1960s, which was one of the major politico-military incidents of the Cold War, culminated with the East German construction of the Berlin Wall and the subsequent birth of two distinct German nations and peoples. Following their origin in 1949 when the Soviet Union blocked Berlin, the two German states created differences in the characters of their populations mainly because of international competition and legitimacy , these differences are still manifested in the present. Since the end of the Cold War, local actors have been shifted in disagreements over property and historiography. Both, east and west German people appeal to different legal and moral codes, each with its own value of lawfulness derived from peculiar historical conditions, that have not been taken into consideration in the unification process . From the time the East German state dissolution a large amount of films have been produced by German cinema that have addressed the issues concerning to the German re-unification. Their approaches frequently reveal complicated and diversified opinions and dispositions towards the former German Democratic Republic (GDR) and the process of German re-unification. Ostalgic films like Sonnenallee (1999), Berlin is in Germany (2001) and Good Bye Lenin! (2003) make evident their interest to study the meaning of memory over the process of transition and the conformation of the post-unified society . The expression ostalgie, which is composed by the German words for ‘nostalgia’ and ‘east’, commonly refers to a cultural fascination with the former GDR which means that it is automatically linked to communist kitsch; accordingly, ostalgie seems to denote certain kind of nostalgia that comes from the fact to clash with history . Nearly all of cultural values and symbols concerning the East Germany were eradicated immediately after the fall of the Berlin Wall the 9th of November of 1989. For instance, GDR’s brands of products, state television programs, and even the previously widespread Wartburg and Trabant cars vanished from stores, being in turn substituted by western products. According to Enns however, rather than depicting a sentimental whitewashing, ostalgic movies denote a serious interpretation of current Germany's socio-economic-political situation. Enns also emphasizes that it is more than a coincidence that the ostalgic movement had emerged at a time when Germany is crisis . Something about Berlin is in Germany Berlin is in Germany is an ostalgic movie which examines the dramatic changes experienced by citizens of Berlin and Germany over the course of re-unification, showing at the same time the power of historical events to irreversibly alter present socio-political conditions. It discloses the imaginary story of Martin Schulz, who has to adjust himself to huge transformations produced by several years of German unification once he has been liberated from prison, time after the fall of the Berlin Wall. Martin was a citizen from East Germany when he was condemned of homicide and sent to prison in July of 1989. When Martin is released from prison in 2001, he is no longer in a country called German Democratic Republic; and Berlin, the capital of the Federal Republic of Germany that used to be foreign territory for him, is an odd shadow of the past where east and west Germans are allowed to travel backward and forward at will. The different and enlarged Berlin is occupied completely by building projects; even streets have been rearranged and given new names as a clear example of rejection towards Berlin’s socialist memory. The confusing consequences of these changes are highlighted when Martin becomes conscious that he is not able to navigate his own hometown when he applies for a taxi licence. Additionally, there are changes in Martin’s own family; his close-ones appear to him nearly as strangers as Berlin's new territory: his wife Manuela now has a new partner and his son Rokko no longer is familiar with him. All the odd and novel circumstances for Martin are represented by the English-language title of the film that suggests that Martin must acquire as his own, a new geography and language, even though he is at home. The title of the movie: Berlin is in Germany, which arises from one of Rokko’s assignments, demonstrates a change of the German’s teaching program: English is now established as the principal foreign language taught in public schools. The disorientation that Martin senses, not only manifests the new generation gap between parents and children, but also stresses the feeling that he is a newcomer in his own motherland. While Martin is glad to be free and with his family, the progression of the film suggests that the transformations induced by the German re-unification were more complex than anticipated, and that rather than to improve the situation of the inhabitants from the re-unified land, these changes have led to the alienation and isolation of easterners and westerners . The German to German interaction: east and west confronted Throughout its presence, the Berlin Wall has been the representation of a physical and psychological fence between east and west. While sharing common cultural roots, citizens on each side of the wall have had different experiences regarding to self-determination, government, media, and economy. The disappearance of the physical structure, that created those enormously different societies, so far has not eliminated ideological differences between east and west, which at the same time have been able to survive to the fall of the Berlin wall. The re-unification of Germany was approved by the majority of inhabitants in both, East and West Germany. However differences between east and west started to be visible some time later, especially after eminent politicians from the Federal Republic of Germany (FRG) would make undesirable or somehow disdainful remarks towards easterners, whom they considered ‘second-class relatives’ . Despite the fact that living standards in East Germany have been improved, many still complain about socio-economic inequalities. A survey by Forsa institute published in Stern magazine indicated that 15 percent of the German population long for the days when Germany was divided, and that many westerners look forward to terminate the financial subsidies spent on the east. Furthermore, eastern Germans are not satisfied neither about their income levels (that are on average only 80 percent of western levels) nor about the higher rate of unemployment in the east . Thus, ostalgie accompanied by the perception of economic inequality, have led to the perpetuation of negative stereotypes on both sides of the wall. Regardless of their common progress and experiences many Germans even now regard their nationals dissimilar from themselves. Media have not helped to dissolve these differences; on the contrary it has played a discordant role in the process exacerbating the dissimilarities (Pokrandt). Nowadays, eastern and western Germans express profound reciprocal suspicion. Stereotypes are deeply embedded: Easterners are racist, lazy, and self-pitying, while westerners are egocentric, money-obsessed, and arrogant; and what it is more important, according to the German parliamentary president: easterners and westerners cannot stand each other . What it is interesting about Berlin is in Germany is that instead of displaying stereotypical east-west confrontations, Stöhr, the writer and director of Berlin is in Germany, chooses to illustrate a more subtle portrayal from German people, where deep-seated attitudes and reactions are almost overcome. As a result, easterners and westerners are gradually learning to live together, making more penetrable the wall that is between them . Although Wolfgang (the new partner of Manuela) is a westerner, the principal purpose of Martin is to earn sufficient money in order to establish a good relationship with his son, instead of competing with him for the affection of Rokko. The clearest suggestion that progress has been made after the German re-unification is that Martin refuses to get engaged in new criminal activities to get along . When Viktor, the sex shop owner for whom Martin is working, attempts to attract him into participating in a robbery Martin denies. Stöhr provides a sensitive picture of eastern Germans from his western point of view . In this respect, Stöhr shows that people from East Germany in fact, are able to develop in order to adjust to new the social order. When Martin is excluded from the taxi driver test due to his criminal record (for which he has spent so much time and energy) he confronts Viktor as a consequence of his frustration. Whereas this outbreak is absolutely out of place, it however emphasises his vehement refusal to use illegitimate means to pursue his objectives, even when he is un-successful in his attempt to become part of society. Actually, Martin makes a big effort to reorganize his life; he does it with more spirit and persistence than his friend Peter, who gives the impression of representing the western stereotype of the ‘whining-easterner’ and whom Martin prevents from jumping off a roof-top. For Peter, a regretful character that is weeping in a Trabant car while Martin is driving him home, the re-unification of Germany has been a huge error. By contrast, Enrique, another fellow countryman from the GDR who has adjusted positively to the re-unified Germany, has encouraged his friend Martin to follow the same career as him, as taxi driver. Another remarkable feature in this respect is that any of the characters express nostalgia for the past. It is notable that, although all stereotypes presented above are refined Wolfgang embodies stereotypical western attitudes that have been described in other east-west films. Wolfgang is at the same time both, hostile and disloyal; he is the one who calls the police when Martin is asking for help to Manuela. It is remarkable that via Wolfgang’s character, Stöhr moreover brings some equilibrium to Peter’s eastern characterization. Peter’s case shows the stereotypical characterization from those who are reluctant to get used to the new rules, and therefore will suffer in a capitalist society; even though the reasons for his misery seem to be reasonable (unemployment, social dependency and a low self-esteem) his general image resembles a western stereotype of easterners. The fact that the main character of the movie is an ex-convict and comes from the former GDR suggests that eastern Germans are like ex-delinquents and therefore are treated as second-class residents. In this way, the movie also suggests that easterners are often incapable to find work especially in a free-market economy, where their preparation and schooling is considered inferior or even useless. Economic inequality between east and west and progressive decline of the GDR’s socio-economical organization are revealed by a number of portrayals. For instance, while Martin is making paper planes with his out-dated Ostmark, Manuela looks glamorous living in a very expensive flat in Pankow making enough money as a travel agent. The depressing prefabricated tower block, which is the home for moribund Peter, contrasts with the smart and modern apartment where Martin’s wife is living. The old-fashioned pants that Martin wears appear all the more deteriorated in comparison to the stylish clothes worn by Manuela and her friends; and the omnipresent Trabant no longer steals glances as its presence is now blurred by the shiny Mercedes. The process of destruction and decline of the former GDR is well exemplified at the end of the film, when it is discovered that Martin’s crime was truly an accident meaning that his imprisonment was an error committed by the agonic legal organization of the GDR. The challenge: acceptance of pluralism and diversity Berlin is in Germany includes a curious form of nostalgia being at the same time reflexive and critical. What it is exciting about the movie is the way in which it assesses and comments cultural and ideological stereotypes associated with the historical construction of the GDR and east-west confrontation; accordingly, Berlin is in Germany constitutes a clear denunciation of contemporary attitudes towards the neglected socialist past of Germany . Enns also argues for a more creative interpretation of ostalgic films like Berlin is Germany or Good bye Lenin! emphasizing the potential role of media to evaluate and challenge the current socioeconomic-political situation of Germany. Although Stöhr’s film is set more than ten years after the German re-unification and the collapse of the former GDR , it is a creative source of metaphors and observations which offers a novel approach to get re-engage with the ideological construction of the GDR and the challenges coming from the immediate post-unification period . These challenges include: the complicated process of adjustment to the modifications brought by the re-unification, the role of the socialist past of East Germany in the memory of their citizens, the delicate east-west relationship, ideological extremisms, and the introduction of capitalism in East Germany . Berlin is in Germany could be perceived as a reconsideration about the idealistic anticipations surrounding the re-unification of the two Germanys, which has brought a careful socio-political deliberation in relation to posterior disillusionment. Even though Martin is allowed to move around the New Berlin at will and he is glad to re-discover his family life, the completely rebuilt Berlin, its places and its inhabitants are motionless and hostile. Likewise, Berlin is in Germany is a denunciation of a capitalist system that has been addressed current economic and cultural challenges unsuccessfully. Stöhr’s film in this respect makes a subtle criticism while describing the characters of the movie being tested by the new economic system; those ones which are strong enough and self-concentrated will survive, but the price they have to pay is loneliness and emptiness. While the socio-economic system which once supported the existence of people from East Germany is gradually falling to pieces and being consumed by capitalism, it nevertheless has the strength to resist and to adapt to the new circumstances. Of course, Stöhr tinges and almost blurs this scenario with his stereotypical representation of the ideological ghosts that still surround the New Berlin. Perhaps of great significance is the fact that Berlin is in Germany was directed with great sensitivity by a Western director. Stöhr calls into question stereotypical notions of how the re-unification process has been experienced on both, the eastern and the western sides of the Berlin Wall. What makes Stöhr’s movie more motivating is that it might be viewed as an eloquent contribution to the experience of re-unification whereas at the same time it makes worldwide audiences more conscious about modern issues in Germany . The contribution of Stöhr is evident when he makes the story of Martin to finish optimistically, meaning that perhaps re-unification and re-conciliation are still possible. Helped by his family and friends Martin seems to succeed. Though suggestively, his closest supports are not westerners but his former eastern wife and immigrants . It is interesting for example that in contrast to other ostalgie films, Berlin is in Germany invokes the eastern German side of the country just to offer it a final farewell .  In Berlin today most of the Berlin Wall has disappeared and it is not easy to find the exact place where it used to be. But the reality is that if German people would have the chance to rebuilt the wall, they probably would; then it would not be estrange that the barrier which fragmented the country during the Cold War could be restored to life . Accordingly, the invisible wall still subsists, and it is well preserved and rebuilt by beliefs and stereotypes. Although nations and states lean towards the representation of themselves as single nations with continuous histories, very few certainly are not composed of diverse cultural groups with fairly varied pasts. Local identities therefore seem to be in intrinsic conflict with each other. These confrontations are constructed on a nearly neurotic concern with temporal and spatial backgrounds in a very particular past, whereas national identities are more universalistic . By using cartographic modifications of the urban organization of Berlin as an allegory Berlin is in Germany illustrates how easterners continued glancing at the past, being nostalgia for the old days an enormous obstacle in order to get engaged to the future successfully. The division into East Germany and West Germany has had several long-term problems that still today have not been resolved. Although re-unification has taken place stereotypes are still alive inside the spirit of the German society, being constantly revived and constructed by media and by thoughtless comments coming from prominent politicians. After the erection of the wall, the wall itself turned to be a guide to classify people. Now when it has been destroyed it continues to be the basis to label human suffering. Several years later after its demolition, the Berlin Wall has been stylistically transmuted into a "mental wall" proposing a persuasive symbol for the apparent psychological and cultural division of the modern Germany . The political course of re-unification must be supplemented by initiatives that have to be integrated inside the mind of people involved, making them aware about the unchangeable circumstances from their past which ultimately have generated the double identity of Germany. In this way the role of media, politicians and social organizations has acquired great importance, especially because these actors have the immense responsibility to make the process of re-unification to happen, instead of helping to rebuild the psychological fence. A fresh idea of diversity could support the construction of a new understanding of German identity. In the global and multi-communicated world of nowadays any characterization of national identity that is not multicultural, possibly will be soon insufficient . The Berlin Wall persists, not anymore breaking down the landscape of Berlin, but inside the head of people that are still reluctant to let the past perish. ‘The past may be (re)packaged, bottled and preserved, but it cannot be perpetuated’ . This statement is becoming real, now that a new generation comes to scenario and the Berlin Wall is a blurry reminiscence of their confrontation. As Corbett suggests: It seems that the greatest expectation of Germany to break down the "Wall in the head" depends on its young folks, for whom the Cold War is a misty and infantile memory . REFERENCES Read More