“Os Russos Estão Chegando": cinema e censura na Alemanha Oriental
Data
2021-12-06
Autores
SANTOS, Monaliza
Orientadores
FERLA, Luis
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
A pesquisa busca discutir quais foram, como se definiram e se manifestaram os processos de censura cinematográfica na porção Leste da então dividida Alemanha, entre 1961 e 1972. Em geral a população desta região foi considerada pouco ativa politicamente quando comparada ao Ocidente e mesmo aos demais países do Leste europeu. Consequentemente, a República Democrática Alemã recebeu limitado protagonismo historiográfico quando se trata dos anos 60 e 1968 especificamente. O âmbito cultural deste mesmo período e, especificamente, o cinema produzido a partir dos estúdios DEFA, são esferas que nos ajudam a compreender os conflitos entre Estado, produção cultural e censura, contradizendo o discurso oficial de maior abertura e diálogo com a esfera artística. O principal objetivo é revisitar o tema através do contexto cultural e cinematográfico. Para este fim será utilizado enquanto fonte uma das produções cinematográficas censuradas: Die Russen Kommen (Os Russos Estão Chegando), dirigido por Heiner Carow em 1968. E também os filmes Karriere (Carreira), dirigido por Heiner Carow e estreado em 1971, e Ich War Neunzehn (Eu Tinha Dezenove), dirigido por Konrad Wolf e estreado em 1968.
The research seeks to discuss what were, how they defined and manifested the processes of film censorship in the eastern portion of the then divided Germany, between 1961 and 1972. In general, the population of this region was considered politically little active when compared to the West and even to the others Eastern European countries. Consequently, the German Democratic Republic has received limited historiographical prominence when it comes to the 60s and 1968 specifically. The cultural sphere of this same period and, specifically, the cinema produced by DEFA studios, are spheres that help us to understand the conflicts between the State, cultural production and censorship, contradicting the official discourse of greater openness and dialogue with the artistic sphere. The main objective is to revisit the theme through the cultural and cinematographic context. For this purpose, one of the censored film productions will be used as a source: Die Russen Kommen (The Russians Are Coming), directed by Heiner Carow in 1968. And also the films Karriere (Career), directed by Heiner Carow and released in 1971, and Ich War Neunzehn (I Was Nineteen), directed by Konrad Wolf and premiered in 1968.
The research seeks to discuss what were, how they defined and manifested the processes of film censorship in the eastern portion of the then divided Germany, between 1961 and 1972. In general, the population of this region was considered politically little active when compared to the West and even to the others Eastern European countries. Consequently, the German Democratic Republic has received limited historiographical prominence when it comes to the 60s and 1968 specifically. The cultural sphere of this same period and, specifically, the cinema produced by DEFA studios, are spheres that help us to understand the conflicts between the State, cultural production and censorship, contradicting the official discourse of greater openness and dialogue with the artistic sphere. The main objective is to revisit the theme through the cultural and cinematographic context. For this purpose, one of the censored film productions will be used as a source: Die Russen Kommen (The Russians Are Coming), directed by Heiner Carow in 1968. And also the films Karriere (Career), directed by Heiner Carow and released in 1971, and Ich War Neunzehn (I Was Nineteen), directed by Konrad Wolf and premiered in 1968.