Nick Hodgin – författare

"...contains useful and nuanced readings of the best-known films dealing with themes related to unification, as well as highlighting some equally interesting lesser-known works, in order to provide a rounded picture of German cinema's engagement with these issues in the past 17 years. I am not aware of any other publication that covers such a range of material and this in itself makes the book a valuable contribution to the field." * David Clarke, University of Bath "This is an extremely rich study of the representation of east German identity and the former GDR in post-unification cinema. The author clearly has an encyclopaedic knowledge of the films of this period ...Hodgin's book breaks genuinely new ground." * Sean Allan, University of Warwick "The book reveals an excellent knowledge of German culture and cinema, and combines methodological soundness with an ability to talk about films in a lively way free of jargon. Screening the East should not be missed by anybody interested in German cinema and culture, as well as cinema as discourse on history and space."* Ewa Mazierska, University of Central Lancashire "Screening the East provides insightful readings of contemporary classics such as Good Bye, Lenin! and The Lives of Others alongside films which complement these popular memories of life on the other side of the Wall by an eastern and, arguably, more authentic perspective. Surveying the post-Wall cinematic landscape from a number of different critical vantage points, Hodgin proposes that DEFA's legacy has not been obliterated but has evolved into a surprisingly diverse film culture. This is an engaging and important contribution to German cinema and cultural studies, providing a wealth of contextual detail." * Daniela Berghahn, Reader in Film Studies, Royal Holloway, University of London Screening the East considers German filmmakers' responses to unification. In particular, it traces the representation of the East German community in films made since 1989 and considers whether these narratives challenge or reinforce the notion of a separate East German identity.The book identifies and analyses a large number of films, from internationally successful box-office hits, to lesser-known productions, many of which are discussed here for the first time. Providing an insight into the films' historical and political context, it considers related issues such as stereotyping, racism, regional particularism and the Germans' confrontation with the past.

Competing representations of the former East German state in the German cultural memory.Twenty years after the fall of the Berlin Wall, the consequences of the country's divided past continue to be debated. The legacy of the German Democratic Republic occupies a major role in German popular culture, with audiences flocking to films claiming to depict the East German state "as it was." Politicians from both left and right make use of its legacy to support their parties' approach to unification, while former citizens of the GDR are still working through their own memories of the regime and adjusting to unification.Since 1989, competing representations of the East German state have emerged, some underlining its repressive nature, others lamenting the loss of asense of community. The twentieth anniversary of the Wende is an occasion to reflect upon both the history of the GDR and the ways in which it has been remembered, and the present volume presents new research on the theme from a variety of perspectives, with sections on film and literature, museums and memorials, and historiography and politics.Contributors: Thomas Ahbe, Pertti Ahonen, Silke Arnold-de Simine, Stefan Berger, Laura Bradley, Mary Fulbrook, Nick Hodgin, Anna O'Driscoll, Stuart Parkes, Caroline Pearce, Günter Schlusche, Peter Thompson, Andreas Wagner.Nick Hodgin is a Cultural Historian working at the University of Sheffield, UK, and Caroline Pearce is Lecturer in German and Interpreting, also at the University of Sheffield.

Screening the East considers German filmmakers’ responses to unification. In particular, it traces the representation of the East German community in films made since 1989 and considers whether these narratives challenge or reinforce the notion of a separate East German identity. The book identifies and analyses a large number of films, from internationally successful box-office hits, to lesser-known productions, many of which are discussed here for the first time. Providing an insight into the films’ historical and political context, it considers related issues such as stereotyping, racism, regional particularism and the Germans’ confrontation with the past.

This book examines recent cinematic representations of the traumatic legacies of national and international events and processes. Whilst not ignoring European and Hollywood cinema, it includes studies of films about countries which have been less well-represented in cinematic trauma studies, including Australia, Rwanda, Chile and Iran. Each essay establishes national and international contexts that are relevant to the films considered. All essays also deal with form, whether this means the use of specific techniques to represent certain aspects of trauma or challenges to certain genre conventions to make them more adaptable to the traumatic legacies addressed by directors. The editors argue that the healing processes associated with such legacies can helpfully be studied through the idiom of ‘scar-formation’ rather than event-centred ‘wound-creation’.

This book examines recent cinematic representations of the traumatic legacies of national and international events and processes. Whilst not ignoring European and Hollywood cinema, it includes studies of films about countries which have been less well-represented in cinematic trauma studies, including Australia, Rwanda, Chile and Iran. Each essay establishes national and international contexts that are relevant to the films considered. All essays also deal with form, whether this means the use of specific techniques to represent certain aspects of trauma or challenges to certain genre conventions to make them more adaptable to the traumatic legacies addressed by directors. The editors argue that the healing processes associated with such legacies can helpfully be studied through the idiom of ‘scar-formation’ rather than event-centred ‘wound-creation’.