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Der Baader-Meinhof Komplex (2008)

Der Baader-Meinhof Komplex (2008). HONORS 280 – Friday, September 26, 2014. Reminders. Reading for Monday -- “Postwar East German Cinema 1949-1989: Historical Overview,” pp. 213-233 in A Critical History of German Film . (Text available in ANGEL.)

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Der Baader-Meinhof Komplex (2008)

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  1. Der Baader-MeinhofKomplex (2008) HONORS 280 – Friday, September 26, 2014

  2. Reminders . . . • Reading for Monday -- “Postwar East German Cinema 1949-1989: Historical Overview,” pp. 213-233 in A Critical History of German Film. (Text available in ANGEL.) • Acronyms: GDR (German Democratic Republic); SED (SozialistischeEinheitspartei Deutschland) • Denkaufgabe: What socio-political factors influenced film in East Germany?

  3. . . . and another reminder . . . • In-Class Writing #2 -- Friday, October 3, 2014.

  4. Film Response Sheets • Please write about more than the pre-viewing clips I show in class. 

  5. Der Baader-MeinhofKomplex:The discussion continues . . . • Horst Herold and the Bundeskriminalamt – 00:30:28-00:37:31: • How is he presented in the clip? • What function does the inclusion of his character have in the film’s portrayal of the Baader-Meinhof Gang? • Is he one of the “good guys”?

  6. Der Baader-MeinhofKomplex:The discussion continues . . . • Who do you think the film portrays as the “good guys” and who are the “bad guys”? • What techniques are used to achieve this dichotomy?

  7. Der Baader-MeinhofKomplex:The discussion continues . . . • Real Footage and the Events of 1968: 00:20:00-00:21:29 • How and why does the film use real footage? • Should we be suspicious of this technique?

  8. Inclusions & Exclusions • What information does the film present on each main character? Is it the same information across the board? • Group 1: Ulrike Meinhof • Group 2: Gudrun Ensslin • Group 3: Andreas Baader • Generate two lists – one with the aspects of your character’s life the film includes and one with the aspects of your character’s life the film excludes.

  9. Discussion • How the inclusion and exclusion of information shape our understanding of these three people and their involvement in terrorist activity?

  10. Terrorists Targets • What type of people did the Baader-Meinhof Gang target? • How does this connect with Germany’s Nazi past?

  11. The conclusion . . . • View Chapter 22 – 02:19:20-02:21:58 • How does the film transition from the prison to the terrorists in the Middle East? Why is this important? • How do the terrorists interpret this ending? The officials? • Brigitte Mohnhaupt tells the others: “Hört auf, sie so zusehen, wiesienichtwaren.” • To what degree does the film embody this command? • Is she addressing the film audience as well? If so, how is this achieved technically in the scene?

  12. The Film and the Subjective Viewer • Does the story of terrorism in the 1970’s in Germany have a broader significance? • Does 9/11 influence our response to the film? • If are you are an American citizen, do you view this film through a different lens than German citizens?

  13. SchönesWochenende! Danke, gleichfalls!

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